379 A/&/S

MO./O-tl

THE FIFTH AND SIXTH CLARINET CONCERTOS BY

JOHANN MELCHIOR MOLTER: A LECTURE

RECITAL TOGETHER WITH THREE

ADDITIONAL RECITALS

Presented to the Graduate Council of the

North Texas State University in Partial

Fulfillment of the Requirements

for the Degree of

DOCTOR OF MUSICAL ARTS

By

Richard A. Shanley, M. M.

Denton, Texas

August, 1976

© 1976

RICHARD ADRIAN SHANLEY

ALL RIGHTS RESERVED

Shanley, Richard A., The Fifth and Sixth Clarinet

Concertos by Johann Melchior Molter: A Lecture Recital

with Three Additional Recitals. Doctor of Musical Arts

(Performance, Clarinet), August, 1976, 59 pp., 9 tables,

16 figures, 83 titles.

The dissertation consists of four recitals: one

chamber music recital compiled from two years' series of

chamber music performances in residence, two solo recitals,

and one lecture recital. The repertoire of these programs

was chosen with the intention of demonstrating the capa-

bility of the performer to deal with problems arising in

works of varying types and of different historical periods.

The lecture recital, The Fifth and Sixth Clarinet

Concertos by Johann Melchior Molter, begins with perhaps

the first performance of the Concerto No. &_ in D Major,

Mus. Hs. 337, for clarinet in D with orchestral accompani-

ment reduced for piano. Bibliographical, historical and

technical information is marshaled to justify the solo

designation of Badische Landesbibliothek concerto manu-

scripts 334 and 328 to D clarinet rather than clarino.

An investigation into the formal and stylistic

aspects shows these two questionable works to be comparable

to the composer's other four clarinet concertos. The

analysis is followed by a short discussion of the problems

involved in the transcription and performance of the works.

The lecture concludes with the first performance of

the Concerto No. _6 in D Major, Mus. Hs. 328, for clarinet

in D with orchestral accompaniment reduced for piano.

Tape recordings of all performances submitted as

dissertation requirements are on deposit in the North Texas

State University Library.

if.

: "*• Ho'iSSl TEXfts STATE UNIVERSITY

—• 5a*00I^0f. MUSIC

Presents

WCHARD A; SHANLEY

OSITE TAPE OF CHAMBER MUSIC PERFORMANCES

a

in TAPE 0

December 10, 1968 Octet

Sinfonia . .

Teaa con variazoni ' ' ' ST«AVINSKY Finale

Helen Ann Shanlev

Mchard Shanley, clarinet Rob 1 1 8" D e J o n8. trumpet f , " e " Taylor, bassoon ?° L a n e s«. trumpet Unda Miller, bassoon J',ck C o b b« trombone

Lee Gibson, conducto'r"""' t r 0 m b ° n e

December 10, 1968 OtHnfA^ J _ " 1968 Quintet l n Eb ^ Q p 8 8 > N o < 2

M ^ u e t t ^ ^ M L g r o " 3 ' 0 ^ m C H A

Poco Andante

Finale: Allegretto

Ann Shanlev fi„^a

Brenda Rager, oboe S h a n l ey» clarinet

Dean Corey, horn T a y l o r ' bassoon

December 18, l 9 6 8

Divertimento f o r F i v e W l n d s ,

Allegro C a n t a b HEL POWELL

Largo Vivo

Helen Ann Shanley, f i u t e

•James Gavigan, oboe ^ ! * a r d Shanley, clarinet

William DeJone t,, ' ® " T a y l o r ' bassoon

February 26, l 9 6 9 *'

berceuses du Chat

March 17, l 9 6 9 " S h a n l e y > bass clarinet

The Flowering p e a ch . . . .

sz Ron Snyder, percussion

March 28, 1969

Four Pieces for Flute Oh I- Waltz 6* ° b o e ' Clarinet (1 9 6 8 )

E q U a V r C o n s t - « i o n " J - ^ci t; tive a ^ r i ° aD F I E L D

Ann Shanley, f l u t e Rhythmic Canon

Richard Shanley, " nd J e n d e " ° n . oboe

4>*il 16, 1969 Octandre . . .

Assez lent

Tres vif et nerveux EDGARD VARESE Grave

Helen Ann Shanley, f l u t e

Brenda Rager, oboe ° e a n C o rey, horn

Wchard Shanley, clarinet f L a n e s e ' trumpet

Kelbert Taylor, bassoon % F ' S U t k '

^ r i l 16, i 9 6 9 E d m u n d 0 Garcia, double bass

Concertino . . . .

f l u C e ' ' ' ^ s T - y i o ; / ^ R S m v i N S K Y

James Cavigan, English horn 5 l a ? d l a H°o<l, horn

Mchard Shanley, clarinet f C o b b , 'rombone

L l n ^ ' r U a y l ° r l bassoon James Clark, bass trooboBe

Linda Miller, bassoon violin * J o h n Hall, cello

NORTH TEXAS STATE UNIVERSITY

SCHOOL OF MUSIC

presents

RICHARD A. SHANLEY

in a

GRADUATE CLARINET RECITAL

assisted by

DOROTHY DOOLEY, pianist

Tuesday, June 10, 1969 8:15 p.m. Recital Hall

IV

Concerto in E-Flat Major Jan Evangelista Antonin Kozeluh

Allegro (cadenzas by the performer)

Rondo Allegretto

Very little is known of this Bohemian-born composer except that he was the teacher of his more well-known cousin Leopold. From 1784 until his death in 1814 he was choirmaster at the St. Vitus Cathedral in Prague. Among his many works number concerti, masses, operas and symphonies, most of which are still in manuscript. This concerto, which dates from around the year 1800, was recently discovered and revised from a manuscript in the Prague Museum by Jiri Kratochvil, a noted Czech clarinetist.

As a whole this work exhibits many of the pre-Mozartian tendencies of solo wind music, much like the works of Karl Stamitz and other Mannheim composers. The first movement, while being quite tuneful, thrives most par-ticularly on motivic alteration and quasi development. There is no real, con-trasting second theme, although a second section, which is related to the end of the first, does add variety. No lengthy development exists; however, there is fragmentary treatment of the exposition material. After a recapitulation of the opening tutti, the first theme is heard in the dominant key. It is heard again only in a highly fragmented manner in the tonic combined with the tail portion of the codetta, which serves to lead to the cadenza.

The second movement is in a rounded four-sectional song form. Unlike the first movement, this singing adagio takes advantage of the lyrical tone of the chalumeau register. It is characterized by small note values and ornamental design which evoke thoughts of the Empfindsamer StiL

The rondo is irregular: the ABC first section leads to a D section (derived from the A portion) which in the expected repetition becomes a greatly altered A portion. A second section resembling an abbreviated development ensues, giving the movement a quasi sonata-rondo design. The A section is recapitulated, and the clarinet optionally doubles the closing figure.

Sonata in E-Flat Major, Op. 120, No. 2 Johannes Brahms

Allegro amabile Appassionato, ma non troppo Allegro Andante con moto

This sonata is the last of the works for clarinet, all of which were written for Brahms' "prima donna," the clarinetist Richard Miihlfeld. This performer's grand tone and superb musicianship inspired the aging masters musical spirit thereby stimulating the creation of two sonatas which have not been challenged in their exploitation of the clarinet's unique expressive qualities.

V

Although the opening theme has been criticized as commonplace, the motivic treatment is particularly inventive. The workmanship is so subtle that one may well overlook some of the more technical aspects of this movement, like the canon in the second thematic group. The development leads smoothly from E major to the tranquillo coda in E-flat major, which is constructed from triplets originally used in the development.

The scherzo-and-trio form of the second movement is disguised by the full-textured treatment of the robust first theme in E-flat minor. The sustained and more noble theme of the B major trio is constructed principally of seven measure phrase groups. Brahms' use of two allegro movements heightens the need for a slow third movement.

In all of chamber music there is no more beautiful use of the variations form than in this movement. The first through the fourth variations implicitly follow the theme, not only in number of measures, but also in internal arrangement. The fifth variation breaks the pattern by being cast in duple meter and by having two distinct sections; however, the free tranquillo, which is fragmentarily re-lated, serves more as a closing group or coda than as a separate variation.

. Intermission . . . .

Concerto for Clarinet in A Paul Hindemith

Rather fast Fast: Ostinato Quiet Gay

This work, written for Benny Goodman, is the first in a series of concern-tos for winds composed between 1947 and 1949. It clearly shows Hindemith's interpolation of modern harmonic-melodic devices within the framework of classical form.

The first movement exemplifies the composer's use of the sonata form, but with great imagination: the opening tutti exposes two themes while the clarinet presents an even different melody and then still another new theme. The broad concertante texture becomes increasingly complex and the first tutti is recapitulated by using the two themes in combination. The clarinet theme is again heard, but this time a third lower. The next presentation of this theme is one half-step higher than the original. A smilar process is again undertaken; however, on the clarinet's third attempt at restatement (this time at the original pitch level) the movement is terminated abruptly by trills in the accompaniment.

V I

The second movement demonstrates the composer's wit and rhythmically subtle craftsmanship in a truly scherzo setting. In the opening section the solo material for the clarinet is cast predominately within the range of the instru-ment's register break. A rhythmically shifting ostinato follows, and the move-ment ends as it began.

