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I " ::.‘ " ' “‘ ,er 1 ’ 11' JJ 11‘" 35." ' ' 1:1. I I ' if ."‘,1. fl‘ig.’~I J. gm‘l ' 11’ "w 1,JJJ.J~"'JI' 1‘... u' {‘3‘ 'JIJ.‘ '3’}. 9L“; .- _ .. 1 1117.1; ' 111% J“ ‘1‘" '* ,[ lIf #2-:312": \I‘j. l . , (/1 c :1 93+ <5 0 2-1 Iflllljflllfllfllflljljulfllllw x/ Michigan State University This is to certify that the dissertation entitled The Clerinot Music of Johann Baptist Vanhnl presented by Stnuol Russell Floyd, III has been accepted towards fulfillment of the requirements for Ph. D . Music degree in Major pro essor fit 23,. «FY MS U is an Aflirmau'vc Action/£4 an! Opportunity Institution 0-12771 }V1531_J RETURNING MATERIAbgz Place in book drop to LIBRARIES remove this checkout from m your record. mg will be charged if book is returned after the date stamped below. EM? 3% ‘ 2 5 H} The Clarinet Music of Johann Baptist Vanhal BY Samuel Russell Floyd, III A DISSERTATION Submitted to Michigan State University In partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY School of Music 1988 Copyright by Samuel Russell Floyd, III 1988 ABSTRACT THE CLARINET MUSIC OF JOHANN BAPTIST VANHAL BY Samuel Russell Floyd, III Johann Baptist Vanhal (1739—1813) composed over seven hundred works, including keyboard and instrumental sonatas, concerti, trios, numerous piano compositions, and vocal works. By 1785, he had written over one hundred string quartets and symphonies and was considered by his contemporaries as one of the most promising composers of the eighteenth century. Upon his return from studying in Italy, however, Vanhal became ill and curtailed his composing in the instrumental forms, concentrating instead on teaching. Composer of numerous pedagogical works, Vanhal became one of the first musicians to support himself from his private earnings. Included among his students was Ignaz Pleyel, who later was to become one of Haydn's most celebrated pupils. Vanhal was one of the earliest proponents of the larger symphonic development. He demonstrated an understanding of the popular forms of his time (sonata—allegro, ternary, rondo, etc.) and helped establish the four-movement pattern for the string quartet. Vanhal was among the first composers to write for the clarinet, employing it in at least three of his symphonies as well as in his chamber music. His works for clarinet were composed by the late 1770's. Among them are twenty trios, at least two quartets, a concerto, and three sonatas. His clarinet concerto, written in 1775, is the earliest written in Vienna, preceding Mozart's Concerto in A by at least ten years. Although he is not known for his innovations for the clarinet, his numerous compositions helped promote its popularity. The sonatas for clarinet and keyboard, published by 1810, are among the earliest for the instrument. They exhibit an equality between the two instruments which was uncommon during the mid-1770's. Each uses a three—movement design, contains an energetic first movement employing sonata allegro form, and a spirited third movement using rondo form. The melodious and sensitive second movements employ rondo, three-part, and sonata allegro forms. Vanhal's use of broad, cantabile melodies demonstrates his understanding of wind instruments. These three sonatas, all presently available in modern editions, are splendid representatives of the Classic period, worthy of study and performance, and satisfying to play. '-,, a t as: . ~,,‘. .l'. \ (RH. v A ...‘ »_§JQHA '- "Genius makes, determines, and writes the laws of artistic taste whereas talent simply follows them." Margaretha von Dewitz vi PREFACE This thesis studies the clarinet music of Johann Baptist Vanhal. Biographical material on Vanhal's life, a discussion of his contributions to the symphony and string quartet forms, and detailed analyses of the three clarinet sonatas are also included. This writer is indebted to the members of his committee, Dr. Elsa Ludewig—Verdehr, Dr. Theodore Johnson, Dr. Dale Bonge, and Dr. Edgar L. Kirk for their generous assistance and encouragement in reading and evaluating the dissertation; to Dr. Ronald Monsen of the University of Kentucky and Mr. Jerry Pierce for their help in suggesting sources for the early editions of the clarinet sonatas of Vanhal; to Mr. Lyle Merriman of Pennsylvania State University, Himie Voxman, Osterreichische Nationalbibliothek of Vienna, and Bayerische Staatsbibliothek of Munich for supplying the early editions of Vanhal's sonatas; to the librarians at Hope College and the University of North Carolina; to Chris Stueart of the University of Michigan Music Library; and to Dr. James Vanderlaan of Hope College for his assistance in translating the German language; Dr. Sergei Shishkoff and Ms. Yvonne Howell of the University of Michigan for their assistance in translating the Slavic languages, and Ms. Eva Gyongyosy of Hope College for her assistance in translating the Hungarian language. vii TABLE OF CONTENTS CHAPTER ONE: BIOGRAPHICAL MATERIAL CHAPTER CHAPTER CHAPTER CHAPTER Contributions to the Symphony Contributions to the String Quartet TWO: VANHAL AND THE CLARINET . . . . . . The Clarinet in Vanhal's Symphonies The Clarinet Concerto The Clarinet Quartets The Clarinet Trios THREE: SONATA IN Bb MAJOR First Movement Second Movement Third Movement FOUR: SONATA IN C MAJOR First Movement . . . . . . . . . . . . . Second Movement Third Movement . . . . . . . . . . . . . FIVE: SONATA IN Eb MAJOR First Movement . . . . . . . . Second Movement Third Movement APPENDIX A . . . . . Titles and Locations of Original Editions of Presently Unpublished Works by Vanhal Including Clarinet ‘ viii 14 17 19 22 23 25 26 28 29 34 37 40 41 46 49 51 52 56 59 65 ix APPENDIX B . . . . . . . . . . . . . . . . . . . 67 Clarinetto Part to Symphony in C (Sinfonia XLII), Brenner Edition, 1774 APPENDIX C . . . . . . . 69 Sonatagper il Clavicembalo o Piano-Forte con Clarinetto o Violino obligate! No. I, Nikolaus Simrock Edition, 1806 APPENDIX D . . . . . . . . . . . . . . . . . . . 81 Sonata per il Clavicembalo o Piano-Forte con Clarinetto o Violino obligatoLgNo. II, Nikolaus Simrock Edition, 1806 BIBLIOGRAPHY . . . . . . . . . . . . . . . . . . 93 CHAPTER ONE BIOGRAPHICAL MATERIAL Johann Baptist Vanhal1 composed approximately seven hundred works, including an estimated one hundred symphonies, quartets, and vocal works (Masses, Requiems, Salve Reginas, and Offertories), as well as numerous keyboard and instrumental sonatas, concerti, trios, duets, divertimenti, and piano pieces. A contemporary of Vanhal, C. F. D. Schubart, presents the following appraisal of Vanhal's place among composers of the day: vanhall is, without a doubt, one of the noblest and best of the new composers. . . Because he knew'how to combine solid.harmony and a lovely melody with so much intelligence and insight, it is no wonder he was received well by both Germans and foreigners. He wrote a great many works, some in thezgallant style, and even the amumussans:gmmehflnthehrappknee. Vanhal was admired by both Mozart and Haydn. One of his symphonies was even performed at Esterhazy on January 1 There appears to be much discrepancy concerning the proper spelling of his name. In.hds dissertation, The String Quartets of vanhal, 3 vols (university of wales, 1978), 1: 43, David‘wyn Jones lists fourteen different spellings of the composer's surname encountered.while researching the string quartets. Even the Czech sources he examined failed to use the Czech spelling, "Jan Krtitel." In most sources consulted, Johann Baptist vanhal seems to be the most*widely accepted ‘wnshmu 2 C. F. D. Schubart, Ideen zu einer Asthetik der Tonkunst, (Vienna: J. V. Degan, 1806), pp. 232—233. "vanhall ist unter den neuesten Tonsetzern unstreitig einer der edelsten und besten. . . . Da er solids Harmonie, und liebliche Melodie mit so vieler Klugheit und Einsicht zu venmischen.wuBte; so ist's kein.WUnder, daB er von.Deutschen und Welschen gleich giinstig aufgeruunen wurde. Er hat vieles geschrieben, mandhxsimtkflanflmfieshfikn und:hmer:fiflgme1Hmmderlkwialeer Knnshnusbaxngenfl' 3 30, 1778. In a letter written to his father in October, 1777, Mozart gives an account of a performance which included some of Vanhal's compositions: . . In spite of poor fiddling I prefer the monastery players to the Augsburg orchestra. I performed a symphony and played vanhall'S‘violin concerto in Bb,*which,was unanimously applauded . In the United States, Vanhal's music was highly respected. The American statesman Thomas Jefferson (1743- 1826), who was also an amateur violinist and enjoyed playing chamber music, listed Vanhal in the catalog that he prepared for his music library between 1783-1815.5 Vanhal, the son of a Czech peasant serf,6 was born in Nove Nechanice near Koniggratz in western Bohemia7 on May 12, 1739. Displaying a propensity for music, Vanhal 3 H. C. Robins Landon, Haydn: Chronicle and Works, (London: Indiana University Press, 1978), 2: 94. 