CONCERTO GROSSO FOR ORCHESTRA AND WIND QUINTET

by
Jack Normain Kimmell

A THESIS

Submitted in partial fulfillment
of the requirement for the degree of
DOCTOR OF PHILOSOPHY IN COMPOSITION
at Michigan State University.

East Lansing, Michigan
1958

ProQuest Number: 10008650

All rights reserved
INFORMATION TO ALL USERS
The quality of this reproduction is dependent upon the quality of the copy submitted.
In the unlikely event that the author did not send a complete manuscript
and there are missing pages, these will be noted. Also, if material had to be removed,
a note will indicate the deletion.

uest
ProQuest 10008650
Published by ProQuest LLC (2016). Copyright of the Dissertation is held by the Author.
All rights reserved.
This work is protected against unauthorized copying under Title 17, United States Code
Microform Edition © ProQuest LLC.
ProQuest LLC.
789 East Eisenhower Parkway
P.O. Box 1346
Ann Arbor, Ml 4 8 1 0 6 - 1346

Concerto Grosso for Orchestra and Wind Quintet
During the last half of the seventeenth century and the beginning of the eighteenth
century, the concerto grosso was the most popular form of instrumental ensemble.
Two tonal masses were set off in this form, one against the other.

One of these,

the tutti or concerto, was usually a string choir with additional instruments.
other, the solo or concertino, was a group of solo instruments . . .

The

a group of solo

winds, strings or a combination of the twou The essence of this form was the antiphonal relationship between the two groups.
than the tutti, but the display of

The solo group was usually more elaborate

virtuosity, as in the classic concerto, was not

as important as the contrast of single or small-group voices of individual color with
a full and more impersonal tone of the tuttip

Concerto Grosso for Orchestra and Wind Quintet is a composition in the modern idiom
which follows the form and characteristics of the classical concerto grosso . . .

the

short motive, the driving force, the antiphonal relationship between the two groups
of instruments, the fast-slow-fast order of movements.

The instrumentation of the

tutti is two flutes (second doubling piccolo), «two oboes, two clarinets in B flat,
two bassoons, four horns in F, three trumpets in B flat, three trombones, tuba,
timpani, percussion (snare drum, cymbal, triangle) and strings.

The instrumentation

of the concertino is flute, oboe, B flat clarinet, horn in F and bassoon.
position is in three movements:

The com­

Allegro-animato, Andante and Allegro ma non troppo.

The first movement, A11egro-animato. is consistent with the concerto grosso style in
that the thematic material is fragmentary.

The tonalities D and E flat are used

simultaneously throughout this movement, especially at the beginning and the end.
There are three main motives in the movement and each of these is developed harmonically
and contrapuntally.

The movement begins with an orchestral introduction after which

the solo quintet enters.

Here the principal style of the classical concerto grosso

comes into effect with the antiphonal use of the orchestra and the quintet.
group develops one of the motives in fugal style.

The solo

Though traditional harmonies are not

used, the entrances during this fugal development are transposed to the dominant and
subdominant.

As the development continues, the violas and 'celli play a pizzicato

accompaniment, the rhythm of which shifts from a feeling of 3/4 time to 4/4 time0
Later, the strings and brass carry on an augmentation of previously stated material.
This grows in intensity with the entrance of the entire orchestra.

Finally, a

rhythmic feeling of 6/8 time begins in the basses and 'celli, which is taken up in
contrapuntal development by the solo quinteto

The quintet and orchestra move in

rhythmic changes from 6/8 to 7/9 time and end with a sweep in a loud, full dissonance
(D against E flat)0

In the second, movement, Andante, the horn and "bassoon are eliminated from the solo
group.

Only one basic theme exists with its development. This begins with solo

oboe, later joined by divisi 'celli, violas,

and, finally, 2nd and 1st violins.

The

strings then take up the theme in pizzicato as the solo clarinet enters, carrying on
a duet with the oboe0 As the material is developed, the solo flute appears, and, for
a short time, the three solo instruments play unaccompanied.

Gradually, the entire

orchestra enters, building to a climax from which the solo flute appears, to be joined
again by the solo oboe and clarinet.

Again the oboe takes up the second part of the

theme, but instead of string accompaniment, as in the beginning of the movement, it is
accompanied by four horns in close dissonant harmony0

Themovement comes to an

end

as the solo trio gradually works toward the tonality of C, although the tonality of
D flat creeps in with the bass and timpani*,

Allegro ma non troppo, the final movement, is in the form of a free, four-part double
fugue.

Both the subject and the countersubject are maintained and developed throughout

In this movement, especially, the characteristic driving force of the classical concert
grosso can be felt.

The subject of the exposition is carried by the 1st violins in

vigorous eighth and sixteenth notes.

The 2nd violins answer a fifth lower as the 1st

violins continue with the countersubject.

The

third entrance appears in the viola a

fourth lower while the fourth entrance is in the basses and ’celli.

As the strings

continue with an augmentation of the fugue subject, the solo quintet suddenly begins
a false entrance,,

One by one, all but the flute enter with subject and answer.

subject and countersubject are developed in the tutti and the solo group*,
is inverted, augmented and presented in stretto*,

The

The material

The development section is brought

to a rousing climax as the strings, divisi, repeat a fragment of the countersubject
over and over0 This aGts almost as a pedal while the subject is presented above in
the brass.

The movement comes to a close, as the orchestra and solo quintet converse

musically, and ends in the original tonality of the movement, E (or F flat)0

All three movements make use of polychordal harmony and constantly shifting tonal
centers which sometimes give the feeling of atonality.