The pastoral slow movement consists of three full statements of a graceful melody separated by two episodes. The climax is achieved during the first episode through textural complexity and by the clarinet's sustained line in the upper register. The second episode, contrastingly quiet and simple, is disturbed by a frantic accompaniment which subsides and leads into a peaceful coda.

The critic, Norman Del Mar, notes that "the cheerful last movement is a kind of latter-day rondo to Mozart's Clarinet Concerto. The rondo subject itself contains figures not unlike Mozart's, but carries in its train a succession of new ideas far removed from 18th Century melodic style." Although the formal outlines are that of a rondo, the composer changes thematic recurrences and intervallic relationships, as in the first return of the principal theme which is raised one half-step. Toward the end of the movement there is a gradual loss of momentum until the music comes to a pause. A final statement of the original rondo theme closes the work.

Presented in partial fulfillment of the requirements for the degree Doctor of Musical Arts

V I 1

NORTH TEXAS STATE UNIVERSITY SCHOOL OF M.US1C presents

In A Graduate Recital*

RICHARD A. SHANLEY, clarinet and

SANFORD MARGOL1S, piano

Concerto No. 3 in G Major

Allegro moderato

Adagio

Allegro

JOHANN MELCHOIR MOLTER

Introduction, Theme and Variations GIOACCHINO ROSSINI

Sonata in F minor, Op. 120 No. 1

Allegro appassionato

Andante un poco Adagio

Allegretto grazioso

Vivace

JOHANNES BRAHMS

*Presented in partial fulfillment for the degree of Doctor of Musical Arts in Clarinet Performance.

Thursday, December 16, 1971

Recital Hall 3:00 p.m.

V l l l

North Texas State University

School of Music

Presents

RICHARD A. SHANLEY in a

Graduate Lecture Recital assisted by

JAMES WILLIAMS

Monday, September 8, 1975 4:00 p.m. Recital Hall

Concerto No. 4 in D Major, MS 337 Johann Melchior Molter

Transcribed for Clarinet in D and Piano by Donald I. Moore

I Moderato II Adagio III Allegro

Lecture: The Fifth and Sixth Clarinet Concertos by Johann Melchior Molter

I Historical Aspects II Analytical Aspects

Concerto No. 6 in D Major, MS 328 Johann Melchior Molter

Transcribed for Clarinet in D and Piano by Donald I. Moore

I Moderato II Largo III Allegro

This recital is presented in partial fulfillment of the requirements for the degree Doctor of Musical Arts.

IX

TABLE OF CONTENTS

Page

LIST OF TABLES xi

LIST OF ILLUSTRATIONS xii

HISTORICAL ASPECTS 1

Introduction Biography The Manuscripts Numbering the Concertos Treatment of the Clarinet

ANALYTICAL ASPECTS 24

Introduction Form Melodic-Rhythmic Characteristics Conclusions

BIBLIOGRAPHY 52

LIST OF TABLES

Table Page

I. Diverse Numberings Applied to the Clarinet Concertos 7

II. Range in the Solo Parts of the Clarinet Concertos 18

3 III. Occurrence of Notes Above d in the

Concertos 19

IV. Chromatic Tones Employed in the Six

Clarinet Concertos 20

V. Outline of the Six Concertos 25

VI. Distribution of Tutti, Solo, and Total Measures by Movements 26

VII. First Movement Tonalities, Ritornellos, and Solo Sections 28

VIII. Second Movement Tonalities, Ritornellos, and Solo Sections 30

IX. Tonalities Employed in First and Second Sections of the Third Movements 32

XI

LIST OF ILLUSTRATIONS

Figure Page

1. Biographical synopsis of Molter's Life 5

2. Thematic relationships between movements of adjacent concertos 11

3. Modified thematic relationships among Cones. Ill, IV, and V as shown in Cone. V, I, 34-35 12

4. Motivic similarities between adjacent

concertos 13

5. Clarino figures found in Cone. VI 21

6. Clarinet figures 22

7. Form and key structure of Cone. V, I 28

8. Form and key structure of Cone. VI, I 28

9. Form and key structure of Cone. V, II 31

10. Form and key structure of Cone. VI, II 31

11. Form and key structure of Cone. V, III 33

12. Form and key structure of Cone. VI, III . . . . 33

13. Skip patterns, Cone. Ill, I, 74-76 39

14. Complex notation 40

15. Cadential formulas 42

16. Rosalia, Cone. VI, II, 27-32 45

xix

HISTORICAL ASPECTS

Introduction

Until recently, little scholarly interest has been

focused on the earliest solo works for clarinet. It

seemed sufficient to know that the most important con-

certos before Mozart's were those by Johann Stamitz

(1717-1757), his son Karl (1745-1798), and Franz Xavier

Pokorny (1729-1794)."'' Little attention was given to the

other lesser composers or clarinetist-composers dating from

the second Mannheim generation through the first decade of

the nineteenth century.

It was not until 1934 that the musicologist Peter

Gradenwitz was able to determine that a manuscript he had

uncovered in the Thurn and Taxis Court Library was most

2

likely composed by Johann Stamitz. He cautiously proposed

this as the first clarinet concerto, speculating that "it

was written certainly before 1772, and probably before

Robert Titus, "The Solo Music for the Clarinet in the Eighteenth Century," unpublished Ph.D. dissertation, School of Music, University of Iowa, Iowa City, Iowa, 1962, pp. 142, 164, 184.

2 Peter Gradenwitz, "The Beginnings of Clarinet

Literature," translated by G. D. H. Pidcock, Music and Letters XVII (1936), 145.

3

1757." He and other authorities must have overlooked the

concertos for clarinet in D by Stamitz1 older contemporary,

the Durlach court musician, Johann Melchior Molter (1696-

1756) .

Two Molter concertos are listed in the original 1900 4

publication of Eitner's Quellen-Lexikon. On the other

hand, F. Geoffrey Rendall, noted English clarinet historian,

probably obtaining his information from Eitner rather than

from the manuscripts themselves, mentions "two little-5

known concertos by J. M. Molter" in his book published in

1957. However, two years earlier Heinz Becker had discussed r

four, rather than two Molter clarinet concertos. And

Friedrich Hermann also mentions four clarinet concertos,

but suggests that a fifth manuscript may also be for 7

clarinet. Karl Haas positively states that there are

six clarinet concertos by Molter but offers no proof.8

3Ibid., p. 145.

4 Robert Eitner, "Molter, Johann Melchior,"

Biographisch-bibliographisches Quellen-Lexikon der Musiker und Musikgelehrten (Leipzig, 1900-1904), 10 vols., reprint (New York, 1947), VII, 24.

5 F. Geoffrey Rendall, The Clarinet (London, 1957),

p. 76.

g Heinz Becker, "Zur Geschichte der Klarinette in 18.

Jahrhundert," Die Musikforschung, VIII (1955), 290.

7 Friedrich Hermann, "Molter, Johann Melchior," Die

Musik in Geschichte und Gegenwart, 14 vols., edited bv F. Blume (Kassel, 1958), VII, col. 448.

8 Karl Haas, "Note," Overture (Suite) for Two Clarinets

and Horn by G. F. Handel (London, 1952).

Two excellent doctoral dissertations on the early

9

clarinet concerto by Robert Titus in 1962 and Elsa

Ludewig in 1963"^ presented the first detailed study of

the four Molter clarinet concertos edited by Heinz Becker

in Das Erbe Deutscher Musik.^ The two recently uncovered

concertos (five and six) have yet to be given similar

attention.

It was not until 1969 that Edward Lanning presented

material which satisfactorily showed that one of the ques-

tionable concerto manuscripts without a solo-instrument

designation in the Badische Landesbibliothek is for clari-

12 net. To date, no critical discussion of the proposed

13 sixth concerto has appeared in print.

9 . Titus, "The Solo Music for the Clarinet in the

Eighteenth Century." 10Elsa Marie Ludewig, "A Study of Published Clarinet

Concertos Composed before the Mozart Clarinet Concerto," unpublished D.M.A. dissertation, Eastman School of Music, University of Rochester, New York, 1963.

^Heinz Becker, editor, Klarinetten Konzerte des 18. Jahrhunderts, Volume XLI of Das Erbe Deutscher Musik (Wiesbaden, 1957) .

12 Edward Francis Lanning, "The Clarinet as the

Intended Solo Instrument in Johann Melchior Molter's Con-certo 34," unpublished D.M.A. dissertation, The Conservatory of Music, University of Missouri, Kansas City, Missouri, 1969.

13 Letter from Klaus Hafner, Director, Music Division,

Badische Landesbibliothek, Karlsruhe, Germany, March 1975. Mr. Hafner is preparing a monograph on the life and music of Molter. He states that "there are no more than six clarinet concertos."

This paper will show that manuscript 328 is for

clarinet, not clarino, and will place all six concertos in

plausible musical perspective. It will also show how the

fifth and sixth concertos fit the model established by the

first four clarinet concertos in contrast to the trumpet

concertos and will also offer information relative to the

dating and numbering of all six works—now some twenty

years after the initial investigations by Becker.

Biography

14

Until Klaus Hafner's research even the most astute

biographers and historians knew very little of Molter's

life."^ The information provided by Hafner in Figure 1

fills in the chronological gaps and puts an end to much of X 6

the speculation regarding Molter's life.

14 Johann Melchior Molter, Concerto No. 1 for D Trumpet,

edited by Stephen L. Glover and John F. Sawyer, bio-graphical notes by Klaus Hafner (Nashville, 1972) , p. 3.

