3 T j

NSld M O . a s r i 9

A NEGLECTED CLARINET CONCERTO BY LUDWIG AUGUST LEBRUN:

A PERFORMING EDITION WITH CRITICAL COMMENTARY,

A LECTURE RECITAL, TOGETHER WITH

THREE OTHER RECITALS

DISSERTATION

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

Ricky Edward Duhaime, B.S., B.A., M.M.

Denton, Texas

August, 1986

Duhaime, Ricky Edward, A Neglected Clarinet Concerto by Ludwig

August Lebrun: A Performing Edition with Critical Commentary. A Lecture

Recital, Together with Three Other Recitals. Doctor of Musical Arts

(Performance), August, 1986, 94 pp., contact letter from the Austrian

National Library, piano reduction, 6 orchestral performing parts, critical

notes, bibliography, 22 titles.

The present study makes available a modern performing edition of

an eighteenth-centyry clarinet concerto. Written by the Mannheim oboist

and composer Ludwig August Lebrun, the Concerto in B-flat for solo

clarinet and orchestra has existed solely as a set of manuscript parts

for over 200 years.

The following chapters present biographical information on Ludwig

August Lebrun as an oboist and composer of the late eighteenth century,

the historical background of Lebrun's Concerto in B-flat. a thematic and

harmonic analysis of the concerto's three movements, and a summary of

the procedures followed in preparing the present edition of orchestral

parts and piano reduction. Contemporaneous sources which provided

pertinent performance practice information in the areas of articulation

and ornamentation are also discussed. A copy of the piano reduction and

orchestral performing parts are included in the appendices.

TABLE OF CONTENTS

Page

FIRST DISSERTATION RECITAL v

SECOND DISSERTATION RECITAL vi

THIRD DISSERTATION RECITAL vii

FOURTH DISSERTATION RECITAL viii

CHAPTER

I. INTRODUCTION 1

II. LUDWIG AUGUST LEBRUN, PERFORMER AND COMPOSER 3

III. THE CONCERTO IN B-FLAT FOR CLARINET AND ORCHESTRA 6

History Analysis

IV. AN EDITION OF LEBRUN'S CONCERTO IN B-FLAT 14

Procedure

Performance Practice Considerations

V. SUMMARY AND CONCLUSIONS 20

APPENDIX

A. COPY OF THE CONTACT LETTER FROM DR. GUNTER BROSCHE, DIRECTOR OF THE MUSIC DIVISION, AUSTRIAN NATIONAL LIBRARY 21

B. PIANO REDUCTION OF LEBRUN'S CONCERTO IN B-FLAT 23

C. ORCHESTRAL PERFORMING PARTS 57

D. CRITICAL NOTES 92

BIBLIOGRAPHY 93

IV

North Texas State University School of Music

DMA Recital

RICKY DUHAIME, woodwinds » JUDY FISHER, piano

Wednesday, August 6, 1980 8:00 p.m. Recital Hall

Fantasia in F# Minor Georg Phil ipp Telemann f o r Transverse Flute

I A tempo giusto II Presto

I I I Moderato

Concerto in G Major, K. 313 W. A. Mozart I Allegro

II Adagio non troppo I I I Rondo: Tempo di Menuetto

INTERMISSION

Three Pieces fo r Clar inet Solo Igor Stravinsky I Sempre p e molto t r a n q u i l l o

I I = 168 I I I J*= 160

Concerto f o r Clar inet (1947) Paul Hindemith I Ziemlich schnell

II Ost inato: Schnell I I I Ruhig

IV Heiter

This r e c i t a l i s presented in p a r t i a l f u l f i l l m e n t of the requirements f o r the Doctor of

Musical Arts degree in Woodwinds

North Texas State University School of Music

Graduate Recital

RICKY DUHAIME, Woodwinds Assisted by:

Barbara Case, Piano Ray Bradbury, Harpsichord

Lucinda Adams, Violoncello

Thursday, July 1, 1982 6:15 p.m. Recital Hall

Sonata in C Major Jean Baptis te Loe i l l e t I Largo cantabi le

II Allegro I I I Largo espressivo

IV Allegro

Fantasies tucke, Op. 2 Carl Nielsen I Romanze

II Humoresque

Sonatina f o r Oboe Solo Ernst Krenek I Allegro

II Adagietto I I I Vivace

IV Andante - Al legre t to - Allegro con grazia

Intermission

Pastora le Variee Paul Ben-Haim

Solo de Concours Andre Messager

Presented in pa r t i a l f u l f i l l m e n t of the requirements f o r the degree of