CONCERTO GROSSO FOR ORCHESTRA AND tflND QUINTET
by

Normain Kimmell

ORCHESTRATION*

2 FLUTES
(2ND DOUBLING PICCOLO)
2 OBOES
2 CLARINETS IN B-FLAT
2 BASSOONS

4
3
3
1

HORNS IN F
TRUMPETS IN B-FLAT
TROMBONES
TUBA

TIMRANI
SNARE DRUM
CYMBAL
TRIANGLE

SOLO
SOLO
SOLO
SOLO
SOLO

FLUTE
OBOE
CLARINET IN B-FLAT
HORN IN T
BASSOON

STRINGS

Io

ALLEGRO-ANIMATO.

II. ANDANTE.

J -96

J -63

III.ALLEGRO MA NON TROPPO.

(*transposed score)

J -112

Tlpwaih Kmnefl

A k r o - W c

C O N C E R T O

G R 3S5

I’i’ntC j

~ Z1 - 1 l « t ± y r ------f-

(Piccolo) ^
r£

^

5't5LH I

.n

-.

siinhZ CnALJ

<

-

:i§E
:V&y£r

\p,g$
— r-

~ i
ir,p

T

Ip"

fui//
_«=r
5£

K L fi r ?.?
I11^ •i

7

d„V
-£*-

A:A,

y&iLlfcfR

f,

7 -1

w

No, 107

q

24-ORCH.

IT
£

!

v ~ .j*
Vv 1t
;W»i 7
"

r

0 51 ^-

t

i

pm

m

W " * 7

^Y

^riC

± 3 * +

V,

T T f

^

t

i n

j j A E ST.R

­
AZZ

■M-

Ai:

r zzrr:
if e

n

gjjPgj

e

A

ll

/1r- ;

f

h
t w

<

feE

i u

}

INDEPENDENT ftUSIC

1 .

215E 42ST

rrjJUSHEBS

Nr 17USA

No. 107

24-ORCH

No. 107

24-O R C H .

N o. 107

24-O R C H .

lj vFrPi'cf.^

Ft,
Ok
CL
, fit
Bffl'

to.

Tpi,

TU.
Lbi

Tlfflp

Ft.
dL

a,

f a ,

3m

,

l<*tO y

n

Vlfl.

aw

n

‘
f%,
til

*

i n>™

r>

i
^
^
: e . r ^ - E i * 3 i ^ i

08
-

,

'"jj A E S T R O I
VJo 107

24-O R C H

* p

s< f

-W-* — - W ~ f e

fe. ^ (i

n v«n
\lc ,

u

l\r'

* I

•
: (j T

*;

; ; iA^

|

S

1* l 4.'*.:

‘

Mo 107

24-O R C H

Mo. 107

24-O R C H .

*■ Tft-*- ?

1

So/i

,

.

-

y

' 11
4- *
-

P

1

>*£

/

c\r
j-

■\
f

£

?

:5

k-

4i

A

'3
¥ or

i

i^
f'

s 1
T v

.ViST. TO
>/3 _
Lt

*
-**•

"-

p.
*

ir

?o'f-H

$1*20, sorj.

u*i: so*

I
j-

U

U

i

0

4

i4

-4

4

Be
V

0

i:

4 '

’ £

? ;

■TT‘0
-0 ‘ o

•

njAESTROi
N o. 107

24-O R C H

8 .

IT

0
-o

a

------------------------------

f T | \ir

i>>?

I

** '<•'

r
0
T

0'
0

:9

>

f O-f-'____

FI.
Ob.

r-

>
>
s-.- VnH---- -4-^-- 3r-~qH
i: T a _ .
M

4,1

c i.

&n.

**

v .

Tpt.

IvU

v

Timp,

Pbix.

FL

ts'b,

Ci.

fa

Bj*,

Vfn,

Via.
pi«

Sc.
0 8
*

.

::j J A f 5 T R oi
No. 107

24-O R C H .

?.

INtJC^f►
JC-f s ' **L V<" »-Jt" 1SHf P<J
Jill 4.1 '. < « * N » '•■ U S*

cussc.

poco a poco

!

j j-J&'-ti
^^

I I ^

^-r^lM jfl

f*

I 3 f3

^ j ff>

7

1'"' nf T i V ' X U 7'

1l*2CL

um.

arco

'

{£■ lT w w

WIIV :>
^

w

^

^

W

#j j
W

1

f n J A E.S T R o
N o . 107

2 4-O R C H

/o

#

V

' >-&*

T

W

i
S

w
^

-->

■•-*. I k T T i W i r J

y .4£ f V 'Ul

—

FL

Ob.

ci.
Brfl.

Hn.

)i.

#

Hr,
Tyw
Timp.

Rye.

FL
ok

cL

Sr/?,

\ir,o 6w
^ - bi

VIh .

U

£jr j

t t^v

Jv'si v =',i!J

t¥ ?•rV

^ s T J

it.

-*£

'10

*

D'3,

J A £ 5 -T R CH
107 '2 4 -O R C H .

11

'•'[PfNC.O.: vu'.i •' f*'.-6l>%H£R5
S* 42 S’ 4
^ ' 1' *5 A

(Pitt, to Fl H )

3

•»*;; *1 i

ii

i

a
V)

v/i.
Vc.

f

D-a.

x

fjj A § S T J? O i
No. 107

24-O R C H

i t r

rrri4 «

A E S T R Oi
Mo. 107

24-O R C H .