4 Baily Anderson, The letters of Mozart and his Family, (New York: W. W. Norton & Co., 1985), p. 338. 5 ‘William S. NEwman, The Sonata in the Classic Era, (Chapel Hill: The university of Nbrth Carolina Press, 1963), p. 804. 6 Margaretha von Dewitz, "Jean Baptiste Vanhal: Leben und . Klavierwerke" (Ph.D. dissertation, Ludwig—Maximilians-Universitat zu Nmmchen, 1933), p. 8, mentions a contradictory account: Schilling, Uhdversallexikon der Tonkunst (Stuttgart, 1840/42). This account states that vanhal's father was of the wealthy Bourgeoisie. " . . . sein Sohn, der vater unseres vanhal, scheint nach einigen Berichterstattern in leibei r Abhangigkeit gestanden zu.haben, nach andern ware er e n gne r BUrger gewesen." However, this account is generally diaxxmmed. 7 According to Dr. Bahummir Sledron in his biography of vanhal included with the Sonata Pro Klavir a Klarinet Nebo Housle (Nakladatelstvi Rovnost V Brne, 1948), p. 17, vanhal was born.at Mechanioe by Bystrice, near the old town of Hradec Kralove in.northreast a. attracted the attention of a local teacher, Antonin Erban,8 who taught him the fundamentals of singing and music. Vanhal was later sent by his parents to Marscherdorf9 to learn German. His teacher, a man named Kozak,10 not only taught him German, but also continued Vanhal's musical education. In 1752, Vanhal returned to Nechanice, where he once again studied with Erban, concentrating on violin and organ.11 In 1757, at the age of eighteen, he became the organist at Opocno,12 then, two years later, choir director and organist at Niemczowes.13 It was during his tenure at Niemczowes that Vanhal tried to gain the favor of Mathias Novak,14 the "dean" of Niemczowes, who was also an accomplished violinist, by 8 Gottfried Johann Dlabacz, Allgemeines historisches Kfinstler—Lexikon far Bohem.und zum Theil auch fur Mahren und Schlesien (Prague: Gottlieb Hesse, 1815), III, p. 324, states that vanhal admitted that, while in Banana,teenaxflveituslxst:hstnmtflmifnmiEflxmu "wadisehum eigenen Gestandnisse aber, wurde er am besten vom Anton Erban, einem vonmkflichgmnenlmnflker:aiNedeHCngxmidetfl' 9 Milan Postolka, "Johann Baptist Vanhal," The New Groves Dictionary Of Mhsic and Mosicians (6th ed., edited by Stanley Sadie, 1980), 19: 522 refers to the tom as Marsov. In an article by Podava K. Hulka, "Jan Vanhal," Dalibor, 22, no.4: 25-26, the town is referred to as "Marsl'nv." 10 Jenes, vol. I, p. 43, uses the spelling "Kosak." 11 rhuka,;L 26. ". .. P01mnmanisvandbmulnd.ofinmflancmet Erbmrwd,tinehxpoUmnpnxgdwmlooaflasuanainudflchaivaflemadn. 12 PamlRUUanrwun Tne29wqmomk§sofJommuimmmalfl'2lkdume (Ph.D. dissertation, University of Michigan, 1956), Vol. I, p. 3, uses the:neilhz;"ngznafl' 13 According to Postolka, p. 522, the location is "Hnevceves." HUJka. p. 26, refers to the location.as "Nemoovse. 14 Dlabacz, p. 324, uses the spelling "waak." playing occasional solos on the violin during oratorios, or by giving evening concerts on the viola d'amore.15 The dean was impressed with Vanhal's playing and violin compositions and recommended him to his superiors. This resulted in an invitation for Vanhal to go to Vienna.16 While in Vienna, Vanhal attracted the attention of a Countess von Schaffgotsch, who employed the composer in 1760 as a servant, allowing him to continue to develop and use his musical talents.17 Through the influences of the Countess, Vanhal was accepted socially and became a teacher of voice, violin, and harpsichord.18 15 Hulka, p. 26. It is difficult in translating Hulka's article to ascertain.the specific title of vanhal's superior (Nevak) while he was organist at Niemszowes. It is probable that his superior may have been a chaplain. "Tam.aby ziskal a udrzel si prizen tamniho dekana Mateje Nbvaka, jenz sam byl zrucnym.houslistou, snazil se upoutati jeho pozornost na sebe hrou na varhanach, obcasnym solem na houslich pri offertoriu, nebo v podvecer hrou.na violu d'amour na dekanstvi." 16 J. F. Rochlitz, "Johann Wanhall," Allgemeine Musikalische Zeitung (January 19, 1814), col. 39-40, says that a Dutchess Colloredo took vanhal to Vienna. "Eine Grafin Colloredo lernte ihn kennen, nahm ihn mit nach‘Wien, und brachte ihn, indem sie nicht daselbst verblieb, in einem verwandten, vornehmen Hause vortheilhaft unter. " 17 According to Hulka, p. 26, it was conmon in those days for neblemen living in Vienna to employ Czech musicians. "A.nyni odehrala se zase ona procedure povolavani nasiCh hudebniku do Vidne slechtici z Cech. o niz podrotne psal jsem 312 v tanto casopise r. 1898." 18 Dlabacz, p. 325, states that the Countess Schaffgotsch, in 1760, anramnfllflanafled'u>rexflve:ustnxmhxifnmiaixadxuwmmed Sdhleger. waever, vanhal*was not satisfied*with his instruction. For this reason, he began.to study*works of the great masters on his own. In the shortest time, he acoanplished so much that even the most respected began to value him and his facility as a couposer. He also gave the high aristocracy instruction in.grand piano, singing, and violin. "Diese schnellen.Fbrtschritte unsers jungen Kunstlers fielen derckmtummwamnwxndmhntand,vuswanmlfluiamflidheefiflfinnxmn Schaffgotsch im Jahre 1760 nach Wien berief, wo sie ihn von Schleger nodtunflnrhdfieniflefl,nutnm313flmenfl' 45 Ibid., p. 30. ". . . lieB vanhals Popularitat allmahlich hinter sich; auch scheint sich seine Kompositionstatigkeit von ca. 1790 ab verringert zu haben." 46 Dlabacz, p. 326. "Ich selbst fiberzeugte mich van seinem.Werthe, als ich im.Jahre 1795 zu.Wien seines fast taglichen freundschaftlichen Umgangs genoB, und zugleich einen groBen Tbnkfinstler, eifrigen Christen, wahren Patrioten, edlen und.warmen Freund und einen zartlichen‘vater der leidenden Menschheit . " 47 There have been three detailed studies of the instrumental oanpositions of Vanhal. These include: (1) symphonies — Paul Robey Erwin)ThegfigggmuescandmmuIVmflmfl,'hwavohmes aflLD.CUs&mfiatnxn University of Michigan, 1955) ; (2) string quartets - David Wyn Jones, The StriLcLQuartets of Vanhall, three voltmes (Ph.D. dissertation: University of Wales, 1978); 3:11”;me chanposv1e 13;:3eB(FhWD the gaptiste vanha , a . . dvgengigonfealrmig—Mimiliam—miversitat zu Mimchen. Munich. 1933) . 14 predominance of the Baroque style, but by the 1770's, his symphonies and string quartets were already deeply rooted in the Sturm und Drang style.48 His symphonies were admired by his contemporaries and considered of equal rank with those of Haydn by the early 1770's. The following review, entitled "Trois Symphonies a grand Orchestra composées par Mr. G. Vanhall. Oeuvre 10. ches J. J. Hummel a Berlin & Amsterdam," was written in April, 1783 from Cramer's Magazine der Musik and gives evidence of Vanhal's success with this instrumental form: These three Symphonies distinguish themselves among others by this so well known.and famous man, and they are full of good thoughts andaisehafi:amxmpamment. Thmzraumm.mxuead1thexumestlkwden [sic] symphonies, but are more difficult than easy: and one cannot advise putting out the parts without having played though [sic] at least once. . . May Herr Vanhall as he grows older not be hindered by‘waning strength from giving us more such symphonies, which‘will besx>mmfl1monawehxme,thermmfifmoxkd‘mebaxmetW'flm: delightful ones by Hayden [sic]. Burney offered a similar appraisal of the symphonies of Vanhal: . . vanhal, a young composer, several of whose productions, particularly his symphonies, had afforded me such uncommon 48 According to Donald J. Grout, A History of Western.MMSic, 3rd. Edition (New York: N. W. Norton & Co., 1980), pp. 464 and 489, characteristic features of this style include driving, syncopated rhythm, harmonic tension, expressive melodies, greater breadth of dynamics, etc. Barry 3. Brook, in his article "Sturm Und Drang and the Romantic Period in Music," (Studies in Romanticism, Vbl. IX, no. 4), pp. 278 & 279 also mentions the emphasis on minor modes as a characteristic. haxofIfiwdnusonelnmdnxlamisewqumphmuesane.nimhtm. Ianmxn Vbl. II, p. 389, states that vanhal's:minor symphonies outnumbered mmfihustw“Uuee. 49 H. C. Robbins Iarxion,__Haydn Chronicle and Works, five volunes (Great Britain: Indiana university Press, 1978), vol. V, 474—475. 