Doctor of Musical Arts

V I

North Texas State University School of Music

Graduate Recital

RICKY DUHAIME, Woodwinds

Assisted by Judy Fisher, Piano

Cathy Richardson, Violin

Monday, November 18, 1985 8:00 p.m. Recital Hall

Concerto in C Major for Bassoon Antonio Vivaldi F VIII, No. 17 Pincherle 45

I Allegro con molto II Andante molto

I I I Allegro

Contrasts fo r Violin, Clarinet, and Pianoforte Bel a Bartok

I Verbunkos (Recruiting Dance) II Piheno (Relaxation)

I I I Sebes (Fast Dance)

Presented in par t i a l f u l f i l l m e n t of the requirements f o r the degree of

Doctor of Musical Arts in Woodwinds

V 1 X

NORTH TEXAS STATE UNIVERSITY SCHOOL OF MUSIC

presents

RICKY DUHAIME, clarinet

in a

GRADUATE LECTURE RECITAL

assisted by-

Jennifer Jensen, violin Timothy Stevens, horn Rob Amberson, violin Kimberly Wright, horn Cathy Troutner, viola Patrick Allen, harpsichord

Camilo Benavides, 'cello

Monday, April 28, 1986 6:30 p.m. Concert Hall

PROGRAM

A Neglected Clarinet Concerto by Ludwig August Lebrun: A Performing Edition with Critical Commentary

PERFORMANCE

Concerto in B-Flat Major for Clarinet and Orchestra.

I Allegro spiritoso II Adagio

III Rondo

.Ludwig August Lebrun

Presented in partial fulfillment of the requirements for the degree of

Doctor of Musical Arts in Woodwinds

Vlll

CHAPTER I

INTRODUCTION

The purpose of the present study is to prepare a modern performing

edition of an unpublished eighteenth-century clarinet concerto. Written

by the Mannheim oboist and composer Ludwig August Lebrun (1746-1790), the

Concerto in B-flat for solo clarinet and orchestra has existed solely as

a set of manucript parts for some 200 years. These parts are currently

housed in the Austrian National Library in Vienna.

Chapter II presents biographical information on Ludwig

August Lebrun as well as a report on his work as a composer and leading

oboe virtuoso of the late eighteenth century. While sources disagree on

specifics of quantity, dating, and publication details, an attempt is also

made to account for Lebrun's known concerto compositions.

Chapter III presents the historical background of Lebrun's

Concerto in B-flat for solo clarinet, including a hypothesis that an

oboe version of the same concerto predates the clarinet version by

a number of years. A thematic and harmonic analysis of each of the

concerto's three movements follows.

Chapter IV recounts the procedures followed for the preparation

of the separate orchestral parts and piano reduction which

form the basis of the present study. The parts and reduction are

reproduced in the appendices. Performance practice considerations

regarding articulation and ornamentation are also discussed with

reference to the contemporaneous sources which have proved most useful

in the preparation of the present edition. A brief summary follows in

Chapter V.

CHAPTER II

LUDWIG AUGUST LEBRUN, PERFORMER AND COMPOSER

Ludwig August Lebrun (also known as Ludwig Karl Maria Lebrun) was

born in Mannheim in 1746 and baptized May 2, 1752.* The son of Jakob

Alexander Lebrun, an oboist and teacher at the Mannheim court, Ludwig

studied oboe with his father and in 1764 was accepted into the Mannheim

orchestra as a "scholar" (a training/apprenticeship position). Three

years later he was awarded a full appointment to the orchestra, a position

he held until his death in 1790.^

The younger Lebrun traveled extensively from about 1772 and

quickly established a reputation as one of the leading oboe virtuosi of

the last quarter of the eighteenth century. In 1773 he concertized in

Winterthur, and in 1775 the German journalist C.F.D. Schubart wrote in the

1. Francois Joseph Fetis, "Lebrun (Louis-Auguste)," Biographie Univ-erselle des Musiciens et Biblioeraphie Generale de la Musiaue. Deuxieme Edition, 8 vols. (Paris: Librairie de Firmin Didot Freres Fils et Cie., 1860-70), V, 241. '

2. Roland Wiirtz, "Ludwig August Lebrun," The New Grove Dictionary of Music and Musicians, 6th ed., 20 vols., ed. Stanley Sadie (London: Macmillan, 1980), X, 581.

3. Ibid.

4. Robert James Krause, "A Biographical Dictionary of European Oboists Before 1900" (D.M.A. Dissertation: University of Miami at Coral Gables, 1981), 53.