:r

a
Ft.
Ob

£L.
Brn

0
Hn.

j j

h'
l
**£

\ V

]> 5'

y

iv
Tuba,

*r

Trwp.
RlfC

,

Ki

PL,

1

*t r

- W
#

- s r * f '€

ok

■

->

Cl,

-U ? r
'M ! - W

fa,

3
*

df/r.

*£K

‘

?

f

•>

//

r^'

arcs
1
Vlf

iKO
*

y

£ ---t>
?

Ircc

via.
arc®

Vc.

r ; t r ^ -i ^

7
3>C«

art®

?

^

i? >
w

o-a
~ft
PTj a E ST R Oi
107

24-O R C H

■ j t T ' f . ' f £ -:

, '£ »*
’ * f" C V j '

7
/

j * r ° ' f i» I

f -^. »
-£-■*- >
* *r

>
r
»
r

>

»
r >
r -j: t e kp t ‘1::

y

»

>

‘ <o 107

24-O R C H

No

107

24-O R C H

•j J A c S T R O.
Mo. 107

24-O R C H

IT

r4o. 107

24-ORCH.

No

’07

24-O R C H

(Ml; l
icc.U F i . I )
.

tf

••

-

cli rf

pr

7/

...............- -

V

V " "

«/k

-

— •>
r_ *V

t

>#

- ::-

r *
--•

;i

4^r \ ^
*

X

¥-.
Y
ai
t

V

p

PV
K

Y ^ ^ T jj

7

W

(■ £

t:
'

r - - “ :
s

* t

l i - ; - r

/’1’

0—
b

« " -'■ V

lf>
::.: ; : .:; : - f £

,r

^ ;a ;i
V

^JL

~(T
t

*?
H *

y y r
j

ft

J —-_ ’

\

'»-*. >
y * *
,r

k

hP\ \_
r

f f

^

._

■

7-

■-

:c

.......

..

:

•

.

; \ \«

..
^ *'■ i • t f I t j

P r * i

I

:

a

»t

1 'f, ' * i :/ ‘.
J

A y

ji

cl

~
•f’’t -+~j*

>' p i * $ r ! t
^ y
\ * <•

H/i'-i'".

F

t | - y'';/' r

-i

? V r< >

t

y

y5p

w

I

•

I

V

ftf

I
I

I

M

K

i*fln j«i

? -vM'

&r/>

i y ; v :■ .
' i P ; ;

s I *f,
Vfe

kv * j t *
s > br J X W . p - f e i

m

K

**
1/•

?<n
>
>“ ^ K

t x p
s * r
?u

*w N *
! ’! 7 ,' J
* *■ * i-

\

I

t h

t

-*/ / >i

H

P'»

vll

tiiyhj

11

Vc

- 7

r \

II
- ¥

- r t f

D-B.

yf
■•■^Tj

a

NO. 107

t r

a

24-O R C H

V

^

\W

I r t j
v * #

: \

W . j ' M

I

Y

)kr

20

*f

O p r

I ;^ p

r

i

I
1

I
I
I
I
I
I

N o. 107

2 4-O R C H

FL
Ob

ci
flrn.

TPi.

s:
Tin
Tybd
Tiwp,

Ptrc.

*1.

cl
cL

1 »' H

j

*)

fa,

dsn,

Vln.

4
Vic.

M.

■ifjrA

E 5 T R Oi

No. 107

24-O R C H .

13

,

N o. 107

2 4-O R C H .

*J * j

': j J A £ S T R O S
No

107

24-O R C H

i

If.

»NOCPf^DF^f
? 15 F 4 ;

viixj-r
^ S *

N o. 107

24-O R C H .

i
£

1

i*

:<■

^tJn.

'T-rr T
** *

rndrcato
h *VtM OUrCO
arC5

sweats

V^AFiarc

■ P 5' r ** = i'
j J A £ 5 T--R Oi
Jo 107

24-O RC H .

XI.

ISL'i ‘kE *Hu F*^'

k*.' .,t.

*\'R l>HtO<

n

Os.

Cl.
Bin

T6 n
Tcka-

iinf.
Ptrc,

PI.
(

3k

cl.
fa,
* S

Bin.

i—_----- ---- •
Is1
----------- ------ p------------------ :—

?*

--- --

Wn.

S ~-“V .4
.d
\ ■ !

v|j.
V*

p
oT-pZ-.i-----r-xTpi-_..-t

D-B,

It-*!
[iJ------ --------- r -------- —

fi

\t--ji*
— #f---- V
1t
#i

7; v '"n l

*

1

•

>7
s« \
r •

-..77‘J
»/

rj J A E 5 T R o?
N o. 107

24-O R C H

* t ' Hint

2 $

Ti»
*

No

107

24-O R C H .

N o. 107

2 4-O R C H .

*J**A

£ 5 T.R Qi

Mo. 107

24-O R C H

2 1

fj j A E,S
N o. 107

O!

24-O R C H .

No. 107

24-O R C H .

N o. 107

24-O R C H

0

■>

r v -j

__________

J * - V: T ■:
:^ r W
1

__ _

■
’"

>

fPlce.toPtl)

■> . _

.

" 1 ^

>

r

* V*

;,.f.

vA

V

:-";r_

*fr

kf

lfr

k:

-.-..'tf..- 7ft" i T F
-

jif-V J■■■:- .-

.

.