15 Several authors such as Eitner and Fetis list a

number of his works but offer few details concerning his life. Schiedermair's chronicle contains references to some of Molter's activities, but nothing about the date or place of his brith, his early education, or even the date of his entrance into the musical service of the Durlach court. Ludwig Schiedermair, "Die Oper an den badischen Hofen des 17. u. 18. Jahrhunderts," Sammelbande der Internationalen Musik-Gesellschaft, XIV (1912-1913), 191 ff.

16 Even Becker relies on Riemann when he states that

the approximate date of birth seems to agree with Molter's first residence at Durlach. Becker, "Vorwort," Erbe Deutscher Musik, p. viii.

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Molter was born into a musical family in 1696 at

Tiefenort near Eisenach. As a youth he may have studied

with Telemann at the Gymnasium in Eisenach. He held but

four court positions during his lifetime. He first was

employed in Karlsruhe about 1717 and then after study in

Italy (1719-1721) returned to become Hofkapellmeister in

1722. In 1733 the War of Polish Succession forced the

dissolution of the court and he obtained employment at

Eisenach. Upon his wife's death in 1737 he again journeyed

to Italy to study the Neapolitan style. He returned to

Karlsruhe in 1741 upon the death of the Duke of Sachen-

Eisenach but found court music in a sad state. With the

aid of the successor and benevolent patron, Carl Friedrich,

court music was revitalized according to Molter's plan in

1747. Upon Molter's death in 1765 the post was left vacant

for one year in tribute to him. Though history has been

unkind to Molter, he contributed to music of the period

with some 169 symphonies, 95 concertos and concertinos,

18 14 overtures, and 66 sonatas for various instruments.

The Manuscripts

All manuscripts of the works in question are available

in photocopy or on microfilm from the Badische

18 Alfred Loewenberg, "Molter, Johann Melchior," Grove's

Dictionary of Music and Musicians, 5th ed., 10 vols., edited by Eric Blom (New York, 1954), V, 564.

19 Landesbibliothek in Karlsruhe.

ferent descriptive numbers applied to these concertos.

Table I shows the dif-

20

TABLE I

DIVERSE NUMBERINGS APPLIED TO THE CLARINET CONCERTOS

Library Manuscript Number

Library Incerta Number

Discussion Order Number

Mus. Hs. 304 Cone. 6 I Becker*

Mus. Hs. 334 Cone. 36 II Becker

Mus. Hs. 302 Cone. 4 III Becker

Mus. Hs. 337 Cone. 39 IV Becker

Mus. Hs. 332 Cone. 34 V Lanning

Mus. Hs. 328 Cone. 30 VI Shanley

*Names given to show responsibility for numbering 21

All six orchestral manuscript scores are preserved,

but Cone. 1 is the only one which has the original title

page and solo part as well as parts for two violins, viola,

19 In a 1942 air raid on Karlsruhe, where almost all

of the extant Molter manuscripts are preserved, twelve con-certos for orchestra, composed in Venice in 1720, were lost. Molter, biographical notes by Klaus Hafner, p. 3.

20 They are hereinafter cited as Becker has numbered

them, with manuscript 332 being considered the fifth con-certo and manuscript 328 being considered the sixth.

21 Hereinafter the following abbreviations will apply:

Cone. and the appropriate Roman numeral will designate the concerto, a Roman numeral only will signify the movement, and Arabic numbers will denote measures.

22

cello, two oboes and cembalo. No other manuscripts for

any other clarinet concertos are preserved except for the

title, solo, two oboe, and cembalo parts for Cone. Ill.

The original title page for both the first and third

concertos clearly shows the instructions "Concerto per

Clarinetto concertato"; and the autograph "Di Molter"

appears on the right-hand edge of the first concerto's

title page.

All opening movements are marked C (common-meter).

There are no tempo markings on any of the manuscript

scores, but there are indications on the separate manu-

script parts; however, no single parts carry complete tempo

indications. It may be noted that because of ther simi-

larities all the first movements probably are "Moderato."

The second movements of the first two concertos are "Largo,"

and both employ 3/4 meter. The slow movement of Cone. Ill,

marked "Adagio," is in common meter; the unmarked middle

movement of Cone. IV is probably in "Adagio" too, for it

also employs common meter. The same reasoning appears to

apply to the slow movements of Cones. V and VI which again

22 According to Becker, the oboe parts appear to be

written by someone other than Molter. In addition, neither title page nor parts remain for the second and fourth con-certos. However, the manuscripts gathered for this investigation included an incomplete solo part for Cone. Ill with the first two lines of the solo part for Cone. IV scratched out above. Hafner confirms Becker's information and the complete solo part for Cone. III. Letter from Klaus Hafner, June, 1975.

employ 3/4, suggesting a "Largo" marking. All the last

movements are "Allegro" even if Cone. VI does use 3/4

meter instead of 3/8. See Table V, p. 25.

Dynamics seldom occur on either scores or parts, but

when they do they are usually of the "echo" variety and

are written "p.", "p-", "piano" or "fe.", or "forte."

There are no indications for crescendo or diminuendo.

Ties are fairly common and a few slurs can be found;

however, other articulations are rare.

The manuscript scores of Cones. V and V!I show evidence

of hasty copywork. Many notes and measures are corrected

by the composer and the notation in general is sloppier

and just as smudged when compared to that of the other

manuscripts. Questionable notation leaves some passages

in both Cones. V and VI open to discussion. There are,

however, few passages which cannot be corrected by com-

paring them with parallel or similar passages or by

establishing the proper melodic-harmonic relationship. In

editing dynamics, tempo descriptions, and variolas articu-

lations in Cones. V and VI one can only employ the examples

23 established by the extant parts. It appears that Klaus

23 Becker in Das Erbe Deutscher Musik employed this

same technique and Glover applied this principle in his publication of the trumpet concertos.

10

Hofmann in a 1974 orchestral edition of Cone. VI adopted

24 the same approach.

Numbering the Concertos

In a recent letter, Heinz Becker noted that he num-

bered the concertos in his edition according to professional

25 expertise in conformation with the publisher. He like

many other researchers was unfamiliar with manuscripts 332

2 6

and 328 because their solo parts were undesignated. He

further suggests that the incerta numbers were probably

assigned by pure chance, because more data are needed to 27

prove otherwise. See Table I.

Klaus Hafner states that he assigned the numbering

sequence for the clarinet concertos in his catalog of

Molter's works on a basis of key: first the four D major

concertos beginning with the two not edited by Becker, then

the concerto in G major, and finally the concerto in A

major.^

The use of borrowed material further complicates the

numbering of these concertos. It was not uncommon in the

24 Johann Melchior Molter, Concerto in D Major for

Clarinet, edited by Klaus Hofmann (Stuttgart, 1974). 25 Letter from Heinz Becker, Musikwissenschaftliches

Institut, Ruhr-Universitat Bochum, Bochum-Querenburg, Germany, January, 1975.

26Ibid. 27Ibid.

28 Hafner, letter, June, 1975.

11

Baroque or Classical periods to borrow themes or even en-

tire sections of movements from oneself or another composer.

Johann Adolph Hasse borrows almost exactly the first two

measures of Molter's clarinet Cone. I, for the orchestral

opening of his Flute Concerto in D Major found in volumes

29-30 of the Denkmaler Deutscher Tonkunst. 29 Other simi-

larities are obvious throughout the work. Molter consistent-

ly borrows material from a solo portion of the second move-

ment of one concerto and uses it in a solo section in the

30

first movement of the following concerto. He continues

this practice between Cones. I and II, II and III, and

III and IV. See Figure 2 for examples of thematic relation-

ships .

a.

b.

29 Letter from Albert Rice, student of clarinet and

music literature, Claremont Graduate School, Claremont, California, May, 1975. I am indebted to Albert Rice for calling this to my attention.

30 Ludewig, pp. 115, 157, 189. She seems to be the

first author to document any of these relationships.

12

c.

a. Cone. II, II, 11-12 b. Cone. Ill, I, 19-20 c. Cone. Ill, II, 10-13 d. Cone. IV, I, 60-62

Fig. 2—Thematic relationships between movements of adjacent concertos.

The practice does not continue with the same degree of

clarity in the relationship between Cones. IV and V; but

note the similarity of line in Figure 3 with that of Figure

2c and d.

Fig. 3 Modified thematic relationships among Cones. Illy IV, and V as shown in Cone. V, I, 34-35.

The similarities do not appear to continue between Cones.

V and VI; however, there is a resemblance between a string

motive in Cone. V, I and a solo part in Cone. VI, III, as

illustrated in Figure 4.

13

a.

a. Cone. V, I, 8-10 b. Cone. VT, III, 46-48

Fig. 4—Motivic similarities between adjacent con-certos .

The re-employment of musical ideas emphasizes two

points: first, Molter maximized the use of all thematic

material; second and more important, his borrowing of slow-

movement material from the preceding concerto to serve as

first-movement material in the next concerto may actually

justify the numbering suggested by Becker and extended in

this presentation.

In all six concertos the low register is generally

avoided. It was not until Pokorny's two clarinet concer-

tos of 1765 that the low register was used to any great

extent and even then the low e was excluded.31 Cones. V

and VI contain two unique notes which may affect their

numbering and dating. The sixth concerto is the only

31 Becker, "Die europaische Klarinette," Die Musik in

Geschichte und Gegenwart, 14 vols., edited by F. Blume — (Kassel, 1958), VII, col. 1018.