Teutsche Chronik that "Lebrun enchants all of Paris with his divine oboe."~*

Schubart also reports that Lebrun was the first performer to add high D and

E to the oboe's range, calling him the "Prince of the oboe" and praising

his compositions as being "as sweet as drops of nectar."^

After Lebrun's marriage to Franziska Danzi, a well-known soprano

from the Mannheim court and elder sister to the composer Franz Danzi,

the couple were almost constantly on tour together, first to Milan

(1778), then Paris (1779), London (1779-81), Vienna and Prague (1785),

Naples (1786—87), and finally Berlin (1789—90), where Ludwig died December g

16, 1790. The concerts given by Lebrun and his wife during their

extensive travels were hailed as sensational successes, particularly

9 those in London and in Paris at the Concerts Spirituels.

As a composer, Lebrun wrote ballet music for the King's Theatre

in London (Armida and Agus),^ a number of chamber works involving

strings and woodwinds, and some woodwind concerti. At least thirteen

different concerti for flute or oboe were published in two collections,

5. Robert Miinster, "Lebrun, Ludwig August," Die Musik in Geschichte und Gegenwart, 14 vols., ed. Friedrich Blume (Kassel, Basel, London, and New York: Barenreiter Verlag, 1949-67), VIII, col. 420.

6. Gustave Schilling, Encyclopaedia der gesammten musikalischen Wissenschaften, oder Universal-Lexicon der Tonkunst. 6 vols. (Stuttgart: Verlag von Franz Heinrich Rohler, 1835), IV, 336.

7. Wurtz, "Lebrun," 582.

8. Ibid.

9. Fetis, loc. cit.. and Krause, loc. cit.

10. Krause, "Biographical Dictionary," 53, 54.

a first set of seven concerti published between 1776 and 1787 by Seiber

of Paris, and a second set of six in 1804 by Andre of Offenbach.11

Perhaps as many as eight (or more) concerti exist, either as unpublished

manuscripts of different works or arrangements of earlier concerti,12

including one more clarinet concerto in manuscript currently housed in

the Fiirstlich Thurn und Taxissche Hofbibliothek, Regensburg.^

11. Walter Lebermann, "Preface" to his edition and arrangement of Concerto No. 4 in C-Major for Oboe and Orchestra by Ludwig August Lebrun (Hamburg-London: N. Simrock, 1978).

12. Sources differ on specifics of quantity, dating, and publication details. Compare information given by Lebermann, Wiirtz, Krause, and Munster.

13. John P. Newhill, "The Contributions of the Mannheim School to Clarinet Literature," The Music Review XXXX:2 (May, 1979), 102.

CHAPTER III

THE CONCERTO IN B-FLAT FOR

CLARINET AND ORCHESTRA

History

The manuscript set of parts for Lebrun's Concerto in B-flat for

solo clarinet with orchestral accompaniment of first and second violins,

viola, bass, and two horns was acquired by the Austrian National Library

in 1932 from a bookdealer named Hockner.''' The Director of the library's

Music Division, Dr. Giinter Brosche, has kindly supplied a photocopy of

the manuscript parts, but admits that he knows nothing of the parts'

history prior to 1932. The work is apparently an arrangement for solo

B-flat clarinet of an earlier oboe concerto in C major, the fourth in

the collection of seven originally published by Seiber. The first

edition of the oboe version was published in 1777 and has recently been

edited by Walter Lebermann and published for solo oboe with piano

2

reduction by Simrock. The clarinet version appears never to have been

published, however, existing only as a set of manuscript parts.

Though a clear chronological account is not possible, two

observations support the contention that Lebrun probably conceived the

1. The contact letter from the library is reproduced in Appendix A.

2. Ludwig August Lebrun, Concerto No. 4 in C-Major for Oboe and Orchestra, ed. and reduced for oboe and piano by Walter Lebermann (Hamburg-London: N. Simrock, 1978).

concerto for his own instrument, the oboe, with a transposition of the

accompaniment appearing later to accommodate a solo B-flat clarinet.

First, the solo line lies entirely within the range of the classical oboe,

never taking advantage of the extended range possible on the clarinet.3

Second, the title page of the manuscript parts bears the location "Berlin"

directly under the composer's name. If this be an indication of the

manuscript's point of origin, the city where Lebrun spent the last two

years of his life, then the manuscript could date from 1789 or 1790 and

was perhaps written as a response to the request for a concerto from one

of the various clarinet virtuosi who were living in Berlin at the time,

such as Franz Tausch or Friedrich Kiihn, Such use of pre—existing music

in an arrangement for a different medium, either by the composer himself

or by someone else, was a common practice in the eighteenth century.^

3. With some differences because of individual player's abilities, the range of the classical two- or three-keyed oboe is C^-Fg, while that of the five- or six-keyed clarinet is E3-G6. For complete fingering charts showing the entire compass of each of these instruments, see Anthony Baines, Woodwind Instruments and their History. First American Revised Edition (New York: W. W. Norton & Company, Inc., 1963), 282, 301. For purposes of comparison with modern instruments, see also John Backus, The Acoustical Foundations of Music. Second Edition (New York: W. W. Norton & Company, Inc., 1977), 155.