-:
v

- ,-U-l-

'

4 !*f *
r
>
-- — --- —

>
•

■»

: ‘ ->0 * ;
-•

■ * P. <
"W •Jf
* /i*? /"* ?

r:~:

S '
-

. :;r. V-.-r-;

7^Err

masu 3^

dw. n

n ^

k n ii.

OJrtO

an.0 v n

j J A E S T R O;

'NL[([Nl)fNI
71 ‘ f

No. 107

2 4-O R C H .

J7 ' '

Ht9 '

N o. 107

24-O R C H .

No. 107

24-O R C H .

N o. 107

2 4-O R C H .

No. 107

24-O R C H .

N o . 107

24-O R C H

Ft.
ok,
cl.
tsn.

T„J.

TV
TvW

Ti^p,

Pir

■#.

ci,

cL

*

f a .

^

-t'

J j J

&-£:

kh,

vfci.

^irtaTO

%<tfC{LTO

Via

;

I

V

r

3

y^OJrCO.TO

Vc
D-B.

_ w A
N o. 107

t t> J. K o 24-O R C H .

41

•w
Df
' t

NOF.Nr
4? ST

vn v;

"•JBUSHERb
n

:7

J S A

N o. 107

2 4-O R C H .

No. 107

2 4-O R C H .

N o. 107

2 4-O R C H .

CFlliftftce.)
FI.

f

ol,

cl.
Bin.

4

L

Tpl.

v ^ m i

t U.
TiAa

T iftiy
IV.

Ti

n

FL
oL
8
c l.

;• 8

*

*jW

j zhr»

*

fa.

Bin.

!

^

W

'
'toorwe

ft.

I
YnOKS.ro

(Jiv,]

* ; j

i

Yriircato

J

In

8

Vli

n, n

V

n

v

(div.)
Ynwwo V
'

YlU-WC r*£

;

f

v---

(div.)

r
>f£

1

r

r

i p

\vfr*r

H

[:jJA t §4R Qj
No, 107

i f

24-O R C H .

^ 5 .

iN n E f-tN O fN t

v iiv i;

P tib llS h fR j

V*.E4?ST<=T">N*>7Us4

No. 107

24-ORCH.

No

107

2 4-O R C H .

N o. 107

24-O R C H .

R.
ok

i

c/.

i

flh.

Tpl

t U,

Twliti
Ti'mp.

Fl,
oi,

cl

j p

.fl *

X W** V v N

fa*,

Art,

111*,

vlt

it
0 -8 .
IfjJ

A

N o. 107

E S T R oi

24-O R C H

f l .

IX

iFI.P.'tc) >

al
FL

r

do,

:4

fl­

it

T '

-4

f

Mf

a

ulli Ct-tltend 0

i , t
* it.....
*K

ft

4

p$
Tpl,

» /

3-

:

■

't±*

•

• i

& Vl

s

U

-*■jt*-» i

>

<n

ft

•

.

J p U

v

'

-+ * (J *

5

u ? > ■■ ?

U

{

W } } - 1- -

j'Sf.-A \ CT |} L ,* - t

' t c j ;
■

iW

It'iii
J1
;

1

rf f r : ?

4

k r

}

> *

32

I* • H - l

7S

Twta

4
■-4
:

t

4

n

tin.

>k /

4.::
4-

d,

1T4
“4

\S 1y V

# ■ ■

\

n

; | ] V ||

""' ‘‘ “"4

{

4* _
/It

Tlmf.
Par.

f

¥

PL

£ - 0

^ pr.wv Sr*.*.

i’^

4

-

u

lL

J

; i A

f i S ' Q tf V

A

-

_

A

f

e

* f
/

-\

cl.

A*

V

'^7h£

•V.i.K' p - . k o

'V ' ' „

<i

< i <4f

v^-i*

f a ,

A * ' ' *' * ^

^

*

H

\

.t. < H

to
.]/£

&}/>,

i

h

U

fl'.' } £

£

4I t

-\

T

{

\ : M

Vi>

*

^ ] v -n

V

U

.1 *

U

x . V t 1’!!

ir.j ref
orcoj

jya#«.

tj t p
axo /

> ^ t i i

a

*

\

~4f

\

..

»

Ctfrc

r/acc.

(ifv.i

U Y U
Jp

//tftfC.

^ P

m

*

£

•4

CrUC.

h t
\lt,

-:*

4 4 a J f

f

t , 1 { 'U

-\

v

U1

. u

dmtc,

\

\

f

>

r'W -

U V

* p: C i * p ’

^

4

4

^

lr * o

\

D *B .

\

I h
^

i f l j ^ r - s

N o . 107

Tif.oi

24-O R C H .

51

/ ..

i

?

k ’

T

i>-i
U 1 V

i •1
«r

(C\mb,
)

m

i

i- j

J A i .rTTR oi

Mo. 107

2 4-O R C H .

•'.yfPFNDpJ*

mjn

-USi'VHf**

Fi,
ok,

cl.
£U.

V

T \

►n.

V-

Tta
T-ka
Tlmp,
P*r

If

/^7,

f
i^».

^

u

> p i ^ h ’ p U

VI*.

v<.
0-ft,

i f j J A £ S T R Ol
No. 107

24-ORCH.

5 1 ,

'JDf Pf"N Oc N '
' 5 F 4? V

MJ'

*~ S ">

-'.'SLKlMFU
•-

•

J , •

A n d o n ft

I
I
I
I
J.A I V ? R Qj
No. 107

24-ORCH.

J =6 3

I

N o. 107

24-O R C H .

