Introduction
Dedications in the Luft Concertos
The Publishers of Luft's Concertos
Orchestration in the Luft Concertos
Structure in Luft's French Style Concertos
Structure of Luft's Scena Style Concertos
Italian Melody in the Luft Concertos
Concluding Remarks
Sources Consulted
Endnotes

Johann Heinrich Luft (1813-1877)[1] was an oboist active in the Imperial Theaters of St. Petersburg[2] as a principal player between 1840 and 1860.[3] According to François-Joseph Fétis,[4] Luft, a German, moved to the Russian capitol around 1830, when he was in his late teens. A resident of that city for the rest of his life, he was appreciated for the beauty of his sound and precision of his execution. With the exception of his volume, 24 Etudes, Op. 1, which is part of many modem oboists'-practice routine, Luft's music is little-known today.

[Select to enlarge here and below]

The library of the Conservatorio di Musica Giuseppe Verdi in Milano contains the oboe-piano versions of two concertos by Luft:

Oboe A/33/18/1	Premier Concertino brillant pour l'Hautbois avec Accompagnement de grand Orchestre ou Pianoforte ou Quatuor, Oeuv. 5.[5]
Oboe A/33/18/3	Second Concertino, Op. 14.

Both of these works follow the design of the French Style[6] concertos by Luft's contemporaries in Paris, Gustave Vogt (1781-1870) and Stanislas Verroust (1814-63). This seems a bit unusual, as one would have expected him, being a German, to have espoused the German Style concerto[7] made popular by Felix Mendelssohn and Robert Schumann which, in fact, was later taken up by another St. Petersburg-based composer, Pyotr Tschaikowsky. One wonders how Luft came to learn of the French Style in far away St. Petersburg, and why he adopted it over the German type.

In addition, Luft composed five oboe concertos which are adaptations of the Scena Style. This type was also well known in Paris and forms an integral part of the series of twelve concerti composed there by Verroust. Copies of Luft's five examples of this type may be found in the Deutsche Staatsbibliothek in East Berlin under the following call numbers:

35738	Variations. Scéne suisse, Op. 3.
35740	Fantaisie, Op. 9.
18742	Fantaisie sur des Thèmes Russes Nationaux avec accompagnement de Piano, Op. 12.
15442	Fantaisie pour Hautbois avec accompagnement d'Orchestre ou de Piano, Op. 16.
35742	Nocturne, Op. 20

Among the seven publications cited above, three still retain their frontispieces, of which two contain the names of important dedicatees. The catalogue of the library in the Milan Conservatorio gives the dedication for Luft's Second Concertino.

Concerto	Dedicatee
Premier Concertino, Op. 5	[à] Son Excellence N. Seroff
Fantaisie sur des Thèmes Russes Nationaux, Op. 12	à Mr. Louis Maurer
Second Concertino, Op. 14	à M. Wielhorski

N. Seroff is Alexander Nikolayevich Serov (1820-71), a Russian composer and critic in St. Petersburg. He was especially known for his operas Judith (1863) and Rogneda (1865), both of which had their premieres at the Maryinsky Theatre (opened 1860). As a critic, Serov championed the music of Richard Wagner, whose Lohengrin (1848) was finally produced in Russia in 1868. Luft was wise in dedicating his Premiere Concertino, Op. 5 to such a man. It never hurts to butter up a critic!

M. Wielhorski, to whom the Second Concertino was dedicated, is Count Michel Wielhorski (1788-1856), a Russian composer and - more important to Luft - a concert promoter. As a young man of 20, Wielhorski had studied in Paris with Luigi Cherubini. In 1818 he was living on his estate, "Fateyevka", near St. Petersburg, where he maintained a private orchestra.[8] By 1826 he had moved to St. Petersburg proper; Luft arrived about four years later. Clearly, a man such as the Count would have been useful in helping the young oboist gain exposure.

The dedicatee of the Fantaisie sur des Thèmes Russes Nationaux, Louis Maurer, is Ludwig Maurer (1789-1878), a German violinist and composer who in 1833 became director of the French Opera in St. Petersburg. This was shortly after the time Luft arrived. Maurer's son, Vsevolod (1819-92), became director of the Italian Opera in St. Petersburg.