14

Molter clarinet concerto to include a low £. It is

treated much like a clarino note, for there are no inter-

vening notes. And the fifth concerto employs a middle b1

which cannot be fingered on the two-keyed clarinet. It may

in extreme circumstances be lipped down to pitch from the

2

c above, but these appearances in rapid passages would

probably need to be fingered. If this is true then a

three-keyed clarinet would be required. These instruments

are said to have existed somewhere between 173032 and

33

1764; however, the later date seems more reliable.

One may then say that the fifth and sixth concertos

do exhibit techniques which could place them later than

the other four. On the other hand their comparative sim-

plicity might indicate that they were predecessors; further-

more, the low c[ and the b"" could have proven unsuccessful

and Molter may have abandoned them in his later works.

Their simplicity could also indicate that Molter wrote the

last two works toward the end of his career when his crea-

tive resources were exhausted. If this is true then one

might expect more use of borrowed material; however, there

are but two inconclusive examples of this practice.

32Rendall, p. 72.

33 A contemporary account by V. Roesser implied that

the b-key was added shortly before 1764. Becker, "Die europaische Klarinette," col. 1018.

15

The fifth and sixth concertos, if they are, in fact,

chronologically the final two, show great similarities to

the first four, particularly in the use of ritornello form.

Becker supports his dating of the first four as "about

1750" by emphasizing the reorganization of the Durlach

court and Molter's use of ritornello form.34 Hans Engel's

statement that "around 1760 all concertos show sonata

35

form," does not necessarily negate Becker's argument

because Molter was a minor composer and such men do not

always keep abreast of the significant musical trends.

The primary difference between Cones. V and VT and

the first four is the lack of contrast between the solo

and orchestral line in the last two. This alone is not

enough to place them in a different compositional time

P©^iod from the others; however, the most compelling evidence

for logical dating points to somewhere within Molter's

34 Becker, letter.

35 Hans Engel, The Solo Concerto, translated by Robert

Kolben, Vol. XXV of The Anthology of Music, edited by K. Gustav Fellerer (Cologne, 1964) , 86~! See also Titus, pp. 118-119.

16

tenure (1746-1765) at Carl Friedrich's court at

3 6

Karlsruhe. Currently the dating problem is plagued

with large gaps in information and conflicting opinions;

thus no firm conclusions can be drawn regarding either the 3 7

numbering or dating of these six works.

Treatment of the Clarinet

The stylistic treatment of the clarinet in these six

concertos in unique in the history of solo writing for the

instrument. They are not only the earliest known solo

36m, . . . There are numerous varying opinions, but Schieder-

mair (pp. 191 ff) seems to provide Becker and other scholars with the most logical explanations to refute Rendall's (p. 96) unsupported dating of 1740. It seems possible that these works may have been written for a Dur-lach court oboist-flutist-clarinetist, Johann Reusch. Titus (p. 113) notes that Molter twice interceded on his behalf: once in 1747 to raise his status from oboist and stable lackey to that of court musician, and once for a pay in-crease with the justification that he filled the vacancy created in the clarinet—horn choir by Jacob Hengel's resig-nation. Hengel's instrument is not specified, but if he were a clarinetist or a doubler, then there is a slim pos-sibility that at least the early works could have been written for him, because an inventory at Kremsmunster in 1747 did list clarinets. Becker, "Die europaische Klari-nette," p. 1017.

37 . Titus tries to summarize the problem by stating

that "The earliest likely date is 1747, though it is pos-sible but extremely improbable, that they were composed between 1743 and 1747. The latest possible date, 1765, the year of Molter's death, also seems highly improbable, as does any date in the 1760's. The most likely period, then, is the decade or so beginning in 1747." Titus, p. 120. However, this poses a problem when the three-keyed clarinet is considered (see p. 19).

17

concertos but they also seem to be the only solo compo-

sitions for clarinet in the Baroque era.

When the first four were brought to mass attention in

1955, there was reason to justify the theory that the pieces

were not written for clarino (high trumpet) even though they

were clearly listed by the composer as being for the clarinet.

The fact is now well accepted that Molter was careful to

distinguish clearly between clarinet, clarino, and chalumeau

in his instrumental designations. But, therein lies the

need for justification. He does not specify an instrument

for these last two works; and his treatment of the clarinet

is at times very similar in all six of the concertos to that

of the clarino, whose sound it closely resembled.38 Hence,

some distinctions need to be made.

Range

Table II presents the ranges used in each of the six

concertos. None of the Molter trumpet concertos ventures 3

above d , while the clarinet works frequently ascend to #3 3

f and g . The tessitura of the lines is frequently

higher, also. Only nine of the movements have notes below

g and only in four of these does low c"1" appear, with the

notable exception of the low g in Cone. VI. Molter's

three trumpet concertos do not venture below g1.

38, , John Burnau, "The Origin and Development of the

Clarinet-Part I," The Instrumentalist, XXII No. 8 (March, 1968), 53.

18

TABLE II

RANGE IN THE SOLO PARTS OF THE CLARINET CONCERTOS

Concerto 1st Movement 2nd Movement 3rd Movement

I c2-g3 c2-f#3 2 3

d - d II c1-f#3

c2-e3 1 3 g -e

III c ^ g 3 2 3 c -g c^-e3

IV 1 3 g -g 2 3 c -g c*-e3

V d 1 -g 3 2 3 c -fJ

c2-d3

VI c1—f#3 1 3 g -e g-f3

The solo writing falls primarily in the octave d2-d3,

and there appears to be even distribution between the upper

2 3 o o tetrachord (a -d ) and the lower one (d -g ). In general,

each movement uses a progressively smaller total range,

again with the exception of Cone. VI, which uses a

progressively wider range in the second and third move-

ments .

In general the occurrence of notes above d3 is less

common in both Cones. V and VI than in the first four

39

39 i -I In the first four concertos the notes e and g

f^nd littl| more use than the c . Cone. V does not use c while £ and d 1 make only one appearance, each in its first movement. The sixth concerto employs a total of forty-three times and uses c - but once and d^ not at all. None of the concertos use f1; b 1 is used~only twice in Cone. V; a 1 appears once in Cone. III.

19

TABLE III

OCCURRENCE OF NOTES ABOVE d3 IN THE CONCERTOS

Concerto Number of Notes

Above

I 49

II 10

III 27

IV 52

V 20

VI 18

concertos. The exception is Cone. II, as seen in

Table III.

The Clarino-Clarinet Problem

The two- and three-keyed clarinets.—The clarinet of

Molter's day obviously determined the solo writing. The

instrument had its strongest tonal characteristics in the

clarion register where chromatic alterations were more

40 readily available. These instruments, although awkward

and not chromatic by modern standards, were able to produce

o all of the accidentals above c , according to J. T. Eisel's

41

Musicus autodidactus of 1738. All of the tones demanded by

these concertos could therefore be produced by a two-keyed

clarinet except for the b1, which in the case of Cone. V

40Rendall, p. 71. 41Ibid., p. 71.

20

would probably require a three-keyed instrument. Neither

the rare b " nor the fairly common d"'" are available on the

natural overtone series for horns or trumpets. 42 The

trumpet concertos only contain f# in all three works

2 b

while g# and b occur in just the first trumpet concerto.

All of these chromatic and diatonic tones in the manu-

scripts under question suggests their being not for brasses,

but for clarinet (See Table IV).

TABLE IV

CHROMATIC TONES EMPLOYED IN THE SIX CLARINET CONCERTOS

Concerto b1 C # 2 d#2 f#2 g#2

CM

XI

C # 3 d#3 f#3

I X X X X X X

II X X X X X X X

III X X X X X

IV X X X X X X

V X X X X X * X X

VI X X X X X X X X

0 \~\0 * both g# and a are used

Clarino figures.—Most all of the characteristic

figures used in Baroque trumpet concertos were structured

42 Murry J. Barbour, Trumpets, Horns and Music (East

Lansing, Michigan, 1954), p. 9.

43 Table IV is similar to the one provided by Lanning

(p. 8) but corrects several errors.

21

44

to accommodate the natural overtone series. One con-

temporary account of the early clarinet's tone likened it 45

to that of the clarino. It is no wonder then that Mol-

ter's clarino and clarinet writing exhibits so many

similarities. Like the trumpet concertos, for example,

all of these clarinet concertos contain no diatonic writing

2

below c (only isolated notes or triadic formations ap-

pear) . The third movements, particularly, employ clarino-

like repeated-note passages. Figure 5 illustrates two

common clarino figures appearing in clarinet concertos.

a. Triad figure, avoiding b , Cone. VI, I, 48 b. Repeated-note figure, Cone. VI, III, 32-35

Fig. 5—Clarino figures found in Cone. VI

Clarinet figures.—The slow movements are significant

because in some trumpet works by Molter and his

44 Barbour, p. 9. 45 Titus, p. 64.

22

46

contemporaries the solo instrument remains silent. In

all six of the clarinet concertos the clarinet has a

prominent role. Cones. V and VI like Cone. I begin with a 47

long sustained note. Other figures reflect a general

tendency toward chromatic alterations, a preference for the

extreme range, and a greater degree of flexibility. Figure

6 illustrates these tendencies.