/fc PWSfQ

Fl.
Ofc.

a.

i
Sin

pocc nl
a

p m pTu "mono
- JsTfc

1
4:

4
-

1

4-

-

1

4

7p*.

.

i:

5:

4

TU,
Tula

J

Tir»p,

4

i

*

fl,

4

h a

.

? T'.f

>f

mf
cl

p m hi,

pwc ptk-wtt
Wm*

Slh.l
(ciiV.)

f 4 ?'
1

A. I

Vlq.

Vc

D-B.
fj J A £ .5 T R ol
No. 107

24-ORCH.

5 ? .

4:

FL
Ok.
Cl.

f

fiwi.

£

I

J
H

Hn

*

44
Solo

• ‘¥

f

TpJ.

J ■----.
* -.
3

. ..

-j

Tbn

,

>

Tiimp.

£

*

t t .

f

+ -■ *-

^ ? >br i f

ok.

U ' r

y .w

g

»r'

,

.V

l u

U.

?

■f

Se.ni<k j&v.

f£»l& /W

/#»2a/ W
1ICL

Vc.

D-B.

f f j J A £ i T R Ol
N o . 107

4j

2 4-O R C H .

5 6

1

si.

_

IN D fP E N D E N '
;iH

No. 107

24-ORCH.

42

PUBHSHEP^
N '
i 17 u s A.

N o. 107

24-O R C H .

•rTj A c.5T R oj
No. 107

24-ORCH.

^59.

uSIC rufli ISHEBS
r 17. USA

M o. 107

2 4-O R C H .

No. 107

2 4-O R C H .

N o . 107

2 4-O R C H .

poco

Fi
ot>
f

j w

I 1|I

f

if

j

M

*

f W

Cl,

fk

feta

TbA*.

•!* -x
tU

U i

T imp.

Ft.
si.
d.

paca 47n/nlio

f i f . - - '

. f l )

Vln.

p

g

p

H

i

i

E p S S f

via.

M

Vc.

#

t

f

U

h

D-B.

;; j J A £ 5 T r oi
No. 107

24-O R C H .

63

m D fe f-N D E N i

.

215 * 42 ST

M ufx

PURSUERS
NY

17. U 5 *

N o. 107

24-O R C H .

No

107

24-O R C H .

jfj J A £ S T R Oi

•JDEPENDf N r
15 f

N o. 107

2 4-O R C H .

42

Mi. -

* U M 'S H ftt'.
N 1 -7 'J b A

Fl.
Ok.

Cl.

I

Bin.

XV'^+S

U

Tbn.
Twbo
T

FL

ok

CL

in.

4.

<e.

D-B.
j J A £ 5 T R Ol

iN D tP tN O F N T
: 15 f

N o. 107

24-O R C H .

42 !>'

MUSiC
NY

P'JfiHSHEHS
17 ‘J S A

n.

|

ok.

| y'

\ *

*

CL

:

y. f V * ._
'/ ■
tf

1/A.

/

•

1 M

fc.

1
/

rpi.

y

;

)
(p

K

\

•

*

TW

1

u,

(■j

Tmp.

j

__

Jlmn
uauiAii

pa* a pfct

IL
i

T t V f

fl.

> f >? \

"front\h
r\

' r f ' v T r

rr+

oi

y & i H

I

U.
'/Y:f

**

i d - %

/»*<*

%

1 7 T

it

Q<A’-

< -

.. r

■4~-

Viv

*

dtmuwLkde

1 1

3

W r i ^ 'pi f'« i
y*£
\ "

*

ft
i

t/i

DM

Li\)

A

Vc.

D-B.
<rTj A £ 5 T R oj
H o . 107

2 4-O R C H .

6 8 .

INDfPtN’-CH1 mi:m>
215 fc 4'. v

< *£ "> ■

r iHl’SHFR'.
N ■

x, - a

No. 107

24-O RC H .

f

F(.

Ob.
cl.

Hh.

Tpl.

TU

E'toko.

T;«{1.

/■/

4
»

U

D-B.

'C
Ho. 107

24-ORCH.

F c T t o

rice

;fjJA £ STROj

['

IN U fffN D fN I

MUVr

r ij B i ^ E P S
1 \7 U S A

N o. 107

24-O R C H .

H o. 107

24-O R C H .

No. 107

2 4-O R C H .

F(.

_ *r =_
—
■

-t"-------^
:

^

r

.

T -

p

Setri

s £ £ f e g ^
VL - 1

•

—

- -

J

It-***--

cL

:#

M

BffT"

V

^

J

i

^

r

f

-

th.

“ 17--

t o ,

?

d

: r7-77-“ \

- - ----------------

_77 ~7"
'

7 77 '

\

vln.

jla

\ic.
H.

\ij_J

A CS.T R

Q\

li .

'iUkf’ENDENT
1•) F 4? ST

N o . 107

24-O R C H .

Mw*>IC

•’'J01i
'U W

J J A E STROj

~l^t

IN D f PENDENI
215 E 47 SI

No 107

24-ORCH.

MUb'C

PUBLISHERS

** v ,7- u s A

FI.
oi,

cl.

fjfl

Brn,

v.

E
u.
TwW-

E
£

FL
06

,

a.

fa.

Btn.

Vln.

i\i

\lc
D-B

ffJ'jAf S T ftQi
N o. 107

i

**\ t .. .

2 4-O R C H .

' (Picc.toFl.il

FI.
ok.

cl,

m

$

Brn,

kn

T

BJ

l

isti

'

ata

Tinip.