As early as c. 1806 Maurer met the French violinists, Pierre Rode and Pierre Baillot, and is known to have studied the French violin style from Rode in Riga. This induction surely would have included the composition of concertos. As the French concerto tradition would gradually change to produce the peculiar French Style with its truncated initial movement, then perhaps Maurer, once committed, was able to keep up to date on the newest advances through the appearances of other French schooled violinists who came through St. Petersburg. Such artists include the following:

Violinist	In Russia
Pierre Rode (1774-1830)	1804-09[9]
Pierre Baillot (1771-1842)	1805-08[10]
Charles Lafont (1781-1839)	c. 1808-15
Charles de Beriot (1802-1870)	1840
Henri Vieuxtemps (1820-1881)	1840, 1846-51[11]
Henryk Wieniawski (1835-1880)	1848, 1851-53, 1860-72[12]

It is, therefore, quite possible that Maurer was Luft's initial source for learning of the French Style concerto, a type which he followed in composing his two Concertini. In any case, there were several Parisian trained composers living in St. Petersburg during Luft's residence there, and any of their concertos could have served as models for the oboist's compositions.[13]

In addition to the French Style, Maurer might have been a source for the Scena Style, also exploited widely by the French. This would better explain the dedication to him of the Fantaisie sur des Thèmes Russes Nationaux, Op. 12, which is of the Scena type. In fact, this concerto was published in Paris by the house of Richault which was concurrently bringing out the works of the French oboist, Stanislas Verroust.

Luft's seven concertos were published as follows:

1. Variations. Scéne suisse, Op. 3.
Leipzig: Kistner (per Hosek, Oboenbibliographie), plate no. 1125

2. Premier Concertino brillant, Op. 5.
Leipzig: Fr. Kistner, plate nos. 1264, 1265, 1266 (piano reduction)
St. Petersbourg: C. F. Holtz

3. Fantaisie, Op. 9.
Leipzig, Fr. Kistner, plate no. 1922

4. Fantaisie sur des Thèmes Russes Nationaux, Op. 12.
Paris: S. Richault Editeur, plate no. 12172. R.[14]

5. Second Concertino,[15] Op. 14
Leipzig: Kistner (per Hosek, Oboenbibliographie), plate no. 2400

6. Fantaisie, Op. 16.
Mayence [Mainz]: B. Schott's Söhne, plate no. 15720

London: Schott & Co.
Paris: Editions Schott
Bruxelles: Schott Freres ("Printed in Germany")

7. Nocturne, Op. 20.

Leipzig: Kistner (per Hosek, Oboenbibliographie), plate no. 3014

Luft's primary publisher for his concertos was Carl Friedrich Kistner (1797-1844) of Leipzig, later Julius Kistner (1805-68). The house of Kistner published works by such composers as Schumann, Mendelssohn, and Liszt, so Heinrich Luft was in good company!

Neither the orchestra parts nor the full scores of Luft's seven oboe concertos have been located by the author. Facts concerning their orchestration can, for the present, only be determined through sparse information given on the published frontispieces, or from clues in the solo parts:

1. Variations. Scéne suisse, Op. 3.
Solo part marked Oboe Principale has cues for violin I; Fétis lists this work pour hautbois et orchestre.

2. Premier Concertino brillant, Op. 5.
Frontispiece states: avec Accompagnement de grand Orchestre; piano reduction has cues for wind instruments: flute, clarinet & horn; manuscript oboe part has cues for violin I, flute, horn.

3. Fantaisie, Op. 9.
No information present in extant material.

4. Fantaisie sur des Thèmes Russes Nationaux, Op. 12.
Solo part marked Oboe Principale has cues for violin I.

5. Second Concertino, Op. 14.
No information present in extant material.

6. Fantaisie, Op. 16.
Frontispiece states: avec accompagnement d'Orchestre.

7. Nocturne, Op. 20.
No information present in extant material.

The first movement structures of Luft's two Concertini, Opera 5 and 14, follow the French Style plan for a truncated ritornello form exemplified by works such as Charles de Beriot's Violin Concerto No. 7 (after 183 5), Henri Vieuxtemps Violin Concerto No. 4 (c. 1849) and Henryk Wieniawski's Violin Concerto No. 2 (1862). The latter two received their premieres in St. Petersburg. Unlike works in the German Style which omit the opening ritornello, those in French Style retain this initial orchestral tutti, but delete all of the structure after the second ritornello (including the development, recapitulation, and final ritornello). The first movement of Charles de Beriot's Violin Concerto No. 7, which is of the type that served Luft as a model, follows presently.[16]