4. Pamela Weston, More Clarinet Virtuosi of the Past (Amersham, Great Britain: Halstan & Co. Ltd., 1977), 289, 290. The present clarinet version may also be the "Lebrun Concerto" Weston lists among Bernhard Crusell's performing repertoire in Stockholm from 1802 through 1807 (75, 76, 350).

5. Well-known examples include J. S. Bach's arrangements of Vivaldi violin concert! for organ (BWV 972, 973, 975, 976, 978, 980) as well as W. A. Mozart's flute and oboe versions of the same concerto (K314). For examples of Beethoven chamber works used in arrangements by the composer as well as others, see Ricky Duhaime, "Beethoven's Chamber Music Involving Clarinet," The Clarinet XII:2 (Winter, 1985), 34-39.

8

Thus, the present arrangement may or may not be by Lebrun, with the actual

authorship of the transcription remaining unknown.^

Analysis

The first movement of the concerto, Allegro spiritoso. utilizes a

traditional sonata design. The orchestral exposition opens with the

presentation of the movement's main thematic material, an eight-measure

melody firmly set in the tonic key of B-flat major, which is then repeated

exactly, mm. 1-16. An eight-measure non-modulatory transition leads

directly to the second orchestral theme beginning at measure 25. Unlike

the first, this second theme is never stated in the clarinet solo but is

reserved for orchestral usage throughout the movement. The brief closing

passage beginning at measure 40 serves to confirm the tonic key of B-flat

major.

The solo exposition commences with a repetition of the opening

melodic material in the clarinet solo. The first eight measures are dupli-

cated exactly while the second eight measures introduce the first soloistic

figuration. The transition section for solo and orchestra, measures

66-87, predictably modulates to F major, the dominant key level, which

is achieved by the cadence to measure 79. The transition continues,

however, with a six-measure extension which emphasizes C major and f

minor triads (respectively, the dominant and tonic minor harmonies in F

major). The half cadence in measure 85 would, therefore, normally lead

to the presentation of new thematic material in F major or minor, but

6. Newhill, op. cit.

9

instead turns to A-flat major, the key of the lowered mediant in F major,

for the four-measure presentation of the soloist's second theme. F major

returns in measure 92 and serves as the harmonic framework for figurative

passagework by the soloist. The next thirty-three measures, mm. 101-133,

are a duplication of the transition, second theme presentation, and close

from the orchestral exposition, mm. 17-49, transposed to the dominant

level of F major and serve as a closing tutti to the exposition.

The melody in the clarinet solo which begins in measure 134 is

derived from motives found in measures 3, 11, 52, and 60 from presentations

of the movement's main theme. The F major half cadence in measure 151,

similar to the half cadence in measure 85 in the exposition, again

substitutes the key of A-flat major for the expected key of F major. The

melodic idea in A-flat major which follows, mm. 152-155, combines the

rhythmic motive from the movement's main theme with a portion of a

secondary theme found in measures 66 and 67 of the exposition. The

stability of A-flat major is quickly dissolved, however, through a

modulatory sequential treatment of the opening motive of the melody, mm.

156-158, and leads to a full cadence in g minor, measure 160. The g minor

tonality is used for the presentation of one final theme, mm. 164-175.

The modulation in measures 174 and 175 restores the tonic key of B-flat major.

The first sixteen measures of the recapitulation, mm. 176-191, cor-

respond exactly to mm. 50-65 of the exposition, with the exception that the

clarinet solo does not play the first four measures of the second period in

the recapitulation. The transition which begins at measure 191 is an exact

duplication of the transition from measure 79 in the exposition but is

transposed to the tonic key of B-flat major. The half cadence in measure

10

197 would normally lead to a tonic sonority, but, as in the exposition,

the key of the lowered mediant, D-flat major here, is substituted for the

restatement of the soloist's second theme. A modulation in measure 203

returns to B-flat major and leads to extended passagework for the soloist

in the tonic key. Starting at measure 217, a two-measure motive which

first appeared in measure 17 is used sequentially and is then followed by

a series of secondary dominant harmonies which lead to the sustained

tonic triad in its second inversion in measure 224, the traditional

indication for a solo cadenza.^ One final statement of the movement's

main theme by the soloist follows the cadenza. A six-measure orchestral

cadence closes the movement.