(V

FI
U.

cL

fa,

&M,

M.

1KQ "
*

y-2

—

£ f,M

jli

fcKO jf
Vt
fcrtO

0*B,

■fjJA £ S T R Oi

ff
i

n
»NOf?ENDfNT
215 f 42 ST

No. 107

24-O R C H .

MUSIC

*MJBUSHFR$
Y 17 U S A

FI.
0b,
Cl.

Brn.

h.

Tph

T\rb.
Ti/ti
Ti
'fir.

FI.

cL

fa,

VIk ,

. V,

vh,

5*

y

Vt.
0-6.

% ,
No. 107

24-ORCH.

•MO^PIMDFNI
215 f

42 SI

v.L.i

Pi,

CL
Brn.

t

s

<

«r*r

2. '

fen.

Tpk

U,
U*

Timp.

Ft,
oi

a,

■

*

Bt*.
■

Cresc± _ poco

a poco

■
I

VI*.
1L

~F

I

■

P

vlv
Ve,
0*.

No. 107

24-O R C H .

IS.

INDEPENDENT
2 1 j E 42 S'

MUSIC

■< ■' " ■> N

PU »llS H f»S

r

17. U S *

N o. 107

2 4-O R C H .

%

-

in

z -r..-

S

j

j a

E.i t :« Qj

IN D E P fN D fN T
213 £ 4? ST

No. 107

24-ORCH.

MUSIC

< % >

PUBLISHERS
N r

I’

U i .

m

Tnfom teH
M, arvn

I

area

urea

area

L r f j'A - S

^*

Mo. 107

S T R oi
24-ORCH.

81 .

m

FI.
ol.

cl,
bn.

Hu.

T dPT.
I

u.
Ui

T;«p,
fit*.

fntrMm

.it*

PL

ci.
* V

i.r

-

*

cL
Hn.

&!/),

A,
ppp|^£3

4

Vc.

; j J A £ 5 T R ol
No. 107

24-ORCH.

N O fP tN O E N l

M iiii;

atc-S*

PUSUSHfRS

Fi.

^

su

a.

c

L

•* v # * -* i
iy _ it:;? ;? ^

h,
.%■

f'
y

/

}» ▼ r»
U (

TvU
*1

i i l

i

Fi.

Cl,
a

fin,

tH-t- -t;tr

3rn.

Vln,

I •*

r

Y *5

^

?v

Vlv

,’
t

?,

Vc.
D-B.
"l J J A £ 5 T R Oj
No. 107

24-ORCH.

INOfPfNDfN T

H

WUSiC

Pi'BMSHtPS

:J A £ S T R Qj
No. 107

24-ORCH.

85.

!K0E°1ND£WT
;
'5e a s
t -Cr^,
>

®'J&USHERS
17,u s a

N o. 107

24-O R C H .

FL

at.
cl,

ton,
Hh.

Tfl.

U,

Timp.

FI
-V-1-15-!---- 1-----#

3p

Cl.

Hh.

5

&ih,

cnsc.

Uiv.')

vk
(Wv.)

vk
(&iO
at-co

Vc.
m

08
*

,

■fjj A t S T R Qi
N o. 107

2 4-O R C H .

tN O tf€ N O E K ’

3*1

71 5 f 42

ST

MU's'C

T2&

PuRL'i&HEKS
N T

17

U S. A

IS]
C^gJC. po;o

i

poco

t:\

FL

\

U s

^

f *if i

>

i-J

6b,

r

R

^

y

\\>

:
««A ! ^

M

m

U»

:-

Cl.
•4f ^X'*TV":

8fn,

U» >

CM:;

;5C5

a.

i
!MSLi

U -

pe;t

:-f-

+
+

-

Hh,

(I

i

:f
1

I
aZ

1

U,

t irtl*.
Tuba. *T»4.2

Mi,

:ece

Tinip.

"*/

r5* »}'
^
w
1

*

jjj ';f

v,j

&Z..

¥

t?
FL

1

¥

f

w “tJ b ,

zt— -

ti.

*T

U

r.

--L -

A

iY

Bit,

j
o- .
7 .■ Slwprl^ .Cryc,
A.! **Y~ *. * Y r
..
» |Y » ^

Vh.

too

w_ _

SJ

* iT

oerf’.*

V •
#^Y # ...

«

/ OJ
# ?
^- w

cruc,

\I!k.

l:v
m

Vc.

H,
; j ¥ * E 5 T R Qj
No. 107

24-ORCH.

83

j

mil CRESC.

2- f«4a

S*- 9 *-tn_
-tr DISC,

/ >^

r n “ °c < * . _ _

p

1 t. V .1 - Y.

«. f

4

i

•

I

S

:
-j j j A £ 5 T R oj

3

^ f
cwc,

p T
rr

A

*

INDEPENDENT

2\ 5 E 42 ST

No. 107

24-ORCH.

MUSIC

PUBLISHERS

H < IM

S *

Vl*.

jp
VIA.
Me.
D-d,

•f T i A £ 5 T R Ql
No. 107

24-ORCH.

10

.

INDEPFNOT n :

PUBLISHER

Fi

Ok
al

£

Cl.

ca

fra.

£

=S;£
al
ft

r

Hh.

ax
V
X= P

—

r
IS2=

Tp*.

Tv^,

TvU.
Tjn^,

Jtczzr

tb.

1Wf l k -

a.