Theme	Measure	Tonality	Comments
Ritornello I	1-65	I
1	1	1
1'	17	I to V of iii
2	34	V
2'	42	V
2k'	56	V of I	1x
Episode	66-158	I to V
Cadenza	66	V	Fermata only given
1	67	I	Double stops
1'	75	I	Double stops; chromaticism: 81-2
Cadenza	84	V	Written out
1k	85	I
Transition	93 1/2	vi
2	111	V
2'	119	V	Octaves with clarinet I
Cadenza	125		Written out
|:2k2:|	126	V
|:2k:|	134	V
1k4	138	V	Measure 141=1x
Ritornello II	159-178	V
1	159	V to V of iii	Transitional; Linkage to 2nd mvt

Here follows Luft's adaption fo the French Style first movement for the initial movement of his Second Concertino, Op. 14. All three movements of the concert are included:

Ritornello I	1-38	I
1a	1	I
1b1	6 1/2	I
|:1b2:|	14	I	Similar to Barret Melody No. 1
|:1k1:|	18	I
1k2 + |:1b2:|	22	I	1b2 begins at measure 26
1k3	30 1/2	I
1k4	34	I
Episode I	38-151	I-V
1a	38 1/2	I	Highly ornamented
1b1	47 1/2	I
|:1b2:|	53	I	1b2 three times
|:1k5:|	59	I
|:1k6:|	63	I
Transition	67	I-V
|:1k6:|	73	i	Tutti
|:Transition:|	80 1/2	V
Cadenza	88	V
|:2a:|	89	I	Derived 1b2; oboe descant in :|
2b	105	V
|:2k1:|	115	V
xk1x	123	vi of V
|:1b2:|	130	I	Tutti
|:2k2:|	134	I
2k3	142	I
2k4	145	I
Ritornello II	152-167	I
1ax	152	I
1ax	163	I to bVI	Linkage to second movement

The fact that Ritornello II is placed in the tonic rather than in the dominant is unusual. Luft followed the same procedure in the first movement of his Premier Concertino. Perhaps he got the idea from Henri Vieuxtemps, whose Violin Concerto No. 4 operates in like manner. The difference in Luft's work is that three of the closing themes in the episode preceding this ritornello (2k2, 2k3, 2k4), are also in the tonic.

Theme 1b2, which resembles the Italianate Progressive Melody No. 1 from Apollon Barret's A Complete Method for the Oboe (1850), reappears in a number of guises, one of which forms the first part of Theme 2 (2a). In opposition to the usual procedure, the dominant is not present at the outset of Theme 2 (2a), but it does appear for the second part of this theme (2b).

A Section	1-19	I
1a	1	I
1a'	10	I	Final cadence highly ornamented
B Section	20-71	V-I
1b	20	V
1a	34	I	Descant in oboe
1a'	42	I	Modified; cadenza at 47
|:1k1:|	55	I
|:1k2:|	63	I
Transition	66	I to V of III	Linkage to third movement

Noticeable here is the key of Ab Major which, in usual mid-nineteenth century fashion, forms a third relationship with the first and last movements, in C Major.

Refrain I	1-43	I
1a	1	I	Solo
1a'	13	I-iii	Solo
1b	29	iii	Dialoque: oboe and orchestra
Cadenza	43	V of V	Solo
Couplet I	44-122	V
2	44	bIII
|:2k:|	58	V	Solo repeats with florid orns.
|:2k2:|	74	V	Repeat is a variant
2k3	96	V	Tutti
2k4	104	V
Transition	113	V
Refrain II	123-142	bVI
1a	123	bVI	Solo
1a'	135	bVI to I	Tutti
Couplet II	143-227	I
3a	143	I
|:3a:|	151	I
3b	167	V
3c	175	V
Transition	204	[V]
3k1	215	I	Tutti
3k2	223	I	Solo
Refrain III	228-251	I
1a	228	I	tutti with oboe descant
1a'	236	I	tutti with oboe descant
1k	243	I	Solo

This finale shows the influence of both waltz and polacca rhythms. There is no sonata form overlay in the couplets to produce a recapitulation of Couplet I in Couplet 11. The playing of Refrain II in the bVI rather than in the tonic is unusual and clearly related to mid 18th century Ritornello Form. Perhaps Luft hit on this by accident, since the dominant (rather than the bVI tonality) was placed here in 18th century works.