15 pleasure, that I should not hesitate to rank them among the most oanplete and perfect compositions, for many instruments, which the artcnfmusnzcantxest. Vanhal composed his over one hundred symphonies51 between 1767 and the mid-1780's. Robert Sondheimer, in his book Die Theorie der Sinfonie, states that Vanhal, along with Dittersdorf, helped propel the fresh nature and character of the Viennese symphony which Haydn then used to 52 conquer the world. Like Haydn's, his early ones were actually chamber symphonies (with a small instrumentation of strings and winds) and similar in structure to the pre— Classical, three-movement form, the Italian Overture (sinfonia). They contained Baroque characterics such as the “concerto-grosso" contrast of instrumental forces, terrace 53 dynamics, and fragmentary melodic materials which, unlike most of Haydn's, frequently used anacrustic beginnings at a soft dynamic level.54 Vanhal's later symphonies displayed elements of 55 Bohemian folk music. Other characteristics include the 50 Burney, V01. II, p. 120. 51 Bryan, Vbl. I, pp. 297-298, discovered that vanhal's last symphony was composed in 1785, bringing his total number to 105. 52 Rebert Sondheimer, Die Theorie der Sinfonie (Leipzig: Breitkopf und Hartel, 1925), p. 90. ". . . vanhall also bildet (neben Dittersdorf) den Auftakt zu dem einscl'nneichelnden und zugleich so frischen Wesen der Wiener Sinfonie, die sich durch Haydn die Welt erobert. . . " 53 Bryan, Vbl. II. 201. 54 Landon, vol. II, 299-300. 55 According to Bryan, p. 203, these elements included the use of mhmn'fiafiflihh saxndteatawoamsvuthnxflhemEkdy,andirnmmkn' 16 use of crescendos and diminuendos, expanded harmonic vocabulary, and more independent voice lines. He expanded the orchestration for his later symphonies, adding instruments such as trumpets, timpani, and occasionally, Clarinets.56 His later symphonies also featured a broadening of the total length and a gradual movement towards clearer form and balance. They contained four movements in which the first, second, and last movements were written in sonata form. 57 With his ability to write broad, cantabile melodies, he became one of the most prominent advocates of a longer, symphonic development.58 phnaxalaxfihs. 56 Bryan, p. 201, explains that in vanhal's later symphonies, a greater emphasis is given to the second violin and viola. Techniques such as double stops and divisi, and the addition of four horns eliminate the need for a realized continue part. 57 Rochlitz, col. 39, indicates that vanhal's ability to write cantabile melodies was, like Mozart's and Haydn's, the result of being a good singer in his youth. "Uhd so bewahrte sich auch ab ihm, wie an Haydn, Righini, Hasse, Graun und vielen.andern, die Erfahrung, daB gute Sanger in.fruhen Jahren treffliche Melodiker in spatern warden, wenn ihnen sonst musikalisches Dichtungsvermogen verliehen; eine Erfahrung, von der man.ja wol der Zukunft die zweyte Halfte versprechen darf: daB, da man endlich ernster auf grfindliche Bildung deutscher Khnst-Sanger zu denken.anfangt, man damit zugleich eine Zeit herbeyfuhren.konne, we die deutschen Canponisten die Melodie ihrer Harmonie nachheben, und damit eine the erreichen.worden, die wir uns kaum.denken.und aus einzelnen Hauptwerken unsrer grossten Meister — vorn'amlich Mozarts - blos ahnen und gewissermassen vorkosten kennen." VOn Camillo Schoenbaum, "Die Bdhnischen Musiker In Der Musilcgeschichte Wiens Von Barock Zur Ranantikp," Studien Zur Musikwissenschaft (Vol. XXV, 1962), p. 480, suggests that this ability'was influenced by his depressive mental condition. "thweifelhaft haben auch die depressiven geistigen Zustande des Konponisten, uber die uns Zeitgenossen unterrichten, seine Werke enomfieddaxlteehuflufltfl' 58 Bryan, ppm 198—208, states that Vanhal's development sections usually comprise one-third of the total length of each.movement. There are exanples of even larger sections by Vanhal. R. M. Longyear, in his 17 Vanhal composed over one hundred string quartets between 1769 and 1787. His early quartets were dominated by the first violin and only in his later quartets did Vanhal distribute the melodic lead to other members of the ensemble. Vanhal's major contribution to the genre was the establishment of the four—movement pattern.59 Jones also asserts that Vanhal is to be credited with the virtuoso string quartets which were later to become popular: Pleyel was undoubtedly a popular composer of virtuoso, concerto- like quartets, but vanhal's quartets, which predate those of Pleyel by some ten to fifteen years, are equally valuable in their first violin parts and were equally popular over Europe. If vanhal rather than Pleyel is to be credited with the introduction and popularization of this type of quartet, then his status in the history of the string quartet is not primarily as a composer who failed to write quartets in the genuine symphonic style of Haydn and Mozart, but as an early and prominent figure in the evolution of another quartet style which cgéminated in the virtuoso quartets of the early nineteenth century. Even with his enormous output of compositions, most critics feel Vanhal failed to fulfill his potential, thus becoming one of the major disappointments of the eighteenth- century music world. He had shown great promise as a young composer, but by his late forties, Vanhal had deliberately chosen not to proceed with the compositional forms —— the article "Binary Variants of Early Classic Sonata Form," Journal of Music Theogy, (Spring, 1969), p. 180, mentions vanhal's Sinfonia in A minor which contains a development section 206% larger than the exposition. 59 JOnes, Vbl. I, 232—233, suggests that vanhal chose to ignore the standard five-merit form used in Haydn's early quartets as well as the typical three-movement (slow-minust—concltxiing fugal movement) Viennese fonm. Instead, in the»majority of his quartets, vanhal elected to use a four—movement form (fast-slow—minuet—fast or fast-mirruet—slow— fast). 60 Ibid., p. 235. 18 symphony and string quartet -— that had brought him so much success during his early years in Vienna, and began composing less ambitious works. Most of Vanhal's contemporaries felt that this decision was a result of either his religious fanaticism or a mental breakdown. Jones suggests two alternative reasons why Vanhal abstained from composing in these forms. By the mid-1780's, Vanhal's symphonies and quartets had already been surpassed by the imagination, quality, and craftsmanship of those by Haydn and Mozart. With their successes and advancements in these genres, Vanhal may have realized his own limitations. Furthermore, because Vanhal was not supported by the patronage system, his own welfare was dependent upon the popularity and marketability of his own compositions.61 He resorted to composing less ambitious music which was more commercially practical.62 61 Beethoven is generally considered the first freely producing musician living on the income of his music. Dewitz, p. 21, however, suggests that vanhal must be considered as the first artist who lived solely from what his music could bring him. "Allgemein wind Beethoven als der erste frei schaffende, durch kein.Dienstverhaltnis gebundene Kflnstler angesehen, der damit eine Tradition.der kunstlerischen Existenz honnh" 7 This conclusion is based upon examination of the score to vanhal's Symphony in C (Periodical Overture no.42) and also confirmed by Bryan, pp. 174-175. 