■

0 : 7

a*.

w

^

' j‘

tof'
f=*.£

M

^

V

Vfc* ^

w- Y

7

Y •7 f 7-Yif
£

7

7 - ? : p

a>co
-Y u i i

Vlf>.
a^t*

f

7

\

£

V ^

ana

>.

Vlj.

k

7 : > 7
pill/,

Vc,

>

Y

i

*

H,

uwv

l£

r

pm

i= s F r

;f T j A € 5 T R Qi
No. 107

24-ORCH.

T

7

11

7

L

IfJjAE S T R O l
N o . 107

24-O R C H .

1' 2

FL

cL

fa,

Bw,

b

t f

Vli

£ S T R Oi

INOFRENOFNT MUSIC
215 f 42 ST

No. 107

2 4-O R C H .

f t

NT

►
L'Bl.tSHERS
I/, U S A

FL,

4

1

r

Y

c b.
Cl.

ton,

$
Hr,
r-

Tol

f v 4--

k

:
-4

}
'M

u.
Tuba

XT-

Ttr*p,

X-

W
te

FL.

^,'Y- } t :

*t>.

1

ci

T l

■&--

t o ,

s

F

T

i

I

V * •> .
'n=r
$E£:^

* a

M

v jr^ T ;i.- |i: ni >

v
8m ,

y

"■ ' 'r

\

^

j

r- *j' *

:v,'{■;r V

^

v

Ty

' *

hY

/

■j

|teJ> j\
.

v ! '

?' \

!,

I
££

itt-j

T Y

*/

V

>r,

r

>

*t,.

PlU.

T.

b

hp .*
1 pm

Vl/I.

>
&

*
vlt

■

be
*
Vc.

*■— t

»i%,

4^-

4-fi

§

:

B

put.

\ 'fJ]>

j, r .i

7»f
/

H,

it

3r

V
irljAlTS T ROj

t

x D P P tN D fN ’

MUSIC

fUBUSHEBS

No. 107

24-O R C H .

N o . 107

24-O R C H .

u,

Ob,

cl,

% = z a

H n.

j!

u,
U i,

**•

4 f*.

Pt*.

n.
ci

CL

Hu.
8/A,

Y|i>.

7f
k

YU.

> ptl >

OKO

f f eV

I

ft

Vc,
H

No. 107

24-ORCH.

97

INDFPFMDENT

.

215 E 42 ST

MUSIC
N>

ISHFBS
17. U S A.

N o . 107

24-O R C H .

fL

Hm .

Tpi

TW.
Tv

m

FL
ob.

a.

fa.

iin.

MU.

V(i

VC

o.a.

•f Tj A £ 5 T R Ol
No. 107

24-ORCH.

INDEPENDENT

MUSIC

£3*.

PUftUSHERS

Ho.

u

TL

7>U
T.'«np,

P&-.

FL
oi.

d

Hn.
B/n,

Vi/i.

p a i l - *
yi'a.

VC.

DA

tfjiA E ST
No. 107

R Qj

24-ORCH.

m
o.

MDfPfNWN1

MUSIC

BUSHF

i

Y y

' U

Jr

W

P

iJ

vk

U*

» „

i

i r*

hjJ A
No. 107

E 5 I R Ol
24-ORCH.

v-t'V^-VW

3

=

f e

g

i =

. \-

101

.

INDEPENDENT
?1 5 E 43 SI

MUS'C
NT

CU»USHES5
17. u S *

FI.

P

oi>.

cl.
Btn.

jh.

i

/*P

i

- -

.-j — ..^3

t

'§

/•?
1 }

rfE

i

(

r

*
$f

f

f t

- t

:
--- .

y \ ~

Tta

H

>5

V>f

^

---

a

w.

*?

i

1 ' ------'i
: -

!

Tuba

*

Timp,

p

*

j
'£____
.— m

..:-:

5 ^

#

|

ft.

oi
S

i

‘N

Cl.

S H f f i

fht.

vll«.

^

v

~ JL v —

Mk

U

D-B.

Ee

_T R Oj

DEPENDC n ’
5

N o . 107

2 4-O R C H .

[

42

MOf-iC

PUBUSHERS

^ l y ’V N ’t i; u S A

f'f
!i

U

A

£

5

I

R ol

"

j,

JU.J

tN D fP fN D F M
I 4- ST

No. 107 24-ORCH.

_M UM t

PUBtlSHFPS
NT

' / U S .

H.
Oi.

a.

B;v

H t >.

=v~t
t ,,4.

TU.

Tuba

T imi

fi.

at.
cl

m

* •+*
BkA.

S £ 3 t i £

dw . ^

\iln.

Mia.

\JC

5 -8 .

f
ST R O)
N o . 107

2 4-O R C H .

101

*

lN Dt»*tN D £N T

:i 5 l 4'y V -t’

n.

CL. '

Btn.

cre/T.

'fin.

7
Tpft.

Tin.
Tufca
Ti^.

fh£um_ -/ <sr-T

fcK

fr\«m

r ^ f t j i a L . .^ - i f , , ,

m

'
•;'

in
* _______ :

.:J a u ^
~t

~{

:

~

T

~

J

,v, ' v ' f f t V i p r

ft

X

?■
*V- /V*

y

= L

.5 4 J

i.f
W ^ V f t > * -i h *r -C

.

Jteh-uLwere,

V/|ft

Via.

Vc

&-B.

No. 107

24-ORCH.

m & ji

105

IN D F P tN W K T
i'. if

*7 5?