Scena Style concertos of the 19th century can have as few as two movements, the first being slow, oriented towards recitativo and in a key closely related to the tonic, the second fast and in the tonic. This is the order found in Antoine-Joseph Reicha's Scene pour le Cor Anglais (1811) and Johann Nepomuk Hummel's Variations per l'oboe, Op. 102 (1825).

Luft's earliest concerto in the Scena Style, Variations. Scéne suisse, Op. 3, clearly follows these models. Here, the first movement is cast as a recitativo in C Minor' the second as a set of variations in the tonic of C Major. In composing four later works in this style, Luft appended two additional sections: another slow movement in a related key, and a finale in the form of a fast rondo or other light structure, in the tonic.[17] His Fantaisie sur des Thèmes Russes Nationaux, Op. 12, to be discussed presently, exemplifies this procedure.

Among the seven scenas arranged for oboe or English horn and orchestra by Luft's older French contemporary, Gustave Vogt (1781-1870), one entitled Fantaisie sur des themes de l'opera de Léocadie[18] is constructed in a manner similar to the three among Luft's five Scena Style concertos entitled "Fantaisie". Instead of four movements, here there are only three. Of these three, the second is a theme with two variations, exactly as in Luft's Fantaisies:

3/8 Introduzione: Andante sostenuto

C [Allegro]

6/8 Allegretto

One can only wonder if Luft chose two variations by chance, or if he actually had knowledge of the "fantaisie structure" employed by Vogt for the themes from Léocadie. Also, it would be useful to know how carefully Vogt paralleled the scene or scenes in Léocadie from which his material was taken.

In conjunction with this, it is to be noted that the flutist of Vogt's quintet, Joseph Guillou (1787-1853), had moved to St. Petersburg in 1831, about the same time Luft arrived there. Like Vogt, Guillou had been a composition student of Antoine-Joseph Reicha, who had written the two movement Scène pour le Cor Anglais for Vogt in 1811. At one point, Guillou had coauthored with Vogt a work entitled Thême varié pour flûte, oboë & basson.[19] Perhaps it was he who brought knowledge of the Scena Style to the young Luft.

Ritornello I	1-13	I	c grave
1	1	I	Three motives 1x, 1y, 1z
Episode	16-67	I-V	12/8 meno mosso
2a	16	I	Italian aria orientation
2b	27	V
2c	38	I	Ornamented
3a	42	I	Variant of Theme 1a in 2nd mvt.
3b	50	vi	Through bill to V
3c	60	V
Ritornello II	68-73	V	Linkage to second movement

The design of Themes 2 and 3, each consisting of three sections (a, b, c) reflects the structure of the Russian melody used as the basis of the second movement. In fact, Theme 3a is a variant of Theme la from that movement. Overall, the movement gives the impression of an Italian coloratura aria.

Thema	1-28	I
1a	1	I
1b	9	vi
1c	17	I
1k1	25	I	tutti; last 4 measures of 1c
Variation I	29-71	I	Quadruplets
1a	29	I
1b	37	vi
1c	45	I
1k1	52	I	Tutti; 1c variation
1k2	63	I
1k3	71	I
Variation II	72-116	I	Triplets
1a	72	I
1b	80	vi
1c	88	I
Transition	96	I to V of bIII	Tutti; 1c variation

The title of the Russian theme used as the basis of this movement is still unknown to the present writer. Variation I presents quadruplets, while Variation II gives triplets, this being the reverse of the usual procedure.

Again utilizing the structure of the Russian melody from the second movement, the design of Theme 1 in this movement exhibits the triparte design (a, b, c). Overall, this movement too sounds quite Italianate.