The succinct second movement, Adagio, is in a ternary (A B A')

form in the key of E-flat major. The clarinet solo presents the initial

thematic material in measures 1-7 which comprise the first third of the

movement. The accompaniment throughout the section consists solely of

tonic and dominant harmonies in the tonic key. Through a phrase overlap,

measure 7 also begins the B portion of the movement with the solo melodic

line cadencing on tonic in the first beat of the measure as well as

introducing a motive which is then repeated sequentially through measures

8 and 9. Furthermore, the E—flat major sonority of measure 7 serves as a

pivotal harmony, acting as both the final (tonic) chord of the authentic

7. A cadenza, copied by the same hand as the rest of the concerto parts, is supplied at the end of the solo part for the first movement. The cadenza is reproduced at the end of the piano reduction of the first movement in Appendix B.

11

cadence to close the first section as well as a subdominant harmony in

the key of B-flat major of the second section.

The second section of the movement, mm. 7-18, is distinguished by

a harmonic shift to the key of the dominant, B-flat major, as well as a

change in the character of the melodic line. The relatively longer

rhythmic values and disjunct motion of the opening section are replaced

by notes of smaller duration used largely in conjunct connections. The

harmonic language in the middle section of the movement is also notably

richer than in the outer sections, making use of subdominant as well as

tonic and dominant harmonies, mm. 7-13, and secondary dominants, m. 14.

The middle section closes with an authentic cadence in B-flat major in

measure 17 which also functions as a pivotal (dominant) harmony back to

the tonic key of B-flat major.

The first five and one half measures of the return, mm. 19-24,

recapitulate exactly the first five and one half measures of the opening.

The four-measure extension to the opening material, mm. 25-28, functions to

provide an opportunity for soloistic figuration as well as to introduce the

g

solo cadenza to be placed in measure 29. The brief orchestral coda which

follows the cadenza is built upon the figural accompaniment of the opening.

The third and final movement of the concerto is a rondo of nine

sections which alternates five presentations of the rondo theme with

three episodes and a solo cadenza. The eight-measure rondo theme,

consisting of a pair of four-measure phrases in an antecedent-consequent

8. As with the first movement, a cadenza is provided in the solo manu-script part at the end of the movement and is reproduced in the piano reduction in Appendix B.

12

relationship, is stated at the outset by the clarinet solo in the tonic

key of B-flat major. The solo statement is followed by an exact

repetition in the orchestra. The arpeggiated chordal accompaniment in

continuous sixteenth notes coupled with the bass which supplies chord

roots in syncopation gives the theme a light, buoyant quality which

characterizes each return.

The first episode, mm. 17-32, turns to F major, the key of the

dominant. For the first eight measures of the episode the rhythms in

both the solo melody and orchestral accompaniment are noticeably slower

and less motoric than in the rondo theme. The first violin participates

in the presentation of the episode's theme, being coupled at various

points in thirds and sixths with the clarinet solo. At measure 25 the

solo line becomes a virtuosic display of scalar passagework over sustained

harmonies which eventually lead to the return of the rondo theme in the

tonic key of B-flat major at measure 33.

Following the rondo theme, a transition passage, mm. 48-56, moves

first to g minor, mm. 49-50, which becomes G major, m. 50, which is then

treated as a dominant preparation for the final goal of c minor, m. 51.

The half cadence in measure 56, which would normally be used to introduce

a passage in c minor, turns instead to E-flat major for the presentation

of the second episode, mm. 57-90. The first twenty measures of the

episode consist of three phrases set in regular four-measure units which

in turn cadence on tonic, dominant, and tonic harmonies, followed by an

eight-measure extension to the last tonic cadence. The last fourteen

measures of the episode, mm. 77-90, contain some brillant passagework for

13

the clarinet solo over accompanimental harmonies which first modulate to

c minor, mm. 81-83, and then prepare for the return of the tonic key of

B—flat major, mm. 88—90, and the rondo theme. The third appearance of

the rondo theme, mm. 91-106, is identical with its first two statements.

The third episode, mm. 107-134, begins in g minor, with the first

four measures consisting of a pair of two-measure phrases in an antecedent-

consequent relationship. Measures 113 and 114 effect a modulation to B—

flat major, the key for the remainder of the episode, though g minor is

still strongly felt through the use of secondary dominants, mm. 117-122.

The first violin couples the clarinet solo in thirds in the two-measure

phrase in measures 123, 124, which is then repeated, leading to a final

passage of technical display for the soloist to close the episode.