A" ^ 0- m ^ • 4

ill I t r- f . f f f f f-

a. cresc.

rtiiii Q f f f

• /

r f :rf fff + ~~m "X r-m. . = ff

^—I "~F^

b. or: F F E E F D

A i A Bb C DE

3 3

Pub. as: DE F E F D yy=r

46 Becker, "Zur Geschichte," p. 287. Becker compared the

clarinet concertos with a clarino and horn concerto having six movements. This is not really as valid as it might seem because the three accepted solo trumpet concertos do contain important solo sections in the slow movements.

47 Ibid., p. 287. Becker notes that this sustained

note was "so beloved later in the Romantic period."

23

a. Cone. V, I, 21-26 b. Cone. VI, I, 52-58 c. Cone. VI, I, 74-76

Fig. 6—Clarinet figures

The character of the melodic solo-writing for the

clarinet differs markedly from that to be seen in the

later part of the eighteenth or early nineteenth centuries,

Molter's melodies do not have the emphasis on the singing

quality to be found in the Mannheim style of Karl Stamitz

nor do they have the extended passages of great difficulty

48

like those by Mozart, Spohr or Weber. The analyses to

follow will show the means by which the musical goals are

achieved.

48 Titus, p. 129-130.

ANALYTICAL ASPECTS

Introduction

For a thorough understanding of Molter's clarinet

concertos published in Das Erbe Deutscher Musik one should

49 50 examine the dissertations by Titus and Ludewig. To

date, no analyses are available for the two works in ques-

tion, Cones. V and VT. This discussion will consider how

Cones. V and VT compare stylistically with their four

predecessors.

Form

Table V presents the most readily observable exterior

features of all six Molter clarinet concertos. Each of

these concertos has three movements. All employ ritornello

form in the first two movements and binary form in the last

movements. The use of Baroque forms is in keeping with

tradition since Molter learned his profession in the first

decades of the eighteenth century. According to Walter

Kruger, Molter's two years in Italy appear to have had

49 A format similar to that of Titus' paper has been

adopted for the discussion of the concertos in general.

"^Ludewig, pp. 30-212. The general format of Ludewig's paper has been adopted for the analyses of Cones. V and VI.

25

a lasting influence on his compositional style. Vivaldi's

treatment of phrases and instrumentation were adapted in a

somewhat stereotyped manner by Molter.^

TABLE V

OUTLINE OF THE SIX CONCERTOS

Concerto and Key

Tempo, Meter and Form Indicated by Movement

I II III

I in A Moderato C Ritornello

Largo 3/4 Ritornello

Allegro Binary

3/8

II in D Moderato C Ritornello

Largo 3/4 Ritornello

Allegro Binary

3/8

III in G Moderato C Ritornello

Adagio C Ritornello

Allegro Binary

3/8

IV in D Moderato C Ritornello

Adagio? C Ritornello

Allegro Binary

3/8

V in D Moderato? C Ritornello

Largo? 3/4 Ritornello

Allegro? Binary

3/8

VI in D Moderato? C Ritornello

Largo? 3/4 Ritornello

Allegro? Binary

3/4

In comparing the number of tutti, solo and total

measures in each movement as shown in Table VI, notes that

except for Cone. V the first movements share nearly

identical proportions. Cones. I, V, and VT have slightly

51 Walter Kruger, Das Concerto Grosso in Deutschland

(Wolfenbuttel-Berlin, 1932) , p. 119.

26

longer second movements, but the total number of beats is

almost the same because of the 3/4 meter. Cone. VI is the

only one to employ 3/4 meter instead of 3/8 in the finale.

The last two concertos have a predominance of solo meas-

ures but this is primarily due to a great deal of doubling

and rudimentary repeated or arpeggiated figures.

TABLE VI

DISTRIBUTION OF TUTTI, SOLO, AND TOTAL MEASURES BY MOVEMENTS

Cone. First Movement Second Movement Third Movement

Tutti Solo Total Tutti Solo Total Tutti Solo Total Grand Total

I

II

III

IV

V

VI

45

56

45

53

32

42

47

35

40

38

39

49

92

91

85

91

71

91

31

25

24

16

31

43

44

21

24

16

51

47

75

46

48

32

81

90

102

84

80

100

20

58

68 170

40 124

60 140

50 150

98 180

58 116

337

261

273

273

332

297

In general the slow movements exhibit relative balance

between tutti and solo parts while the opening movements

incorporate more tutti sections. Except for Cone. V, more

significance is given to the tutti parts in the final

movements.

27

First Movements

52

The first movements are cast in ritornello form.

By examining Tables VI and VII and Figures 10 and 11 one

can see that Cones. V and VI fit the model, with minor

variations, established by the first four concertos. The

last two concertos each have fewer solo and ritornello sec-

tions than Cones. I-IV. Cone. V is shorter in all respects

because of this. The expanded second tutti and solo sec-

tions cause the opening movement of Cone. VI to have the

same number of measures as Cone. _I.

The key schemes of the last two concertos are tradi-

tional with the exception of Cone. V,which modulates to

the relative minor of the sub-dominant through the tonic

chord with a lowered seventh.

52 Tutti and solo sections alternate successively

throughout the movement with the solo portions being en-closed by the tutti. "Molter's pattern of modulations in the clarinet concertos is quite regular: the first ritornello stays firmly in the tonic key, with only a slight allusion to the dominant, and ends closed; the first solo section, of different content, always modulates to the dominant and ends closed; the second ritornello, shorter than but based upon the material of the first ritornello, is entirely in the dominant and closes there; the second solo section moves to the relative minor; the third ritornello, still using material from the first, is in minor also, sometimes ending firmly (closed) there, sometimes moving at the very end toward the tonic, touches lightly upon the sub-dominant, and concludes firmly in the tonic; the last ritornello in each of the four concertos is an abridged version of the first ritornello." Titus, pp. 123-124.

28

TABLE VII

FIRST MOVEMENT TONALITIES, RITORNELLOS, AND SOLO SECTIONS

Concerto Tonalities Ritornellos Solo Sections

I A (E , f #) 6 5

II D (A,d,b,f#) 5 4

III G (D,b) 7 6

IV D (A,b) 6 5

V D (A,b,f#,e) 4 3

VI D (A,E,b) 4 3

Figures 7 and 8 summarize the form and key structures

of the first movements.

Ritornello 1 Solo Section 1 Ritornello 2 Solo Section 2 1-13 D, A

14-25 D, A

26-33 A

34-38 A, D

Ritornello 3 Solo Section 3 Ritornello 4 39-42

D, b, f# 43-60

D, e,- D 63-71

D, A, D

Fig. 7—Form and key structure of Cone. V, I

Ritornello 1 Solo Section 1 Ritornello 2 Solo Section 2 1-19

D, A, D 20-31 D, A

32-42 A, E, A

43-47 D, A

Ritornello 3 Solo Section 3 Ritornello 4 58-66 b, D

67-81 D

82-92 D

Fig. 8—Form and key structure of Cone. VI, I

29

In both Cones. V and VI there are no clear-cut themes.

The several motives are repeated, occasionally with some

modification. These motives, like those of most of the

first tuttis, are evolved from just two or three ideas and

serve as unifying elements in each of the concertos. This

53

"continuous expansion" is an important characteristic of

late Baroque writing.

The second ritornellos use the same melodic material

but in the dominant key. The original material is frag-

mented, expanded, or otherwise modified, and then cast in

the relative minor for the third ritornello.

The final ritornellos of Cones. I, II_, III, and V are

taken from second, third, or fourth, and closing motivic

material from the first ritornello. Cone. VI is similar

to Cone. IV in that its last ritornello is constructed from

the modified first motive and cadence figure which closes

the first ritornello.

The opening clarinet sections of Cones. V and VI are

unlike all the other concertos in that they employ exact

imitation or simple modification of the opening string

motives.

The next two solo entries conform to the normal

scheme exhibited by the first four concertos. Here the

solo sections contrast with the tutti sections by

53 Manfred F. Bukofzer, Music in the Baroque Era

(New York, 1947), p. 233.

30

generally presenting new thematic ideas in a florid

melodic style. In Cones. V and VI there is notably more

direct borrowing from tutti material in solo sections 2 and

3 than in the first four concertos. Here Cone. V uses

borrowed motives in each solo statement, while Cone. VI

uses new material exclusive to the second solo statement.

Neither Cone. V nor VT relies on the subtle paraphrases of

solo lines which abound in the other four concertos.

Second Movements

The slow movements of Cones. V and VI are very similar

in form and length to that of Cone. IV, while the meter,

3/4, is the same as that of Cone. I_. Tables VI, VII, and

VIII reveal the shorter length and the reduced number of

tutti and solo passages which characterize Cones. IV, V,

and VI.

TABLE VIII

SECOND MOVEMENT TONALITIES, RITORNELLOS, AND SOLO SECTIONS

Concerto Tonalities Ritornellos Solo Sections

I f# (b,c#,A) 4 3*

II A (f#,D,E,c#) 4 3*

III D (A, f #) 4 3

IV f# (A) 3 2

V b (D,A,e) 3 2

V! | b (D, A) 3 2

*Titus notes one each fewer solo and tutti passages; however, the third statements have been counted here.

31

Figures 9 and 10 summarize the form and key structures

of the second movements of Cones. V and VI.

Ritornello 1 Solo Section 1 Ritornello 2 Solo Section 2 1-15 16-34 35-38 39-70 b b, D, A, D D e, D, b

Ritornello 3 71-81 b

Fig. 9—Form and key structure of Cone. V, II

Ritornello 1 Solo Section 1 Ritornello 2 Solo Section 2 1-15 16-38 39-58 54-79 b b, D, A, D D D, b

Ritornello 3 80-90

b

Fig. 10—Form and key structure of Cone. VI, II

The succeeding ritornellos in all six concertos

borrow heavily from the original ritornellos. Both the

fifth and sixth concertos, like the others, close with

real motivic imitation. One curious point, however, is

that the last three concertos do not close as the others

with the clarinet doubling the final cadential statement.