Refrain I	1-24	I
1a	1	i	Solo; ostinato
|:1b:|	9	V	Solo; pedal point
1a	17	i	Tutti
Couplet I	25-36	III
2	25	III	Pedal point
Refrain II	37-135	I
1a	37	i	Solo; second half: tutti
1c	45	iv to bVI	Solo; transitory modulations
Transition	69	bVI to V	Tutti; modulations
|:1k1:|	79	I	Solo; change of key signature
Transition	87	I	Solo; to Neopolitan of V
|:1k2:|	93	V	Solo; change of key singature
1k3	101	V to III	Solo; modulatory
Transition	114	III to V of IV	Tutti; pedal point; triplets: 124
Couplet II	136-183	IV to V	Developmental
3a	136	IV [iv]	Change of key signature
3b	152	IV of iv	1ax
3c	160	IV of V of iv	Possibly 1bx
Transition	175	to V	Tutti
Coda	184-234	I	Meno presto
|:3k1:|	184	I	Based on 1k1; change of key sig.
3k2	192	I to vi
3k3	198	vi to i	Modulatory via III
3k4	228	I	Tutti

This finale is most intriguing. First, a Coda requiring circular breathing replaces the return of Theme I as Refrain 111. Second, Refrain II and Couplet II are unstable in key, as they are constantly modulating. In addition, there appear to be two Russian melodies in use: the first as Theme I and the second as Theme 2.

One of the most striking features of Luft's concerti is his use of the melodic and harmonic materials associated with 19th century Italian opera. This is applied not only to the Scena Style concertos, where it is to be expected, but also to the two Concertini in the French Style.

In an engaging article on 19th century musical life in St. Petersburg contained in the New Grove Dictionary of Music and Musicians,[20] one learns that despite efforts made by the Imperial Theatres during the first half of the century to promote the artistry of native opera singers and composers, operas brought in by Italian troupes continued to be preferred by the nobility. Luft, engaged primarily in the performance of Russian ballet and opera,[21] was surrounded by Italian melody when he played outside of the Imperial Theatres. It is, therefore, not surprising that he, like many others in St. Petersburg, was thoroughly won over by it.

Some of the more telling places where Italian cantilena occurs in the Luft concertos are the following:

1 . Variations. Scéne suisse, Op. 3.
Movement 11: Coda of Variation IV: influence of the "Pastorale" section involving flute and
English horn in Gioacchino Rossini's overture to the opera Guillaume Tell (1829).

2. Premier Concertino brillant, Op. 5
Movement 1: Theme 2

3. Fantaisie, Op. 9.
Movement I: entirety
Movement III: entirety

4. Fantaisie sur des Thèmes Russes Nationaux, Op. 12.
Movement I: solo episode
Movement III: entirety

5. Second Concertino, Op. 14.
Movement I: Theme 1b2, Theme 2a

6. Fantaisie, Op. 16.
Movement I: Theme 2

7. Nocturne, Op. 20.
Movement II: entirety
Movement III: entirety
Movement IV: entirety

Oh that these seven concerti by Heinrich Luft had a touch of Russian ethnic flavor like the music of his contemporary, Mikhail Glinka! Alas, they do not. Luft was addicted to the Italian style in a manner similar to contemporary virtuosi on the oboe in London (Apollon Barret at Convent Garden), Paris (Stanislas Verroust at the Opéra), and of course Milano (Giovanni Daelli at La Scala). Still, these works are representative of mid-century Romanticism, and their waltzes and polaccas do much to make them attractive. The siciliana forming the second movement of the Premier Concertino, Op. 5 is very beautiful indeed.

In addition, most of these works contain very difficult passage work which the soloist must deal with for extended periods. I should like to cite in particular the many florid themes of the first and third movements of the Second Concertino, Op. 14, and the final refrain of the Fantaisie Op. 9, in which an engaging variation for the soloist is played against the main theme in the orchestra. Also, the theme and variation movements in the Scena Style concertos present considerable technical difficulties, as do the codas in the finales of these works. After playing through these passages, one quickly observes that Luft was a virtuoso of the first rank!