The fourth appearance of the rondo theme, beginning measure 135,

is shortened and consists of the eight-measure solo statement without the

orchestral repeat. Measure 142 begins a four-measure orchestral extension

to the solo cadence in preparation for the solo cadenza, measure 146.^

The final appearance of the rondo theme follows the cadenza, with the solo

and orchestral statements separated by one last technical display for the

clarinet solo, mm. 154-159. Two measures of tonic harmony follow the

orchestral statement of the theme, bringing the movement and the concerto

to a close.

9. Unlike the previous two movements, no cadenza is supplied in the manuscript solo part for the Rondo.

CHAPTER IV

AN EDITION OF LEBRUN'S

CONCERTO IN B-FLAT

Procedure

After obtaining the photocopy of the manuscript parts from the

Austrian National Library, a composite score was assembled which duplicated

each part as exactly as possible. The parts were then reconciled with

each other, most frequently involving the correction of obviously

incorrect pitches, the supplying of missing accidentals, and the ad-

justment of disparate rhythmic values. The places in each movement

where such decisions have been made as well as the original part notation

are cited in the Critical Notes (Appendix D).

The reduction of the orchestral score for piano has been a multi-

stage process involving numerous revisions.''' The final version is

reproduced in Appendix B. The emended orchestral parts have been copied

from the composite score and are reproduced in Appendix C.

1. Special thanks to Dr. Cecil Adkins, Dr. George Papich, and Mrs. Judy Fisher for their advice in the preparation of the reduction. Walter Lebermann's reduction of Lebrun's Concerto No. 4 for Oboe and Orchestra for oboe and piano, published by N. Simrock, 1978, has also been helpful as a reference. As even a cursory comparison shows, however, the present reduction differs considerably from Lebermann's.

14

15

Performance Practice Considerations

In preparing the present performing edition of the orchestral

parts and the piano reduction, editorial decisions based on eighteenth-

century performance practices have been necessary in the two areas of

articulation and ornamentation. Observation of marked passages in the

manuscript solo and orchestral parts as well as information found in

contemporaneous tutors have formed the basis for these decisions.

As Thomas Warner observes, while some woodwind tutors of the

eighteenth century furnish extensive instructions for the mechanics of

tonguing, most give no directions for the application of slurs.^ Period

tutors are useful in formulating guidelines for characteristic articulation

patterns, however, in the musical examples they provide, often for topics

other than articulation. Assuming an approximate composition date of 1777

for the Lebrun concerto, its reported first publication, a number of

widely circulated methods from around this time provide pertinent infor-

mation.

In Johann Quantz's Versuch einer Anweisung die Flote traversiere

zu spielen, first published in 1752 and reprinted in an unchanged third

edition in 1789, and Antoine Mahaut's Nouvelle Methode for flute of 1760

are found examples which use slurs in a number of recurring patterns.

Similar patterns are used and discussed in tutors from the last quarter

of the century, notably Etienne Ozi's Methode Nouvelle et Raisonnee pour

2. Thomas E. Warner, "Indications of Performance Practice in Woodwind Instruction Books of the 17th and 18th Centuries" (Ph.D. Dissertation: New York University, 1964), 65.

16

1g Basson of 1787 , Amand Vanderhagan s Methode Nouvelle et Raisonnee pour

la Clarinette of 1785 and Nouvelle Methode de Clarinette of 1800, and

Francois Devienne's Nouvelle Methode Theorique et Practique pour la Flute 3

of 1792. Quantz's Versuch has been the primary source from which

articulation patterns have been drawn for the present edition,^ along

with modern commentary on the Versuch by Mary Rasmussen.5

As with the addition of articulation patterns to passages which

lack markings, the addition of notes to a composition was also expected

of a performer in the eighteenth century, not merely to decorate a work

but to complete it. The scope of these performer-supplied embellishments

ranges from the ornamentation of a given melodic line to the improvisation

of Eingange and cadenzas, each of which will be examined in turn.

As Warner points out, three factors generally govern the intro-

fZ

duction of melodic ornamentation into a composition. First, the ornaments

must be appropriate to the tempo and mood of the work. Clearly, faster

movements allow for fewer added ornaments than do slower movements,

though in both cases the ornamentation must follow the established

3* Ibid., 80-95. Warner reproduces Articles 5-7, pp. 10-15, of Devienne's Methode as well as citing specific examples from Ozi and Vanderhagan.

4. Johann Joachim Quantz, Versuch einer Anweisung die Flote traversiere zu spielen (Berlin, 1752); trans, and ed. by Edward R. Reilly as On Playing the Flute (London: Faber and Faber; New York: The Free Press , 1966), 140-1=72 (Tables IX through XIX).

5. Mary Rasmussen, "Some Notes on the Articulations in the Melodic Variation Tables of Johann Quantz's Versuch . . Brass and Wood-wind Quarterly I (1966-67), 3-26.