The slow movements of Cones. I, II, IV, and to a

lesser degree Cone. V, emphasize the elements of contrast

between the dotted ritornello motives and the more lyric

solo lines. However, the song-like opening ritornello

32

in Cone. V could almost be called a full-blown melody.

And the clarinet line even indicates rudimentary inversion.

Rhythmic contrast of another sort exists in Cones. Ill, V,

and VI in that the second and following motives of the last

two works are full of syncopation, whereas the opening

ritornellos are not. Cone. Ill contrasts a rather busy

solo line against a simpler opening ritornello.

The second solo sections in all the concertos, with

the exception of the first, are longer than the other solo

sections; and, in Cones. IV-VI they are also longer than

the opening ritornellos.

Third Movements

The third movements of all the concertos are in bi-

nary form and reflect the form of Baroque suite movements

TABLE IX

TONALITIES EMPLOYED IN FIRST AND SECOND SECTIONS OF THE THIRD MOVEMENTS

Concerto Tonalities in Tonalities in First Section Second Section

I A, E E, f#, A

II D, A A, b, D

III G, D e, G

IV D, A f#, b, D

V D, A A, f#, D

VI D, E, A A, D

33

or the traditional bipartite sonata form. Table IX illus-

trates the keys used in the two sections of all the third

movements.

Figures 11 and 12 illustrate the form and key schemes

of Cones. V and VI.

Section A 1-11 D

Solo doubles melody

Bridge 12-15

D No solo

Section B 16-25 A

Solo materials repeated; string Bridge fragments

A and B 26-39 A

* Strings A then quasi B

Bridge 40-45 f#

Tutti

A and B 46-59 A, D

Tutti A Opening then Tutti B

Fig. 11—Form and key structure of Cone. V, III

Section A 1 - 8

D

Bridge 9-16 E

Solo over impor-tant string motive

Section B 17-24 A

Section A 25-31 A

Bridge 32-43 A, D

Same string motive as 1st Bridge but new solo line

Solo Section 44-50 A

Solo material similar to that of Cone. V, I, 9

Section B 51-59 A, D

Fig. 12—Form and key structure of Cone. VI, III

34

In all of the third movements except for that of Cone.

V, the clarinet takes a secondary role and is often heard

in simple repeated-note figures, particularly at the be-

ginning of the first solo passages. The sixth concerto's

clarinet part even seems to stand out above the normal

tutti reinforcement. The ratio of nearly five solo bars

to one tutti bar is greater than in any of the other con-

certo movements.

The final movement of the sixth concerto is distin-

guished by its use of the same clarinet and string materials

for the bridges in both sections. It also appears to derive

its thematic material from another Molter clarinet concerto:

the solo line in bars 44-47 could possibly be taken from the

string figure in Cone. V, I, 9.

MeIodic-Rhythmic Characteristics

The melodic and rhythmic techniques employed in Cones.

V and VT display many characteristics common to other

instrumental concertos written during the late Baroque

period, particularly those of Vivaldi. Bukofzer distin-

guishes three methods of thematic presentation: "(1)

virtuoso figuration, not related to the tutti theme, (2)

soloistic figuration and expansion of the tutti idea, and

54 (3) a solo idea distinct from that of the ritornello."

"^Bukofzer, p. 230

35

General Characteristics; First Movements

These movements in general display the greatest

amount of virtuosity. The first three concertos contrast

the florid, step-wise diatonic clarinet material against

the more disjunct profile of the string lines. The

rhythmic backgrounds for all the movements are frequently

very lightly scored with perpetually driving eighth-note

55

patterns under the florid melodic lines.

Cones. V and VI adhere to many of the formulas used

by Molter and his contemporaries, but both of these works

rely in all sections very heavily on either literal or

modified repetition of motives from the first ritornellos.

Consequently, sequences are less important, and contrast be-

tween solo and orchestra is negligible. Contrast in these

first few concertos is further attenuated by distinctive

melodic material. Cones. V and VI at times forsake the

intricate for simpler expressive thematic treatment. In

all the concerto first-movements the "vitality of the

tuttis is replaced by calmer, less driving rhythms, al-56

though the constant rhythmic activity continues."

In the allegro movements the instrumental nature of the concerto style became particularly obvious in such features as rapid tone repetitions, fast scale passages, and the wide range of themes." Bukofzer, p. 222.

^Ludewig, p. 57.

36

General Characteristics: Second Movements

Molter usually employs dotted rhythms in the second-

movement tuttis while the solos are in a contrasting flow-

ing style; however, the rhythmic patterns are simpler,

involving less intricate subdivisions of the beat.

Both the fifth and sixth concerto slow movements, like

that of the first concerto, begin with several measures of

a sustained mediant pitch before actually attaining any

real melodic activity. Everything about these movements is

on a reduced scale. The range is commonly a ninth or less

with the exception of Cone. VI, which employs a twenty-second.

Furthermore, the themes tend to wind about themselves in

this narrow tessitura.

One can easily see that although the slow movements of

Cones. V and VI are melodically and rhythmically more song-

like and less florid, they do conform to the other four

models.

General Characteristics: Third Movements

The constant eighth-note background in the bass and

viola supports the rapid scale and arpeggiated passages,

contrasting leaps, and repeated note or phrase patterns of

the violins and clarinet in third movements. Due to the

fast tempos, few notes of small value occur. The clari-

net's role, except in Cone. V, is secondary, and it is

commonly one of repeated trumpet-like figures.

37

Because of its relative importance, the melodic line in

Cone. V embodies a number of the above characteristics,

while weaving broken scale patterns, arpeggiated passages

in the second solo section, and repeated note passages in

most of the solo sections. Cone. VI adopts the same ap-

proach but on a smaller scale than even some of the other

concertos. It is distinguished by its use of 3/4 rather

than 3/8 meter. The melodic material for the clarinet is

sparse,and much of that is repetitious or sequential. One

can, however, observe a more jagged outline because of the

literal repetition of the primary string motive and the

large leaps in the solo section after the bridge.

Melodic-Rhythmic Devices

Although these six concertos are filled with florid

passages which display great bursts of virtuosity, they do

not exhibit the taxing extended passages of continuous mo-

tion which are found in clarinet concertos written by later

57

composers such as Mozart. Of course the association with

the clarino idiom and limitations imposed by the two or

possibly three-keyed instrument influenced the predominantly

stepwise and arpeggiated diatonic structure.

A listing by category of the meIodic-rhythmic devices

will further demonstrate how Molter used many of the same

techniques in all six concertos.

^Titus, p. 139.

38

Scale passages.—Most of the writing is diatonic and

in short segments. The opening movements contain a major-

ity of the rapid scale passages. Most of these runs are of

moderate length, and few encompass an octave or more in any

of the parts.

Basically chordal passages of longer note values are

frequently embellished by diatonic scale fragments. This

favored technique is more prevalent in the first four

Molter clarinet concertos. While the latter two do not

display the rapid, small-note value scale passages, they do

evidence stepwise motion based upon a larger triadic struc-

ture.

None of the six concertos shows examples of extended

broken scales (1234, 2345, 3456) or scales in thirds

(1324, 3546) which are rampant in the numerous clarinet

concertos written just thirty or forty years later.

Leap passages.—Almost all leaps are within the

prevailing key, and the most common skips are those in-

volving arpeggios. One triplet eighth-note arpeggiated

passage in the clarinet extends for four measures in Cone.

VI and is reminiscent of the clarino idiom. There are but

two other similar examples and they are written in six-

teenths in Cones. I and II. The "Mannheim Rocket," a

rapidly rising arpeggio or broken chord figure which is

common in the solo lines of Molter's trumpet concertos,

39

appears less frequently in the string and solo parts of

the six clarinet concertos.

Several other skips and disjunct figures are particu-

larly noteworthy because they clearly fit the newly-

emerging, more flexible, clarinet idiom. Figure 13 shows

skips and embellishing figures in sequence. See also

Figure 6c. for a virtuoso clarino-like skip passage and

Figure 4b. for intervals greater than two octaves. The

use of low c 1 is uncommon; less common still is the only

example of low £. Despite the large leaps, note that the

basic chord outlines are still apparent.

Fig. 13—Skip patterns, Cone. Ill, I, 74-76

Intricate patterns and small note values.—Embellishing

figures are a trademark of many later Baroque composers.

In the profusion of intricate patterns one will note how

Molter freely mixes two-and three-note groups. He also

casts solo passages in triplets over constant eighth-note

40

accompaniments. Figure 14 provides a clue to the complex-

ity of notation. (See also Figures 2a. and b., 6a., 15b,

d. and i.) One can see that these rapid flourishes occur

in short groups and are seldom linked together into a

r *£ i

a. Cone. VI, I, 27-28 b. Cone. II, II, 43-44 c. Cone. IV, I, 26

Fig. 14—Complex notation

series uninterrupted by notes of other values. Cone. II

contains one full measure of thirty-second notes, but

neither Cones. V nor VI_ employ them (unless in a dotted

41

pattern) nor are there sixty-fourth notes in these two con-

certos. In all six of the concertos Molter frequently

writes sextuplets, but he always notates them as two groups

of sixteenth triplets.