8 Clark McAlister, in his modern edition of this symphony, Johann Baptist vanhal, Symphony in C, (Edwin F. Kalmus, 1982) has scored the part labeled "clarinetti" for trumpets. He states in his preface that "Both the nature of the part itself and its context indicate unquestionably that trumpets (clarini) are intended, and the score and parts are so labeled." Eric Bloan, in his article "Clarino," Groves Dictionary of Music (New York: St. Martins Press, 1955), Vol. II, states that when the clarinet came into fashion, the art of high trumpet phnnng1mnsdyhxioutamdsxmethms‘uuselxmtsvnregflamxlonthe 23 " support to the melodic instruments. Three sources of Vanhal's symphonies contain parts for the clarinet. These include the Bremner printed editions of Vanhal's second symphony in D major, sixth symphony in C major,9 and a set of manuscript parts added to the Bailleux edition of the fifth F major symphony.10 See Appendix B for a facsimile of the clarinet part for the sixth C major symphony (Periodical Overture no.42) printed in 1774. The clarinet is found in all movements except the slow and melodious second movement (Andante). The clarinet part is quite simple and trumpetlike and for the most part, doubles the horns. OTHER WORKS FOR CLARINET Among Vanhal's clarinet compositions are a concerto, two quartets, twenty trios, and three sonatas. Vanhal composed his concerto circa 1775, thus becoming the first composer in Vienna to write a clarinet concerto.11 It was clarinet. In the article, "Clarino," The New'Groves Dictionary of Music and‘Musicians (6th ed., edited by Stanle Sadie, 1980), vol. IV, 444, Reine Dahlqvist and Edward H. Tarr write that " . . . After 1750, clarino meant clarinet in Italy . . ." Nicholas Shackleton, Vbl. IV, p. 429, refers to the Italian form of clarinet as "Clarinetto." 9 \kmhalfissympmxfies1mneeanXnedlanrwnL 'flMasixuisymdmmy.h1 0 refers not to vanhal's total output as his sixth symphony but to the sixth symphony vanhal wrote in C major. 10 Bryan suggests the fact that the clarinet parts are in manuscript probably means that the instrument was available locally, otherwise the parts*would.not have been capied. .A special inscription on this edition's title page, plus the fact that the parts themselves are labehaicflanflxx pnflxmfly1fintharindrxueS'Uuu:thehrincheflonvss unmneu. 11 According to Balassa, Vanhal probably composed his concerto when 24 originally written in C major for the C clarinet and is scored for a small orchestra of strings and two horns. Originally titled Concerto Pour la Clarinette Obligée Avec l'Accompagnement De Deux Violonsl Deux Cors de Chasse Alto & 2 Basse Composéypar Mr. Vanhal,1 it is presently available in two modern editions.13 The concerto, which is shorter in length compared to others of this period,14 contains three movements: the first (Allegro) in sonata form; the second (Adagio) in a three- part (ABC) form; and the third (Allegretto) in rondo (ABACADA) form. The clarinet part remains within the upper two registers, and except for the cadenzas, almost totally ignores the lower chalumeau register. The melodic lines employ predominantly stepwise motion with occasional leaps, requiring a moderate degree of virtuosity. Because of the limited range of g1 to da,15 the concerto can also be played he returned to Vienna from Italy; "Az Elso Becsi Klasszikus Iskola Klarinetversenye: (1770-1810)," Magggar zene (March, 1977),Vol. XVIII, no. 1, p. 50. "vanhal klarinetkoncertjet minden bizonnyal 1775 elott, feltehetoen Italiabol Becsbe tortent visszaerkezese idejen keletkezhetett." 12 Balassa, "JOhann Baptist vanhal Klarinetversenye," p. 373. 13 Both editions, which include a piano reduction of the orchestral accompaniment, are identical. These editions include: (1) Jahann Baptist vanhal, Concerto in Do Maggiore per Clarinetto e orchestra, edited by Gyorgy Balassa and Melinda Berlasz (Budapest: Editio MUsica, 1972); and ( 2) Johann Baptist Vanhal, Concerto in C Major for clarinet anicuchemua,exutaitw'Gwngylkuaaaianibbinthqfiaflaaz (Bukuest: Editio Misica/Boosey 6': Hawkes Music Publishers LTD, 1972). 14 Balassa, "thann Baptist vanhal Klarinetversenye," p. 373, includes a diagram illustrating the various lengths of the concertos of Molter, J. Stamitz, Pokorny, and Vanhal. Only Molter's concerto (337 measures) is shorter than vanhal's (379 measures). 15 The cadmms contain a much wider written playing range (E to as) 25 on other instruments, such as the flute or oboe.16 Vanhal wrote over twenty-eight quartets which include at least one wind instrument. Two quartets, in F major and Bb major, include the clarinet. Most likely, they were originally scored for clarinet in C, violin, viola, and cello (or bass). Both use a limited playing range, f#1-e3 with the majority of notes lying within the upper clarion register, and the same four-movement scheme (fast-slow- minuet-fast) found in his string quartets. Each quartet contains an expressive second—movement (Cantabile) in which the majority of the melodic material is presented by the clarinet. The modern edition of the quartet in F major17 was prepared from a set of parts which, according to the editor, appeared to have been made from an incomplete score.18 The movements are labeled Allegro Moderato, Cantabile, Minuet, and Presto. In the modern edition of the quartet in Bb and include‘wide leaps of up to two octaves and a fifth, as well as extensive playing in the altissimo register. It is most likely they were not written by Vanhal, but added much later by someone else. 16 The playability of vanhal's clarinet concerto by the flute has resulted in some confusion. According to Balassa, "Jahann Baptist vanhal Klarinetversenye," p. 377, the Breitkoff catalog, Catalogo delle sinfonie,ypartita . . . e Concerti, once incorrectly listed it as one of Vanhal 's flute concertos. "Meg szembetunobb ez a korulmeny a klarinetverseny szolamanal, amelyik tutajdonkeppen barmilyen tetszoleges szopran hangszerrel is eloadhato volna. Igy fuvolaval vagy oboaval is. Ezt latszik alatamasztani a Breitkopt 'Catalogo delle Sinfonie, partita . . e concerti' is. Itt vanhal negy fuvolaversenyet hirdetik, melyek kozul az elso C-dur verseny kezdo uteme azonos a klarinetverseny elso utauwel." 17 J. B. Wanhall, martet in F for Clarinet, Violin, Viola and Cello, edited by Georgina Dobrée (Ionian: Musica Rare, 1971). 18 Ibid., p. 1. 26 major, the four movements are designated Moderato, Cantabile, Minuet, and Allegro.19 Of the twenty trios by Vanhal which include the clarinet,20 only four from his op. 20 are currently 21 The trios, op. 20, were available in modern edition. written in 1781 and originally published by Le Duc in Paris under the title Sei Trios per Violinoy Clarinetto e Basso, Composte dal Signor Vanhal Compositore di Musica in Vienna.22 Each contains three movements as illustrated below: No. 1 Bb major - Moderato, Cantabile, Tempo di Minuetto No. 2 C major - Allegro, Adagio, Minuetto No. 3 Eb major - Amoroso, Allegro moderato, Minuetto No. 5 Eb major - Allegro, Grazioso, Allegretto The first three trios are technically more demanding than his other works for clarinet and contain passages which extend into the chalumeau register. With an expanded range, 19 J. B. vanhal,_guartett fur Klarinette, ViolineLgViola, und Violoncello, edited by Gyorgy Balassa and Andras Wilheim (Budapest: Editio MMsica/Eulenburg General MUsic Series, 1974). 20 Postolka, The New Groves Dictionary of Music and Musicians, p. 524, lists the following trios: (1) six for violin, clarinet, Violoncello, op. 10 (Paris, 1774); (2) six for clarinet, clarinet/bassoon, Violoncello, op. 18 (Paris, n.d.); (3) six for violin, clarinet, Violoncello, op. 20 (Paris, 1781); and (4) two for clarinet, violin, and Violoncello (London, ? circa 1785). 21 The editions include: (1) J. B. Vanhal, Trios fur Klarinette, Violine,‘Violoncello oder Fagptt, 0p. 20, Nr. 1-3, edited by Gyorgy Balm and Imre Sulyok (Budapest: Editio Musica/Edition Eulenburg GmgH Zurich, n.d.); and (2) Jan.Vanhal, Trio in E flat, Op.20, No.5, edited by'Pamela‘Weston.and walter Bergmann (London: Schott & Co. Ltd., 1964). 22 Pamela Waston and Walter Bergmann, "Nate" to Jan vanhal, Trio in E flat, m.20, No.5 (Londm: Schott & Co. Ltd., 1964). 