6. Warner, "Performance Practice," 162, 163.

17

7 g

sentiment (affect) of the work and must never be used to excess.

Second, the ornamentation must follow the prevailing taste of the time

and place. Among other writers at mid-century, Quantz discusses the

differences between French and Italian traditions with the conclusions

that while French music usually requires little added ornamentation,

Italian music leaves much . .to the caprice, and to the ability, of

the performer."^ Finally, melodic ornaments must be specific to the

performing medium, for as the English translator of Tosi's Opinioni de'

cantori antichi e moderni points out, "Many graces may be good and proper

for a violin that would be very improper for a hautboy.""'" In the case

of woodwinds, fingering patterns and ease of execution, which can change

drastically from one instrument to another, largely dictate the choice

of ornament used. The Lebrun concerto under consideration has much

ornamental passagework carefully notated and requires little added

ornamentation, particularly in the first two movements. As Quantz

suggests, though, reappearances of the main theme in the solo sections

of the rondo should be varied in order to avert monotony in repetition."'''''

7. Quantz, Versuch, 124, 304. For a detailed discussion of contempo-raneous views of Affektenlehre in the eighteenth century and their practical applications, see Frederick T. Wessel, "The Affektenlehre in the Eighteenth Century" (Ph.D. Dissertation: Indiana University, 1955).

8. C. P. E. Bach, Essay on the True Art of Playing Keyboard Instruments; trans, and ed. by William Mitchell (New York: W. W. Norton & Company, Inc., 1949), 81.

9. Quantz, Versuch, 113.

10. Pier Francesco Tosi, Opinioni de' cantori antichi e moderni (Bologna: Volpe, 1723); trans, by J. E. Galliard as Observations on the Florid Song (London: Wilcox, 1742) fn., 159. Quoted from Warner, 162.

11. Quantz, Versuch, 152.

18

Such "variations" must maintain the light, humorous affect of the rondo

movement, however.

Possibly the most original of the performer's additions to an

extant composition are the Eingange and cadenzas to be interpolated at

12 appropriate places within a movement. In a recent article for the

International Clarinet Society, Daniel Leeson makes clear the

1 3 distinction between these two types of passages:

A cadenza is requested by the composer through the expedient of arriving at a fermata on the tonic chord in its second in-version (the tonic six-four chord) usually towards the end of a movement. This chord is one of great instability and the resolution of this instability, by way of music which ends on the dominant seventh chord (usually a trill), is the function of the cadenza. The Eingang, on the other hand, is requested by the composer through the expedient of arriving at a fermata on the dominant seventh chord anywhere within a movement but usually at psychologically important places such as key changes or tempi alterations. This melodic lead-in, played on dominant seventh harmonies which carry the soloist up to the tonic, is the function of the Eingang. The cadenza and Eingang differ from each other in several key elements: (1) the resolution provided by the cadenza is a multi-stage process which permits considerable artistic license, whereas the resolution provided by the Eingang is a single stage process with little opportunity to roam and no place to go but home; (2) the cadenza length, partly a function of the musical imagination of the performer and partly a function of the length of the movement, can be as much as several minutes long, whereas the Eingang must satisfy its task in a handful of notes; (3) the cadenza is expected to be based on the themes of the movement being played whereas the

12. For a discussion of each along with examples of pieces in which composers have supplied models, see Eva Badura-Skoda, "Cadenza," The New Grove Dictionary of Music and Musicians. 20 vols., ed. Stanley Sadie (London: Macmillan, 1980), III, 586-92.

13. Daniel N. Leeson, "Embellishment and Improvisation in the Clarinet Repertoire of the Classic and Early Romantic Periods," The Clarinet VIII :1 (Fall, 1980), 16-24.

19

Eingang has no such expectation. The only similarities which they bear one another are that, in both cases, the treatment is expected to be improvisational and the solo instrument plays without accompaniment.

Each movement of the Lebrun concerto calls for a cadenza at an

appropriate place. The manuscript solo parts for each of the first two

movements include a cadenza for the movement, each of which is reproduced

14

in the piano reduction. An original cadenza for the third movement

has been prepared using guidelines set forth by Quantz,15 some examples

given by Tartini,1^ and some helpful advice by David Lasocki and Betty

Bang Mather.1^ The Eingange which are to precede each return of the

rondo theme in the third movement will be improvised.

14. See Appendix B.

15. Quantz, Versuch, 179-95.

16. Giuseppe Tartini, Traite des Agrements de la Musique (Paris, ca. 1771); ed. by Erwin R. Jacobi with English translation by Cuthbert Girdle-stone (Celle, Germany and New York: Hermann Moeck Verlag, 1961), 117-25.