The rhythmic figure, or # §• # $> , called the

"Scotch snap" or "stile lombardo" is evident in Cones. I

and III and frequent in Cones. IV and V. The reverse of

this is even more common. When one finds both figures in

combination the "snap" is more frequently first.

Syncopation.—This is one of the most common melodic-

rhythmic devices occurring in all of the concertos. In-

dividual syncopes or even extended syncopated passages

frequently serve to interrupt florid on-beat figures.

Figures 6a., 14a., 15,and 16 provide several examples.

Trill and cadence figures.—Several of the most com-

mon cadential formulas are illustrated in Figure 18. The

more florid examples are found primarily in the first and

second movements because the faster tempos of the third

movements usually preclude more decorative passages.

Among the most frequent basic forms for variation are

examples e., c., d., h., and i. Modification is evident

between c., j., and k., g. and e.; a., b., d., and h. For-

mula lengths are frequently altered; rhythms are many

times varied slightly, or others simply may be written in a

different meter. In the case of b., d., f., g., h.,

42

and i., the thematic material plays a guiding role in de-

termining the cadential formula. Almost all of the

5 8

examples appear in exact or modified form in other move-

ments and/or other concertos, thus lending a great deal of

uniformity to the closing figures. However, k. appears to

be unique among the six concertos.

a. Cone. VI, I, 18-19

* f -fc

b. Cone. IV, II, 24-25

fi +3 ' 0 i p i <r • l.

yfo 0 ' ; ijJ A _ j

c. Cone. Ill, III, 69-70 d. Cone. Ill, II, 9-10

e. Cone. V, I, 25

5 8 Many times with only the meter or note values being

altered.

f. Cone. VI, I, 12-13

43

g. Cone. VI, I, 31-32 h. Cone. IV, I, 41-42

I i. Cone. V, I, 15

tr m LLT 'LOT

j. Cone. VI, III, 22-24

k. Cone. VI, II, 13-15

Fig. 15—Cadential formulas

In addition to being found in nearly all cadential

formulas, trills frequently serve as extra trimming for

the already-decorated lines. Many of the trill figures

are even more decorative if they are played as J. J. Quantz

44

suggests in his Versuch of 1752: "If . . . a plain note is

found, both the appoggiatura and the termination are im-

plied, since without them the shake would be neither com-

59 plete nor sufficiently brilliant."

Repetition.—These concertos are teeming with re-

petitive devices. An element common to literal, modified,

6 0

or sequential repetition is "metric dislocation," which

appears frequently in all the concertos and in both solo

and tutti parts. It is simply the restatement of material

beginning on another beat from that of the original.

Rosalia or Schusterfleck (cobbler's patch) is a real

(as opposed to tonal) melodic-harmonic sequence in which an

upper major-second modulation is effected. Willi Apel

notes that "it occurs frequently in the works of second-6 "L

class composers of the period 1750-1850." Similar

figures which do not accomplish a modulation or in which

the melodic adjustment is tonal are common, but only a few

true examples exist in Cones. V and VI. See Figure 16.

The majority of the sequences found in all six of

the concertos are purely melodic (diatonic or chromatic)

59 Johann Joachim Quantz, On Playing the Flute, trans-

lated by Edward Reilly (New York, 1966), p. 103.

®°Titus, p. 128.

61 Willi Apel, "Rosalia," Harvard Dictionary of Music,

2nd ed. (Cambridge, Massachusetts, 1969), pp. 740-741.

45

Fig. 16—Rosalia, Cone. VI, II, 27-32

in that there is a melodic sequence without sequential

treatment of the harmony.

Non-harmonic tones.—Embellishing non-harmonic tones

constitute the final group of melodic—rhythmic character-

istics used similarly in all six concertos. The latter

two works exhibit a less profuse or imaginative employment

of them. Diatonic passing tones are found more frequently

than all other non-harmonic tones. In Cones. V and VI,

like the others, the lower neighboring tone proves to be

the next most commonly used. Upper neighboring tones

occur fewer times than suspensions, which appear two or

46

three times in each of the first and second movements, and

once or twice in each of the third movements.

Melodic devices sometimes promote peculiar or awkward

harmonic-melodic treatment that would under normal circum-

stances be uncharacteristic.^

Harmonic Characteristics

All six concertos employ the harmonies and chord pro-

gressions which typically govern the melodic lines in the

late Baroque. The melodic orientation of the bass counter-

balances the harmony, and is commonly called continuo-

6 3

homophony after its two constituent parts.

The chord progressions at cadences are typical and

exhibit movement from subdominant or supertonic to domi-

nant or leading tone, then tonic. Deceptive cadences do

occur in moderation. Many times the supertonic and sub-

dominant are altered. In fact the most common altered

chords are the ii and the IV which usually have a raised

fourth scale degree which sometimes effects a #iv° or

#iv°. The other most common altered chords found in

Cones. V and VI are the submediant seventh and the tonic

with a lowered seventh. The 1-j provides the motivation

6 2 A good example of uncommon melodic-harmonic treat-

ment imposed by melodic devices may be found in Cone. VI, I, 70, and Cone. V, I, 41. See also Figure 16.

^Bukofzer, p. 221.

47

for several deflections to the supertonic or temporary

64

modulations to the subdominant. In Cones • V and VI

chords with added sevenths appear on all scale degrees, but

not with the inventiveness displayed in the first four con-

certos. No examples of Neapolitan or similar chords appear

in the last two concertos, but they are rarely found in

the other four works.

Although Molter does not always display great in-

ventiveness in his harmonic language he does demonstrate . 6 5

a thorough understanding of secondary dominants. On the

other hand he sometimes resorts to changing key by resting

a beat or two and then proceeding in the new key.

The simple but frequently altered progressions, strong

emphasis on repetition and to a lesser degree sequences,

further contribute to predictability. The stereotyped use

of melodic formulas promotes unusual harmonic treatment,

causing one to expect little quirks and peculiarities.

Accompaniment

All the concertos are scored for two violins, viola,

and cello, with optional oboes and cembalo sometimes being 6 6

provided and in other cases understood. Most authorities

64 See Cone. V, I, 5 or 64.

^^See Figure 16.

" . . . wind instruments not necessarily specified either on the title-page or in the music or even provided

48

agree that during this period oboes and bassoons often

double the high and low string parts but remain silent

during softer or solo passages. Molter reduces the strings

in a similar manner for all the concertos. At times only

the violins supply the harmony, while at other times just

a pair of instruments, or not infrequently just the cello

supplies the accompaniment. The four-part scoring is some-

times lightened by using violas and cellos on the strong

beats and violins on the weaker beats. Molter (possibly

due to haste) frequently resorts to doubling the first and

second violins, while the violas double the cellos thus 6 7

providing the music with all top and bottom and no middle.

The orchestration of some tuttis is typical of the concerto

grosso in restricting piano passages to upper strings and

contrasting this with fully orchestrated (presumably with

winds and cembalo, when available) forte passages.

The exact role of the cembalo is not clear, but one

may assume its use. And Becker provides a part for it in

with parts were normally required in suitable works of the main baroque period, to double existing string or voice parts (notes not on the instrument concerned could be left out, transposed an octave, or changed to other notes in the same harmony)....

The doubling was not continuous. It might proceed for a movement or only for a passage; and it was intended as a deliberate contrast of sonority comparable to regis-tration on the organ or harpsichord.11 Robert Donington, The Interpretation of Early Music (New York, 1974), p. 585,

6 7 Adam Carse, Eighteenth Century Symphonies (London,

1951), p. 6.

49

his editions of Cones. I-IV and Klaus Hofmann provides one

6 8

in his recent edition of Cone. VI.

The primary questions are not related to the use of

the instrument, but instead to how and when it is employed.

In the extant parts there appear numerous rests, particu-

larly in the softer passages, which some authorities argue

should be left silent, while others suggest even virtuosic

69 improvisation. Some authorities support the latter view

by noting that Molter's works show evidence of the style

7 0

galant. Others like Charles Rosen argue that " . . .

manuscripts of the concertos clearly show that Mozart has

almost always written col basso in the piano part (or

actually copied out the bass into the piano part) wherever

6 8 Johann Melchior Molter, Concerto in D Major for

Clarinet, "Preface." 6 9 Michael B. Collins suggests that if a bass line were

not present, the performer would probably not improvise one. However, many bass lines were written without chord symbols, and this should neither be construed as a limitation for inventiveness nor as an indication that the bass line only' should be played. Conversation with Michael B. Collins, Professor of Musicology, North Texas State University, Denton, Texas, concerning the figured bass and the use of continuo instruments in mid-eighteenth century performance practice, March 6, 1976.

70 Molter himself may have improvised in these places.

Stephen Glover, "The Three Trumpet Concertos of Johann Melchior Molter," unpublished Master's thesis, School of Music, George Peabody College for Teachers, Nashville, Tennessee, 1972, p. 13.

50

71

the piano is not playing solo." Therefore, the clari-

netist and the cembalist will probably have to come to

a mutual agreement as to the style when performing the

works. Listening to the several recorded examples of the 72

first four concertos may be of further aid.

Conclusions

Robert Titus states that the first four concertos

" . . . constitute a unique example of clarinet solo writing,

an isolated phenomenon essentially not comparable to anything

else in the clarinet solo literature of the eighteenth

71 century." The addition of two more works in this genre

is a substantial contribution even if Molter may only be a

74

minor composer in the late Baroque era. Unfortunately the

erratic availability of D soprano clarinets and the existence

of these works only in orchestral-score form does little to

enhance the chance of their being performed.