27 from g-e3, as well as a greater variety of articulations and rhythmic variations, these trios demonstrate the technical improvements made to the clarinet and clarinet playing. The fifth trio is technically less demanding than the first three, with a narrower range of cl-cs. The modern edition is arranged in such a way that it may be played as a piano trio or as a trio for clarinet, violin, and Violoncello (or bassoon). CHAPTER THREE SONATA IN Bb MAJOR The first clarinet sonata composed by Vanhal was originally entitled Sonata per il Clavicembalo o Pianoforte con Clarinetto o Violino obligato, No.1. The title implies that the composer allowed performance by the violin. Such an interchange of instruments was still customary in Vanhal's day, and violinists as well as flautists and oboists eagerly looked for whatever music was applicable to their instruments. The sonata was first published in Vienna in 1801 by Ignaz Sauer and later by Nikolaus Simrock of Bonn in 1806,1 containing parts for keyboard, Bb clarinet, and violin.2 1 There is much discrepancy concerning the dates of the early publications of this sonata. Gyorgy Balassa, in "A2 Elso Becsi Klasszikus Iskola Zongora-Klarinet Szonatai , " Magyar zenem eszek sz ovets age, Vbl. XVII, No. 1, March, 1976, pp. 18—19, suggests that vanhal's sonatas in B and C major were published in 1801 and in 1803. ("A2 elso ket szonatat (B—dur, C—dur) 1801~ben, illetve 1803—ban adtak k1. . . . ".) He also states that they were later published in 1806 in Bonn by Simrock. (". . . vanhal elso es masodik szonatajat Simrock is megjelentette Bonnban 1806 korul . . . cimen.") Josef Marx, in his introduction to Johan.Wanha1, Sonata in.B Flat (Violin, Flute, or Oboe) and Piano edited by Burnet Tuthil (New York: McGinnis 8: Marx, 1948) , claims that this sonata.was published by Shmrodk in 1806. 2 Modern editions include: (1) Johann Wanhal, Sonata for Clarinet LViolinJ Flute, or Oboe) and Piano, edited by Burnet Tuthill (New York: McGinnis 6: Marx, 1948); (2) Jan Vanhal, Sonata pro Klavir a Klarinet B Nebo Hensle, edited by Frant. Hbrak (V. Brne: Nakladatelstvi Rovnost, 1948); (3) Johann Baptist Wanhal, Sonata in Bb Major fonClarinet and Piarn, edited by Eric Simon (New York: International Musm Co. , 1967); and (4) Johann Baptist wanhal, Sonata No.3 in Bb for Clarinet and Piano, edited by Lukas Matousek (Monteux: Musica Rare. 1984) . 28 29 Vanhal employs a limited playing range of c1 to es, concentrating primarily on the clarion register. Several triadic and octave leaps are interspersed within the predominantly stepwise melodic lines. Worth noting is the equality of the clarinet and keyboard parts throughout the sonata . First Movement Allegro Moderato The first movement, Allegro Moderato, uses sonata— allegro form, with the usual exposition (measures 1-58), development (measures 59-108), and recapitulation (measures 109-179). The exposition can be divided in the following manner: Section Measures Key First-theme group 1-20 Bb major Transition 20—32 Bb major to F major Second-theme group 32—44 F major Closing theme 44-52 F major Codetta 52-58 F major The movement begins with a sixteen-measure double period. The first antecedent phrase is presented by the clarinet above a tonic pedal and followed by the consequent phrase presented by the keyboard (Example 1). 30 Example 1. Vanhal, Sonata in Bb Major, first movement; measures 1-8. Allegro Moderato _ .- Bb Clarinet f Piano The second period begins as an ornamentation of the first and then continues differently (measures 9-15). A four-measure codetta above a tonic pedal (measures 16—20) leads to a transition (measures 20-32) which modulates from Bb major to C major to F major. Example 2 reveals invertible counterpoint (measures 16-20) found during the transition. 31 Example 2. Vanhal, Sonata in Bb Major, first movement; measures 16—20. 5f: A four-measure second theme is presented in measures 33—36 in durchbrochene Arbeit by the keyboard and clarinet and then repeated in measures 37—40 with harmonic and minor melodic alterations. A four—measure extension follows, consisting of a two-measure idea having sixteenth—note patterns in the piano which are then imitated by the clarinet at the upper fourth two measures later. In measures 44—52, an eight—measure parallel period is presented, with the first phrase stated by both instruments followed by the second phrase stated by the clarinet (measures 49-52). The exposition continues in measure 52 with a five-measure codetta utilizing imitation and is followed by a three-measure retransition (measures 56-58). The development begins in G minor with a four—measure phrase (measures 59-62) introduced by the keyboard above a dominant pedal, as illustrated in Example 3. 32 Example 3. Vanhal, Sonata in 8b Major, first movement; measures 59-62. /-—\ A The phrase, which resembles the first theme of the exposition, is repeated in measures 63-66 with octave doubling and rhythmic variation. This is followed by a three-measure passage modulating to Eb major. The opening antecedent phrase of the exposition returns in measures 70—73 above a tonic pedal in Eb major. After a two-measure passage modulating to F minor, the preceding Six-measure phrase is sequenced, modulating to G minor. The melodic motive of measure 81 becomes the generating material for a four—measure section (measures 82-85) in imitation. A cadential passage follows in measures 85-90, concluding with a deceptive resolution of the dominant of G minor and modulating to Eb major. A four—measure sequential passage modulating to C minor occurs in measures 90-94. After a modulation to Bb major, a two—measure cadential segment is stated twice (measures 98-101), followed by a seven-measure extension (measures 101-109) which brings the development to 33 a close, in elision with the beginning of the recapitulation. The recapitulation, which begins in measure 109 and concludes in measure 179, contains the following changes in relationship to the exposition: (1) key change for the second-theme area; (2) slight melodic modifications; and (3) several previous descending passages now stated in ascending form. This can be seen by a comparison of measures 28-29 with 136-137 and measures 53-56 with 161-163. Linking material originating in measure 16 returns in measures 164—168, followed by a return of measures 161—164, with melodic changes, in measures 168-172. The closing theme (from measures 44-48 and measures 152-156) returns in measures 172-175. The movement concludes in measure 179 following a final statement of the closing theme. In Example 4 (measures 176-178) the closing theme is found simultaneously in its original form (lower piano score) and semi—inverted form (clarinet). Example 4. Vanhal, Sonata in Bb Major, first movement; measures 176—179. A /”’——.g 34 Example 4 (continued) Second Movement Adagio Cantabile The second movement, Adagio Cantabile, employs a five- part form which can be symbolized ABABA: Section Measures Key A 1-16 Eb major to Bb major B 17-25 F minor to Eb major A 26—33 Eb major B 34—42 F minor to Eb major A 43-50 Eb major Coda 51—61 Eb major The movement begins in Eb major with an eight—measure theme presented by the keyboard. Example 5 illustrates: (1) the eight-measure theme which modulates to Bb major; (2) the dialogue effect created by the clarinet as it echoes with three-note motives within the antecedent phrase; and (3) the occasional melodic use of duplets against the triplets of the accompaniment, creating a sesquialtera effect. 35 Example 5. Vanhal, Sonata in Bb Major, second movement; measures 1-8. Adagio Cantabile 36 The clarinet then restates the entire theme in measures 9—16. The first episode (measures 17-24) begins unexpectedly in F minor with the keyboard presenting a new eight—measure phrase (Example 6). Example 6. Vanhal, Sonata in Bb Major, second movement; measures 17—24. A two—measure link (measures 24-25) precedes the return of the refrain in measures 26-33. It is worth noting that the refrain returns with ornamentation . The consequent phrase (measures 30—33) is melodically and harmonically altered to remain in Eb major. The first episode returns in measures 34-41, where the theme, now with subtle harmonic changes, is presented by the clarinet. 