The keys in which Luft has cast these concerti range from one sharp to four flats. Ab Major is used three times, but only for slow movements. There are places, though, where he does touch on more remote tonalities, such as Bb minor (in the first movement of the Nocturne, Op. 20) and B major (at the opening movement of the Fantaisie, Op. 9). One does wonder why he avoided sharp keys as the central tonality in his concertos. Perhaps it was the nature of the type of oboe he played which made intonation more difficult beyond one sharp. Even so, his Etudes, Op. 1 give the sharp keys equal treatment with the flat ones.

It is the hope of this author that modern oboists who are developing solo careers will begin to include some of Luft's works in recitals and concerts alongside the more commonly played 19th century concertos, such as those by Bellini and Donizetti. This will be a start in helping the listening public form a clearer picture of what wind playing was about in the Romantic Era.

Thank you...

I wish to express my thanks to Prof Augostina Laterza, Director of the Library at the Conservatorio di Musica Giuseppe Verdi in Milano; also to Dr. Wolfgang Goldhan, Director of the Music Division of the Deutsche Staatsbibliothek in East Berlin for their very kind assistance in providing me with information included in this article.

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ENDNOTES

1 . Luft's dates are those given in Hans Engel, Das Instrumentalkonzert, II: 368.

2. Present-day Leningrad.

3. Entsiklopedicheskii Slovar. (St. Petersburg, 1896), XXXV.

4. François-Joseph Fétis, Biographie Universelle des Musiciens, 2nd edition, V: 365.

5. The Oboe Principale part is a hand written copy
14 pages in length.

6. Concerning the style of this concerto, Hans Engel writes on page 368 in volume II of his book Das Instrumentalkonzert: "Es ist im Stile der französischen Violonkonzerte derer um Viotti geschrieben", that is: "It is written in the style of the French violin concertos [composed] by those in the Viotti circle."

7. German and Scena Style concertos are described in the following article: Charles-David Lehrer. "The Twelve Oboe Concertos of Stanislas Verroust." In preparation.

8. Count Wielhorski's orchestra gave the first Russian performances of Beethoven's symphonies.

9. Rode's Violin Concerto No. 12 is dedicated to Czar Alexander 1.

10. Primarily in Moscow.

11. Vieuxtemps composed his Violin Concerto No. 4 in D Minor in St. Petersburg during this period.

12. Wieniawski's Violin Concerto No. 2 in D Minor was composed in St. Petersburg in 1862. The premiere took place on November 27 of that year.

13. Of the ten violin concertos produced by Maurer, the autograph manuscript of one in C Major reposes in the music collection of the Boston Public Library as NM 0355 178.

14. In addition to Richault's name, the following address appears on the music: Boulevard Poissonniere 26 au 1er. The dates 1841-1862 are given for it in Cecil Hopkinson, A Dictionary of Parisian Music Publishers 1700-1950, p. 104.

15. The language possibly indicates a publisher in England in addition to Kistner in Liepzig.

16. The diagrams used in this paper follow the system, now in general use, which was first set forth by Jan LaRue in Guidelines for Style Analysis (New York, 1970). Rather than using the letters P for principal theme, and S for secondary theme, the various themes are here presented numerically in order to avoid any value judgment. Subdivisions of these themes are indicated by the letters a, b, c, etc. LaRue's subscripts (k for closing theme, and x, y and z for thematic fragments) have been retained, the k themes being numerically ordered. For example, I:3k4:I indicates that the fourth closing theme attached to Theme 3 repeats. In like manner, 2b means "second part of Theme 2".

17. The finale of the Fantaisie, Op. 16 appears to be the recapitulation of a sonata form!

18. F-Pn, Ms. 14019. Based upon the 1824 opera by Daniel-François Auber, this work is scored for an orchestra of 2 clarinets, 2 bassoons, 2 horns, and strings.

19. The full score at the Bibliotheque Nationale in Paris is listed as D. 5409.

20. The New Grove Dictionary of Music and Musicians, s.v. "Leningrad," by Mikhail Druskin.

21. Mikhail Glinka's opera Ruslan and Lyudmila took place at the Bolshoy Theatre in St. Petersburg in 1842. Since Luft's engagement at the Imperial Theatres lasted from 1840 until 1860, one might assume that he played the premiere of this work.

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