17. David Lasocki and Betty Bang Mather, The Classical Woodwind Cadenza ; a Workbook (New York: McGinnis & Marx, 1978).

CHAPTER V

SUMMARY AND CONCLUSIONS

As one of a number of wind instrumentalists who toured Europe

during the late eighteenth century, Ludwig August Lebrun contributed to

the art of music in general and performance in particular through his

playing. Reports of the performances given by him and his wife testify

to an excellence which would develop the standard for the nineteenth-

century virtuoso soloist. That Lebrun's fundamental training took place

in Mannheim is further evidence of that city's importance and influence

as a musical center.

Though neither numerous nor immediately accessible today, Lebrun's

compositions were held in high regard during the composer's lifetime.

The symmetrical, balanced phrase structures within a clear, largely

diatonic harmonic framework of the Concerto in B-flat are certainly

characteristic of much of the music of the time. While a lack of

developmental treatment of material may be cited as a weakness in the

present composition, particularly evident in the opening movement, the

melodic inventiveness exemplified throughout the work as well as a

demonstrated proficiency in writing effectively for woodwinds are certainly

strengths. With the possible publication of a modern performing edition,

Lebrun's Concerto in B-flat for clarinet solo may prove to be a worth-

while addition to the Classical literature for woodwinds.

20

APPENDIX A

COPY OF THE CONTACT LETTER FROM DR. GUNTER BROSCHE,

DIRECTOR OF THE MUSIC DIVISION,

AUSTRIAN NATIONAL LIBRARY

21

O f t e r r e i c h i f c h e f l a t i o n a l b i b l i o t h e k 8.9.1983 Wien, am

M U S I K S A M M L U N G * . , , , a , A-1010 I., fiuguftlnerftraBe 1

B±ief-Nr. 824/M-Dr.Gm

D Mrs. Prof.Ricky Duhaime Austin College Box 1587 Sherman; TX 75090

USA

Sehr geehrte Frau Professor Duhaime,

beziiglich der Herkunft der Lebrun-Handschrift wissen wir nichts Genaueres als daB sie

im Jahre 1932 im Tauschweg vom Antiquariat Hockner durch unsere Bibliothek erworben

wurde. Beiliegend erhalten Sie die Kopie aus MGG mit dem Artikel iiberLebrun; wir

diirfen Sie auch darauf hinweisen, daB Grove Vol.10 (1980) einen ausfiihrlichen Artikel

enthalt.

Mit freundlichen GriiBen

Der Direktor

(Dr. Giinter Brosche)

22

APPENDIX B

PIANO REDUCTION OF LEBRUN'S

CONCERTO IN B-FLAT

23

24

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APPENDIX C

ORCHESTRAL PERFORMING PARTS

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91

APPENDIX D

CRITICAL NOTES

The following format is used:

Movement/ Measure Number/ Beat Number/ Part (Written SOLO, piano RH, piano LH)/ Original Manuscript Notation

1/ 19/ 2/ RH/ grace note C-natural 1/ 23/ 2/ RH/ grace note C-natural 1/ 45/ 1-4/ RH/ E-flat is editorial 1/ 85/ SOLO Eingang/ D-flat 1/ 102/ 2/ LH/ quarter note B-flat 1/ 106/ 2/ LH/ quarter note B-flat 1/ 109/ 3/ RH/ dotted quarter note B-flat 1/ 111/ 4/ RH/ eighth note B-flat 1/ 120/ 3,4/ LH/ first eighth notes B-flat 1/ 121/ 2/ LH/ first eighth note A-natural 1/ 125/ 4/ RH/ (missing) 1/ 126/ 2-4/ RH upper sixteenth notes A-natural 1/ 128/ 1-4/ RH/ C-naturals are editorial 1/ 148/ 4/ LH/ G-sharp 1/ 173/ 1-3/ SOLO/ D-natural 1/ 191/ 2/ RH/ grace note D-natural 1/ 217/ 1,2/ RH/ rhythm J / 3 1/ 219/ 1,2/ RH/ rhythm J _f ) 1/ 231/ 2,3/ SOLO/ F-natural

II/ 8/ 1/ SOLO/ eighth note F-natural II/ 13/ 1/ SOLO/ second sixteenth note D-natural II/ 21/ 1/ SOLO/ grace note F-natural II/ 27/ 2/ RH/ upper sixteenth notes A-flat II/ 28/ 1,2/ SOLO/ trill on G-natural

HI/ 119/ 1/ SOLO/ first thirty—second note B—natural HI/ 132/ 1,2/ SOLO/ complete two—octave chromatic scale

92

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