37 A two-measure link (measures 41—42) ushers in the refrain (measures 43-50) with the theme presented by the clarinet. A codetta follows in measures 50-61 bringing the movement to a conclusion. Material found here includes: (1) a four—measure cadential passage (measures 50—54); (2) a restatement of the same passage, this time with triplet ornamentation and minor harmonic changes; and (3) a perfect authentic cadence. Third Movement Rondo Allegretto Despite the use of rondo in its title, the third movement is a compound three-part form whose major sections can be divided as illustrated in the following diagram: Section Measures Key A a 1—16 Bb major b 16-26 Bb major link 27-35 Bb major a 35-43 Bb major Transition 43-46 G minor to Eb major B c 47—68 Eb major d (Digression and 68-90 C minor to Bb major to Transition) Eb major c 91-112 Eb major Retransition 112-130 C minor to Bb major to F major to Bb major A a 130-146 Bb major b 146—156 Bb major link 157—165 Bb major a 165-200 Bb major Coda 201-212 Bb major 38 The "A" section begins with the refrain, containing an eight-measure period, presented by the keyboard (measures 1- 8) and the clarinet (measures 8-16). A second theme, four measures in length, is introduced by the keyboard (measures 16-20) and imitated by the clarinet (measures 20-23), concluding with a four-measure extension (measures 23-26). Following a link in measures 27—35, the opening refrain returns (measures 35-43) utilizing durchbrochene Arbeit. A four-measure transition, containing two statements of a two- measure sequence, generates a modulation from G minor to Eb major (measures 43-46). A six-measure theme in the clarinet, supported by a tonic pedal, begins the "B" section (measures 47-52). The keyboard introduces the second theme in measures 53-56. Measures 47-56 are restated in measures 57-68 with melodic alterations (measure 65-66) and with an additional two- measure extension (measures 67-68). A twenty-two-measure transition, based on motives originating from earlier themes follows (measures 68-90), modulating from Eb major to C minor (measure 70) and Bb major (measure 74). Following a five-measure link (measures 86-90), material from measures 47-68 returns in measures 91-112. A retransition, containing sequential and motivic material from measures 68-85, is found in measures 113-130. Keys introduced through modulation within the transition include: (1) C minor (measure 114); (2) Bb major (measure 116); and (3) F major (measure 118). The transition concludes with a 39 fermata emphasizing the dominant seventh of Bb major and the return of "A". Section "A" is restated in its original form (measures 1-43) in measures 130—173. An inverted and rhythmically varied form of the second theme, originating in measures 16- 26, returns in measures 173-185. The two-note motives which occur originally on beats 2 and 4 (measures 20-23) are now inverted and shifted to beats 1 and 3 (measures 173-177). Example 7 (measures 173-177) illustrates the inverted and rhythmically displaced form of the original theme found in the clarinet. Example 7. Vanhal, Sonata in Bb Major, third movement; measures 173-177. A link, with the clarinet and keyboard playing in thirds, is found in measures 185-191. This is followed by the return of the eight-measure refrain (191-199). The movement concludes with an energetic codetta (measures 201- 212), emphasizing the tonic triad. CHAPTER FOUR SONATA IN C MAJOR The second sonata for clarinet and piano by Vanhal, originally entitled Sonata per il Clavicembalo o Piano-Forte con Clarinetto o Violino obligato, No.2, was published in 1803 by Ignaz Sauer of Vienna and in 1806 by Nikolaus Simrock of Bonn.1 The original score contained a part for piano and a single part for "Violino o Clarinetto in C." In modern editions, the piano part has been transposed to Bb.2 This sonata is virtually the same length as the first sonata, and has a similar playing range (d1 to es) with an emphasis on the clarion register. The clarinet and keyboard parts are technically and harmonically more challenging and complex. Although the melodic lines move stepwise, they contain frequent leaps, some occasionally outlining major- minor seventh chords and others spanning two octaves. 1 Lyle Merriman in the "Preface" to Johann Baptist Wanhall, Sonata Nb. 2 (San Antonio: Southern Music Co., 1968) suggests that the Sauer editions were published around 1800. Georgina Dobrée, in the "Preface" to J.B. Wanhall, Sonata in B Flat, edited by Dobrée (London: Musica Rare, 1973), suggests the Simrock edition was published in 1805. 2 Modern editions include: (1) Johann Baptist Wanhall, Sonata No. 2, edited by Lyle mrriman (San Antonio: Southern Music Co., 1968); and (2) J. B. vanhall, Sonata in Bb, edited by Georgina Dobrée (London: M18103 Rare, 1973). 40 41 First Movement Moderato The first movement is written in sonata—allegro design with major sectional divisions as follows: exposition (measures 1-62), development (measures 63—188), and recapitulation (measures 119-182). Principal sections of the exposition are shown below. Section Measures Key First—theme group 1—12 Bb major Transition 13—20 Bb major to F major Second—theme group 21-43 F major Codetta 44-62 Db major to F major. An eight-measure period which introduces the exposition begins by outlining the tonic triad in Bb major. Example 8 illustrates this lively and animated theme with its contrasting dynamics and rhythms. Example 8. Vanhal, Sonata No. 2, first movement, measures 1-8. Moderato 42 Example 8 (continued) A two-measure motive and its repetition in invertible counterpoint, follow in measures 9-12. A two-measure link consisting of a Bb major scale is presented heterophonically between the clarinet and piano leading to a transition (measures 13—20) modulating to F major. The second-theme group begins in measure 21 with a four-measure phrase utilizing free stretto between the clarinet and keyboard. The following eight-measure theme (measures 25-33) is presented by the clarinet and keyboard in thirds above the tonic pedal. A four-measure sequence is found in measures 32-35. The eXposition continues with an eight-measure closing theme, comprising.a five-measure phrase with the last portion reiterated but with a deceptive cadence instead of a perfect authentic cadence (measures 36— 44). After an abrupt change of key to Db Major (measures 44-62), a two-measure motive, originating in measures 23-24, 43 is presented in stretto by both instruments. As illustrated in Example 9, the return to F major is achieved through the resolution of an altered chord which could be analysed as a secondary dominant or an augmented-sixth chord (measure 49). Example 9. Vanhal, Sonata No.2, first movement; measures -50 o A codetta follows in measures 59-62, bringing the exposition to a close. A transition begins in measure 63 with the dominant of G minor outlined by the triplet figure from measures 61-62, and at the same time, a descending tonic triad stated by the clarinet, implying an inversion of the opening theme, after which the development begins at measure 65. This inverted triad is the basis of a new theme beginning in measure 65 above a tonic pedal (Example 10). 44 Egaggle 10. Vanhal, Sonata No. 2, first movement; measures The clarinet restates a portion of the theme in C minor in measures 72-77. After a modulation to Eb major, the second-theme material from measures 21-24 is found in stretto (measures 85-88, Example 11). Example 11. Vanhal, Sonata No. 2, first movement; measures 85-89. A modulation back to G minor occurs in measure 92, accomplished by means of a four-measure sequence, followed by material originating from the second—theme area. In measures 93-102, thematic material from an eight-measure 45 passage originating in measures 25-33 is found, with material from the earlier second phrase preceding that from the first here. The development continues in measures 103- 106 with a four-measure unit featuring imitation between the keyboard and clarinet. Example 12 illustrates this imitation and its use as a means of modulating from C minor to F major and Bb major. Example 12. Vanhal, Sonata No. 2, first movement; measures 103-107. A codetta is found in measures 109-113, followed by a five-measure transition (measures 114-118), which brings the development to a close. Aside from the expected change of key for the second- theme area, minor melodic alterations, and the addition of a 46 short codetta (measures 179-182), the recapitulation, which begins in measure 119, is virtually identical with the exposition. There are several points of interest within the first movement. Abrupt modulations to unrelated keys are accomplished by deceptive resolutions of the dominant in measures 44 and 162. German-sixth chords are suggested in measures 49-50 and 166-167, providing a means of modulation to the closing keys. The use of stretto is frequent, as can be seen in measures 21-24, 45-48, 85-89, 103—106, 139-142, and 162-165. Second Movement Adagio The Adagio provides an excellent contrast to the energetic Moderato. It employs ternary form, with a lyrical digression section between the first and last sections. The movement can be divided in the following manner: Section Measures Key A 1-20 Eb major B 21-33 F minor to Eb major A 34-52 Eb major The Adagio begins in Eb major, with the clarinet presenting the melody while the keyboard provides a harmonic foundation. Example 13 illustrates: (1) a twelve-measure, three-phrase period; and (2) an outlining of the tonic triad 47 whose harmony and rhythm are significant throughout the movement. Example 13. Vanhal, Sonata No. 2, 1-12. second movement; measures 48 The keyboard then presents the opening antecedent phrase as the clarinet provides short sixteenth-note responses. The following four-measure phrase functions transition to the "B" section and suggests a modulation the dominant. Instead of following the expected key-relationship scheme, the "B" section begins unexpectedly in Bb minor modulates to F minor before returning to Eb major. An eight-measure period is introduced with the antecedent phrase stated by the clarinet and the consequent phrase the keyboard. A codetta followed by a link ensues in asa to then by measures 28-33 and concludes on a dominant seventh chord, ushering in the return of the "A" section. The first section returns at measure 34, and after this time with ornamentation and durchbrochene Arbeit (Example 14). Example 14. Vanhal, Sonata No. 2, second movement; measures 34—37. 