< *”

PI-6l.1SH6»>
>

N r

? u S A

CONCERTO CROSSO FOR ORCHESTRA A N D WIND QUINTET

by

Jack No rm ain Kimmell

A THESIS

Submitted in partial fulfillment
of the requirement for the degree of
DOC TO R OF PH ILO SO PHY IN COMPOSITION
at Mic hi g an State University,

East Lansing,
1958

M ich iga n

Concerto Grosso for Or chestra and Wind Quintet

During the last half of the seventeenth century and the b e ­
ginning of the eighteenth century,

the concerto grosso was

the most popula r form of instrumental ensemble.
masses were set off in this form,
of these,

Two tonal

one against the other.

One

the tutti or c o n c e r t o , was usu al ly a string choir

with additional instruments.

The other,

the solo or

c o n c e r t i n o , was a group of solo instruments
solo winds,

. . .

strings or a combination of the two.

a group of
The essence

of this form was the antiphonal relationship between the two
groups.

The solo group was us ua lly more elaborate than the

t u t t i , but the display of virtuosity,
certo,

as in the classic co n ­

was not as important as the contrast of single or

small-group voices

of individual color with a full and more

impersonal tone of the t u t t i .

Concerto G-rosso for Orchestra and Wind Quintet is a co m p o s i ­
tion in the mod er n idiom which follows the form and c h a ra c­
teristics
motive,

of the classical concerto grosso

the driving force,

the antiphonal relationship be ­

tween the two groups of instruments,
of movements.

flat,

two bassoons,

flat,

three trombones,
triangle)

two oboes,

four horns in F,
tuba,

timpani,

and strings.

concertino is flute,
bassoon.

the fast-slow-fast order

The ins tru mentation of the tutti is two flutes

(second doubling piccolo),

cymbal,

. . . the short

oboe,

two clarinets in B
three trumpets in B
perc uss io n (snare drum,

The instrum en tat ion of the

B flat clarinet, horn in F and

The composition is in three movements:

Allegro-

a n i m a t o , Andante and Allegro m a non t r o p p o .

The first movement,

A l l e g r o -a n i m a t o , is consistent with the

concerto grosso style in that the thematic material is f r a g ­
mentary.

The tonalities D and E flat are used simultaneously

throughout this movement,
end.

especially at the beginning and the

There are three main motives in the movement and each

of these is developed h ar mo ni cal ly and co n t r a p u n t a l l y .

The

mo vement begins with an orchestral in tr oduction after which
the solo quintet enters.

Here the principal style of the

classical concerto grosso comes into

effect with the a n t i ­

phonal use of the orchestra and the quintet.
develops one of the motives in fugal style.
al harmonies are not used,

The solo group
Though tradition

the entrances during this fugal

development are transposed to the dominant and subdominant.
As the development continues,
pizzicato accompaniment,

the violas and

'celli play a

the rhythm of which shifts from a

feeling of 3/d- time to 4-/4- time.

Later,

the strings and

brass carry on an augmentation of previo usl y stated material.
This grows in intensity with the entrance of the entire
orchestra.

Finally,

the basses and

a rhythmic feeling of 6/8 time begins in

'celli, which is taken up in contrapuntal

development by the solo quintet.

The quintet and orchestra

move in rhythmic

changes from 6/8 to 7/8 time and end with a

sweep in a loud,

full dissonance

In the second movement,

A n d a n t e , the horn and bassoon are

eliminated from the solo group.
with its development.
joined by divisi
violins.

Only one basic theme exists

This begins with solo oboe,

'celli, violas,

and,

finally,

later

2nd and 1st

The strings then take up the theme in pizzicato as

the solo clarinet enters,

carrying on a duet with the oboe.

As the material is developed,
for a short time,
ied.

(I) against E flat).

Gradually,

the solo flute appears,

and,

the three solo instruments play u n a c c o m p a n ­
the entire orchestra enters,

climax from which the solo flute appears,
by the solo oboe and clarinet.
second part of the theme,

building to a

to be joined again

A g ai n the oboe takes up the

but instead of string accompaniment

as in the beginning of the movement,

it is accompanied by

four horns in close dissonant harmony.

The movement comes to

an end as the solo trio gra dually works toward the tonality
of C, although the tonality of L flat creeps in with the bass
and timpani.

Allegr o ma n o n t r o p p o , the final movement,
a free,

four-part double fugue.

is in the form of

Both the subject and the

countersubject are maintained and developed throughout.
this movement,

especially,

In

the characteristic driving force

of the classical concerto grosso can be felt.

The subject

of the exposition is carried by the 1st violins in vigorous
eighth and sixteenth notes.

The 2nd violins answer a fifth

lower as the 1st violins continue with the countersubject.
The third entrance appears in the viola a fourth lower while
the fourth entrance is in the basses and
strings

’celli.

continue with an augmentation of the fugue subject,

the solo quintet suddenly begins a false entrance.
one,

As the

One by

all but the flute enter with subject and answer.

The

subject and countersubject are developed in the tutti and the
solo group.

The material is inverted,

ed in stretto.

augmented and p r e s e n t ­

The development section is brought to a

rousing climax as the strings,

divisi,

the countersubject over and over.

repeat a fragment of

This acts almost as a

pedal while the subject is presented above in the brass.
movement comes to a close,
converse musically,
movement,

The

as the orchestra and solo quintet

and ends in the original tonality of the

E (or F flat).

All three movements make use of polychordal harmon y and co n ­
stantly shifting tonal centers which sometimes give the
feeling of atonality.