^Charles Rosen, Classical Style (New York, 1972) , pp. 191-192.

72 Georgina Dobree in her recording of Cones. I-IV on

EMI, HQX 1119 chose the more embellished approach while Jost Michaels on Archive ARC 73151 and Jacques Lancelot on Phillips World Series, PHC 9078 seem to have employed Becker's editions.

^Titus, p. 142.

74 The interest of these works is further enhanced by

the 1974 Carus-Verlag publication of Cone. VI edited by Klaus Hofmann.

51

75

Piano reductions have been made for the D clarinet

and transcriptions should also be made for the Bb soprano

clarinet. In transcribing for the Bb clarinet two points

must be taken into consideration. First, the works derive

a great deal of individuality through their extreme range,

and for the less than accomplished player they are very

difficult. Performing them necessitates lowering the piano

part to match a non-transposed Bb clarinet part. Second,

to ease the difficulty (at the risk of losing the high

instrumental character) one could lower the Bb part a fifth

or sixth and adapt the piano part accordingly. In any case

the works should have the opportunity to become more

familiar to a greater number of clarinetists, because they

are truly unique and deserve a place in the clarinetist's

repertoire.

7 S The R13D clarinet used in this presentation was made

for the author by the Buffet Crampon Company in April of 1971.

Mouthpieces most commonly used in performance are crafted by Frank Kaspar of Cicero, Illinois. Their facings are numbered 102 and 110 but have been reworked by Everet Matson of Oceanport,, New Jersey. These and other Eb soprano clarinet mouthpieces, particularly those by Charles Bay of Westlake Village, California, may be successfully played with either an Eb soprano clarinet reed, or with a Bb soprano clarinet reed which has had the heel-portion appropriately shortened. The wider Bb reed seems to produce a mellower tone, but the high tessitura of Molter's works demands that a Bb clarinet reed have a firm heart with the focal point being closer to the tip than normal. Consequently, an Eb clarinet reed offers more stability.

BIBLIOGRAPHY

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54

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Fetis, Francois J., "Molter," Biographie universelle des musiciens et bibliographie generale de la musique, 8 vols., Paris, Firmin Didot Freres, IV, 1870.

Hermann, Friedrich, "Molter, Johann Melchior," Die Musik in Geschichte und Gegenwart, 14 vols., edited by F. Blume, Kassel, Barenreiter, VII, 1958.

Loewenberg, Alfred, "Molter, Johann Melchior," Grove's Dictionary of Music and Musicians, 5th ed.^ 10 vols., edited by Eric Blom, New York, Macmillan and Co., V, 1954.

Unpublished Materials

Becker, Heinz, Professor Musikwissenschaftliches Institut, Ruhr-Universitat Bochum, Bochum-Querenburg, Germany, letter concerning the Molter Concertos for D clarinet, January, 1975.

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Boese, Helmut, "Die Klarinette als Soloinstrument in der Musik der Mannheimer Schule," translated by Kenneth K. Kawashima, D.M.A. dissertation, Peabody Conservatory of Music, Baltimore, Maryland, June, 1965.

Collins, Michael B., Professor of Musicology, North Texas State University, Denton, Texas, conversation concerning figured bass and use of continuo instruments in mid-eighteenth century performance, March 6, 1976.

Glover, Stephen L., "The Trumpet Concertos of Johann Melchior Molter," unpublished Master of Music thesis, George Peabody College for Teachers, Nashville, Tennessee, 1972.

Hafner, Klaus, Director Music Division, Badische Landesbibliothek, Karlsruhe, Germany, three letters concerning Molter's works, January, 1975, March, 1975, and June, 1975.

Lanning, Edward Francis, "The Clarinet as the Intended Solo Instrument in Johann Melchior Molter's Concerto 34," unpublished D.M.A. dissertation, the Conservatory of Music, University of Missouri, Kansas City, Missouri, 1969.

Ludewig, Elsa Marie, "A Study of Published Clarinet Con-certos Composed before the Mozart Clarinet Concerto," unpublished D.M.A. dissertation, Eastman School of Music, University of Rochester, Rochester, New York, 1963.

Remsen, Lester, "A Study of the Natural Trumpet and its Modern Counterpart," unpublished D.M.A. dissertation, University of Southern California, Los Angeles, California, 1960.

Rice, Albert, "A Selective Listing of Recordings of Music for the Chalumeau and the Two-keyed Clarinet," unpub-lished listing for a paper on the chalumeau and the two-keyed clarinet, Glendora, California, 1973.

, student of clarinet and music literature, Claremont Graduate School, Claremont, California, eight letters concerning the Molter clarinet concertos, September, 1974-June, 1975.

Shanley, Richard A., "An Analysis of Johann Melchior Molter's Concerto in A major for Clarinet in D," unpublished paper, School of Music, North Texas State University, Denton, Texas, 1969.

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Titus, Robert A., "The Solo Music for the Clarinet in the Eighteenth Century," unpublished Ph.D. dissertation, School of Music, University of Iowa, Iowa City, Iowa, 1962.

Records

Molter, Johann Melchior, Concerto in D Major for Trumpet and Strings, Armando Ghitalla, G piccolo trumpet, Harold Farberman and The Boston Chamber Ensemble, notes by Mary Rasmussen, Cambridge, CRS 1819.

, Concerto No. 1_/ Hans Stalder, clarinet, notes translated by Celia Skrine, Schwann Musica Mundi, VMS 2012.

, Concerto No. 3 in G Major, Jost Michaels, clarinet in D, Hans Stadlmair and the Munich Chamber Orchestra, notes by Heinz Becker, Archive, ARC 73151.

, Concerto No. 3 in G Major, Jost Michaels, clarinet in D, Hans Stadlmair and the Munich Chamber Orchestra, notes by Robert Munster, Archive 198415.

, Concertos Nos. 1 and 4, Jacques Lancelot, clarinet, Albert Beaucamp and the Rouen Chamber Orhcestra, notes by Irmgard Scharberth, Phillips World Series, PHC 9078.

, Concertos Nos. 1-4, Georgina Dobree, clarinet, Carlos Villa and the Carlos Villa Ensemble, EMI, HQX 1119.

Music

Becker, Heinz, editor, Klarinetten-Konzerte des 18. Jahrhunderts, Vol. XLI of Das Erbe Deutscher Musik, Wiesbaden, Breitkopf und Hartel, 1957.

Hasse, Johann Adolph, Concerto in D Major for Flute, Vols 29-30 of Denkmaler Deutscher Tonkunst, Braunschweig, Germany, Litoff's Verlag, 1931.

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Molter, Johann Melchior, Concerto in A Major, Mus. Hs. 304, Cone. 6 [Becker No. 1] (Clarinetto Concertato [sic] on score and solo part) in Badische Landesbibliothek, Karlsruhe, Germany.

, Concerto in D Major, Mus. Hs. 334 Cone. 36 [Becker No. 2] (Clarinetto [sic] on score) in Badische Landesbibliothek, Karlsruhe, Germany.

, Concerto in G Major, Mus. Hs. 302, Cone. 4 [Becker No. 3] (Clarinetto Concertato [sic] on score and solo part) in Badische Landesbibliothek, Karlsruhe, Germany.

, Concerto No. 3 in G Major, edited for B& clarinet and piano by Pamela Weston, London, Schott and Co., 1968.

, Concerto in D Major, Mus. Hs. 337, [Becker No. 4] (Clarinetto Concertato [sic] Cone. 39 . .

on partial solo part) in Badische Landesbibliothek, Karlsruhe, Germany.

Concerto in D Major, Mus. Hs. 332, Cone. 34 (no solo instrument designated) in Badische Landesbibliothek, Karlsruhe, Germany.

, Concerto in D Major, Mus. Hs. 328, Cone. 30 (no solo instrument designated) in Badische Landesbibliothek, Karlsruhe, Germany.

, Concerto in D Major for Clarinet, edited by Klaus Hofmann, Carus Verlag, Stuttgart, Germany, 1974.

, Concerto in D Major, Mus. Hs. 329, Cone. 31 (Clarini [sic] on score) in Badische Landes-bibliothek, Karlsruhe, Germany.

, Concerto in D Major, Mus. Hs. 330, Cone. 32 (Clarini [sic] on score) in Badische Landes-bibliothek, Karlsruhe, Germany.

, Concerto No. 1 for D Trumpet, edited by Stephen L. Glover and John F. Sawyer, biographical notes by Klaus Hafner, The Brass Press, Nashville, Tennessee, 1972.

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, Concerto in D Major, Mus. Hs. 331, Cone. 33 (Clarino [sic] on score) in Badische Landes-bibliothek, Karlsruhe, Germany.

, Concerto No. 2 for D Trumpet, edited by Stephen L. Glover and John F. Sawyer, biographical notes by Klaus Hafner, The Brass Press, Nashville, Tennessee, 1972.

, Sinfonia Concertante in D Major, Mus. Hs. 317, Cone. 14 (Clarino, 2 Corni, 2 Hautbois, and 2 Basson [sic] on score) in Badische Landesbiblio-thek, Karlsruhe, Germany.

Stamitz, Johann, Concerto in B_ Major, edited by Peter Gradenwitz, Leeds Music, New York, 1954.