49 A twelve-measure coda with its first four measures repeated and featuring altered chords repeated in sixteenth- note patterns, brings about the sensation of finality. The last four measures provide an interesting texture containing a recurrence of the Opening dotted eighth note figure. Third Movement Rondo The third movement is a fast Allegro movement. Because of its developmental middle section, the form suggested is sonata-rondo. The description does not apply exactly here, however, due to the fact that the final occurrence of the first episode is not in the tonic key. A more fitting designation is an expanded eight-part rondo form, having an arch-like design, ABACCABA, showing the following key relationships: Section Measures Key A 1-16 Bb major B 17—43 F major Transition 43-47 F major to Bb major A 48-63 Bb major Transition 63-67 Bb major to Eb major C 68-87 Eb major Transition 87-109 0 minor to Ab major to Bb major C 110-129 Eb major Retransition 129-143 Eb major to Bb major A 144-159 Bb major B 160-186 F major Transition 186-190 F major to Bb major A 191-206 Bb major Codetta 206-222 Bb major 50 The opening sixteen-measure refrain comprises an eight- bar theme stated first by the clarinet then the keyboard. The first episode ("B") begins in measure 17 in the dominant key and extends until measure 43. This is followed by a five-measure transition modulating back to Bb Major. The return of the refrain is further identified by a fermata on the dominant seventh chord of Bb Major in measure 47. The sixteen-measure refrain returns in measure 48 and extends until measure 63. This is followed by another five-measure transition modulating to Eb major, where the contrasting second episode ("C") begins. The theme of the second episode employs a twenty- measure period in which the antecedent phrase is presented by the clarinet and the consequent phrase by the keyboard. A lengthy transition follows in measures 87-109, suggesting modulations to C minor and Ab major before returning to Eb major. The second episode theme is restated in measures 110-129. A retransition, containing material from the preceding transition, and modulating to Bb major, follows in measures 129-143. The opening three sections return in measures 144-206 and correspond identically with measures 1-63. The sonata concludes with an exuberant codetta in measures 206-222. CHAPTER FIVE SONATA IN Eb MAJOR The third clarinet sonata of Vanhal, originally entitled Sonate [EslgPour 1e Pianoforte et Violon ou Clarinette ou Violoncelle_joblig.| was first published by Chemische Druckerey of Vienna in 1810. The present edition, by Doris Stofer, was published by B. Schott's Sohne in 1971. According to Balassa, it was also published in 1973 for viola and piano based on old copies found in the National Library of Vienna, entitled Sonate pour le Piano Forte et Viola. p. J. Wanhal. No. 5. He suggests that the 1810 edition was originally written for viola, then later for the clarinet.1 The Sonata in Eb Major is 559 measures in length, the longest of Vanhal's three sonatas.2 Although most of the melodic material exists within the clarion register, the clarinet part requires greater flexibility than in the other sonatas, for the entire range is from a to f3. 1 Balassa, p. 18. "Aleiander Weimnann 1973-ban kozreadta az Esz-dur szonata viola-zongora verziojat a cecsi Nemzeti Konyvtarban orzott korabeli masolt szolamok alapjan.A.mu.cime 'Sonate pour le Piano Forte et Viola. p. J. Wanhal. No. 5.’ Nehany jelentektelen kulonbsegtol eltekintve, a.mu azonos a hegedu, klarinet, viola, csellora 1810-ban kiadott kompozicioval. Ezt az azonossagot egyik kozreado sem.emditi, pedig felteheto, hogy a viola-zongora verzio volt az eredeti flxpmmuasfl' 2 The Sonata in Bb mjor contains 452 measures and the Sonata in C Major 456 measures. 51 52 ‘This sonata demonstrates a greater emphasis by Vanhal on the accompaniment. One could perhaps deduce that it was intended more as an instructional piece for the keyboard. The keyboard part is the most challenging and contains elaborate codas, difficult rhythms, and sesquialtera effects. In the second movement, it presents most of the melodic material while the clarinet assumes an accompaning role. First Movement Allegro Vivace The first movement, Allegro Vivace, employs sonata- allegro form, with the exposition at measures 1-102, development at measures 103-160, and recapitulation at measures 161-244. The exposition can be divided in the following manner: Section Measures Key First-theme group 1-36 Eb major Transition 36-46 Eb major to Bb major Second-theme group 47-64 Bb major Closing theme 65-82 Bb major Codetta 83-160 Bb major The opening phrase, presented by the clarinet, introduces an eight-measure passage generated from the inverted tonic and dominant triads of Eb major (Example 15). 53 Example 15. Vanhal, Sonata in Eb, first movement; measures 1 - 8 0 Allegro vivacr Klarinrut (inC of Klavier 54 In measures 9-16, the second part of the main theme, consisting of two four-measure phrases above a tonic pedal, is introduced. Except for ornamentation in the melody, the second phrase is identical to the first. The theme concludes with a repeated two-measure extension. The opening theme returns in measures 21-40 with the last four measures rhythmically altered using triplets. The theme is presented by both instruments, with the clarinet playing an octave lower. Example 16 illustrates the triplet passage which is later used throughout the movement. Example 16. Vanhal, Sonata in Eb, first movement; measures 36-39. 5328. *‘ 53¢) a After a transition modulating to Bb major (measures 40— 46), the second-theme area begins. The first eight-measure period is presented by the clarinet in measures 47-54, then restated by the keyboard with triplet ornamentation and with a two-measure extension (measures 55-64). An eight—measure Closing theme appears in measures 65-72 and is repeated with ornamentation and a three—measure extension in measures 73- 55 82. The exposition concludes in measure 102 following a 20- measure codetta. The development begins in measure 103 with a modulation to C minor generated by a sequence of the preceding two measures a minor-third lower. The resulting chromatic mediant relationship is shown in Example 17. Example 17. Vanhal, Sonata in Eb major, first movement; measures 101-104. In measures 107—116, a four—measure phrase based on material originating in the second-theme area is presented first in Ab major and then, following an intervening measure, Bb minor. The development continues after another intervening bar with five statements of a four-note motive in stretto. This material, which originates in the first theme, is combined with secondary dominants and augmented- sixth chords providing a method of modulating to F minor (measures 120-121) and C minor (measures 125-138). The development continues, utilizing material from the codetta in measures 128-138 and from the closing theme in 56 measures 138—159, modulating to Eb major. A cadenza above a dominant seventh chord in measure 160 brings the development to a close. Except for slight melodic alterations, a two-measure repetition in measures 235-236, and tonal changes expected for the return of the second theme area, measures 160-244 (the recapitulation), parallel measures 21-103. Worth noting within the first movement is Vanhal's use of stretto to create tension and interest in the development (measures 118-128). In measures 123-128, stretto is combined with a German-sixth chord and serves as a means of modulating to C minor. Secondary dominants add variety and color to phrases, as well as functioning as a means of modulation (measures 106-107). Second Movement Poco Adagio The second movement, Poco Adagio, makes use of sonata— allegro form, with the exposition at measures 1-38, development, 39-67 and recapitulation, 68-105. The following diagram illustrates the exposition: Section Measures Key First-theme group 1-11 Bb major . Transition 12-20 Bb major, C major to F major Second-theme group 21-30 F major Codetta 31—38 F major 57 The movement begins with an eight-bar period found in the keyboard with the clarinet providing limited doubling (Example 18). Example 18. Vanhal, Sonata in Eb Major, second movement; measures 1-8. Poco Adagio The consequent phrase of the period then returns with variation and more harmonic interest (measures 9-12). A transition beginning with a sequence having two two-bar stages follows in measures 13-20, modulating to G minor (measure 14), F major (measure 16), and C major (measure 18). The second-theme area begins in measure 21 with an eight-bar period presented by the keyboard. In measure 28, the consequent phrase is restated by the clarinet, beginning in elision with the ending of the first consequent phrase, 58 and followed by a nine-measure codetta in measures 31-38. Example 19 shows Vanhal's use of imitation in the codetta. Example 19. Vanhal, Sonata in Eb Major, second movement; measures 31-34. The development begins by presenting, in measure 39, the opening two measures of the first phrase of the exposition. This is followed by a sudden change of dynamics and a modulation to G minor, using material originally from measure 29. In measures 43-46, the antecedent phrase of measures 23-25 returns, followed by a modulation to Eb major. A false recapitulation occurs in measures 50-53 (Example 20) followed by a modulation to Bb major, through C minor. 59 Example 20. Vanhal, Sonata in Eb Major, second movement; measures 50—53. \____/ ,1 d()/( e A five—measure extension above the tonic pedal in F major (measures 59—63) brings the development to a close. It is followed by a five-measure transition modulating to Bb major (measure 63-67). Excepting slight melodic alterations and the expected change of key for the second theme, the recapitulation (measures 68-105) restates the exposition in its entirety. Third Movement Rondo Alle retto The last movement, Rondo Allegretto, is a six-part rondo which can be divided in an ABACCA design: Section Measures Key A 1-34 Eb major Transition 35-42 Eb major to Bb major B 42—64 Bb major Transition 64-72 Bb major to Eb major A 73—89 Eb major Transition 89—93 Eb major to Ab major c 93—109 Ab major to Eb major to Ab major 60 Transition 109-124 Ab major, Eb major to Ab major C 124-134 Ab major Transition 135-145 F minor to Eb major A 145—171 Eb major Coda 171—211 Eb major to Db major to Eb major The rondo begins with a thirty—four-measure refrain containing two melodic themes. The first eight—measure theme is introduced by the clarinet and then repeated in measures 9-16 by the keyboard. The "A" section's middle part, made up of an eight-measure period with a two—measure extension, is stated by the clarinet in measures 17-26. This is followed by a return of the first theme, with the use of durchbrochene Arbeit, in measures 27-34 (Example 21). Example 21. Vanhal, Sonata in Eb Major, third movement; measures 26—34. ”if (1011!: 61 A transition follows in measures 35-42. The first episode ("B") begins in Bb major and contains a series of repeated phrases (measures 42-64). Example 22 illustrates the nine-measure transition in stretto which follows in measures 64-72 and modulates to Eb major. Example 22. Vanhal, Sonata in Eb Major, third movement; measures 64-72. (1mm ril.) (Io/('1' (pom r17.) The refrain returns in measures 73-89, presenting the first theme as stated in measures 1-16. The movement continues with a short transition in measures 89-93 modulating through C minor to Ab major. 62 In measure 93, a contrasting third episode begins with an eight-measure phrase in Ab Major. The antecedent phrase, presented by the clarinet, is followed by the consequent phrase, stated by the keyboard, in Eb Major. The eight- measure period is restated in measures 101—109. This is followed by a sixteen—measure digression modulating to Ab major. The eight—measure period from measures 93-100 returns in measure 125. The consequent phrase is extended by two measures and contains a tonal digression through Db major (measures 130-131) and Bb minor (measures 131-132) before returning to Ab major (Example 23). Example 23. Vanhal, Sonata in Eb Major, third movement; measures 125-135. J. ‘15.:; 1 u M 7? If" a“ at“ Qt NWT— “L “T { 1 g 4:“ 14,, :w 1% l g a s -o 4 é h, 63 Example 23 (continued) Material from measures 109-110 is featured in a four- measure sequence modulating from F minor to Eb major (measures 135—139). This is followed by a six-measure extension concluding in measure 145 with a cadenza above the dominant chord in Eb major. The refrain returns in measures 146-171, restating measures 9-34 in durchbrochene Arbeit. The movement concludes with an extended coda which can be divided into the following four sections: (1) a nineteen-measure passage (measures 171—189), made up of a harmonically colorful nine- measure phrase, its repetition, and a two-measure extension; (2) a nine-measure passage (measures 189—197) incorporating a repeated four-measure phrase containing ascending and descending major scales above a tonic pedal; (3) a nine- measure section (measures 197-205) containing two-measure motives based on the first theme and presented in repetition; and (4) a seven—measure cadential section which brings the movement to a close. 64 Within the coda, Vanhal displays an imaginative use of chord progressions and modulations. Example 24 illustrates: (1) chromatic passing tones (measures 171-173); (2) a chromatic mediant relationship (measures 173-174); (3) a modulation to an unrelated key (Eb major to Db major) by a secondary dominant chord used as a pivot chord (measures 174-175); and (4) the return to Eb major by a secondary dominant (measures 176—177). Example 24. Vanhal, Sonata in Eb Major, measures 171—179. third movement; 65 Example 24 (continued) /-'"\ p C rcsc. p a resr. APPENDIX A APPENDIX A TITLES AND LOCATIONS OF ORIGINAL EDITIONS OF PRESENTLY UNPUBLISHED WORKS BY VANHAL INCLUDING CLARINET Sei Trio Per Violino, Clarinetto e Basso, op. 10. originally published in Paris, 1774, by La Chevardjére (a) Bibliothéque national (Ancien Fonds du Conservatoire National de Musique), Paris, France (b) Biblioteka Uniwersytecka, Wroclaw (Breslau), Poland Sei Trios Per Violino, Clarinetto e Basso, op. 20. originally published in Paris, 1781, by Le Duc, No. 181 (a) Bibliothéque Nationale, Paris, France Deux Trios a Clarinetto, Violino et Violoncelle. orginally published in London, circa 1785, by J. Bland (a) Rowe Music Library, Kings College, Cambridge, London Six Trios Pour une Clarinette, un Basson et Basse ou Deux Clarinettes et Basse, Op. 18 on ne D01t se Servir de la Seconde Clarinette qu'au Deffaut du Basson. originally published in Paris, n.d., by Mme Berault; Matz, Kar. (a) Furstlich Bentheimsche Bibliothek, Burgsteinfurt, West Germany (b) Bibliothéque National (Ancien Fonds du Conservatoire National de Musique, Paris, France. 66 APPENDIX B APPENDIX B CLARINETTO PART TO SINFONIA XLII (SYMPHONY IN C) BRENNER EDITION, 1774 48 (1 ARIN ETTI 1"!“ .- 240 in c _§'—-mm. : I gag-£3.12, .admafg Il-.=-__:-t====:=_ -I=-:===-_I=I= SINFONIA XLJI P" Irv" .'-IIIJ-- ===---l---- IIIIIIIII I-w-I v.‘ - rJII-n—II-n. =-‘—_rIIJ--:!I‘. IqurII II-==-l-'l-- -_ --- I— - i:=.-_-—:======‘::-==- T e'I‘-_—--.l--. ‘-I l I:III'FI Il-IIIII III-I. --:===‘t- "I—_ II'F "I’ III-I ' -m— —-— -— Uzi-=Il- =2 I‘D-Imu- II film-"II“ III __II='- =l- III=II_II— —I——I IIII— —— _I Aom‘In «II-II..- —‘ ‘:-'.-l=-_--:==- - .I—I . I=I:I-I min-I lJ-m m-m ' - II-I— I'IIl-I-I'fi-rfl III-I——— I_ n— I‘— I mEE-‘aow It -I-_-_--I_l= IIIIl——_ mrJ--I--I’:II'= '-‘r=— :—I_l-==I I:III—.II .. r. '5..'":..-:.—. 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