Category Archives: Editing & Arranging

Christian Cannabich: The Periodical Overture in 8 Parts – No. X

This is the tenth installment  of the Periodical Overtures in 8 Parts which are being published in conjunction with Musikproduktion Höflich.
Listen here before heading over to musikproduktion höflich to obtain the score and parts.

 

The original four-movement structure of The Periodical Overture in 8 Parts by Christian Cannabich indicate that it is an early, composed while he was still under the influence of the late Johann Stamitz and before he took his excursions to Paris. All three of the movements retained by Bremner use the same binary-sonata format that James Hepokoski and Warren Darcy call a “Type 2 Sonata”; it can be diagrammed as an ||: a/I b/V :||: a/V b/I :|| structure.[1] The brisk unison premier coup d’archet chords at the start of the “Allegro ma non troppo” are, unusually, in triple meter, and the rest of the movement is filled with features that are associated with the Mannheim school: “drum 8ths” (especially in measure 17 and onward), dramatic crescendos (mm. 2, 32, 43, etc.), measured tremolos (m. 44), and the quick rising-and-falling motif known as the Bebung (m. 2).[2] Of course, commentators have been noting since 1778 that these characteristics can also be found in Jommelli’s music, so Cannabich would have been influenced from two directions to adopt these gestures.[3] For the second theme (m. 36), Cannabich presents a disjunct call-and-response dialogue between the violins and flutes, introducing a nice timbral variety to the movement.

The “Andante Grazioso” reduces the scoring to strings alone and shifts, unsurprisingly, to the subdominant A-flat major. The violins initially engage in a hocket-like sequential dialogue, but they join forces for longer stretches of parallel harmonies (m. 9). The violins again harmonize in the second theme (m. 22), keeping listeners a bit off-balance with variable phrase lengths.

Cannabich uses a host of devices to enhance a sense of irresistible drive in the “Presto assai.” Steady drum 8ths maintain the propulsion against a quiet, syncopated, rising string melody, with occasional fanfare interjections from the French horns. An upward sequence of Bebung motifs (m. 22) yields to measured tremolos (m. 25), all during an exciting crescendo passage. A series of brief climbing motifs launches the second theme (m. 49), but the flutes are quickly given a more extended solo showcase (m. 53). A robust closing theme (m. 73) plays with sudden dynamic contrasts, helping to make the entire movement seem breathless and exhilarating.

Alyson McLamore

[1] James Hepokoski and Warren Darcy, Elements of Sonata Theory: Norms, Types, and Deformations in the Late-Eighteenth-Century Sonata (Oxford: Oxford University Press, 2006), 353–4.

[2] Hugo Riemann, ed., Sinfonien der pfalzbayerischen Schule (Mannheimer Symphoniker), in Year 7, Vol. II, of Denkmäler der Tonkunst in Bayern, in Series 2 of Denkmäler deutscher Tonkunst (Leipzig: Breitkopf & Härtel, 1906), xvii.

[3] Wolf, “Christian Cannabich,” 389, note 8.

Johann Stamiz: The Periodical Overture in 8 Parts – No. IX

This is the ninth installment  of the Periodical Overtures in 8 Parts which are being published in conjunction with Musikproduktion Höflich.

Listen here before heading over to musikproduktion höflich to obtain the score and parts.

The ninth symphony in the Periodical Overtures series by Johann Stamitz was the first of Bremner’s issues to be in the key of G major. The “Andantino” is in the subdominant key of C major, and Bremner follows Huberty’s tempo indication for this central movement, in contrast to that of the Regensburg manuscript that Wolf used for his thematic catalogue, which designates the slow movement as “Andante non Adagio.”[1]

In the dramatic opening movement, Bremner matched Huberty with the designation of an “Allegro” tempo, whereas the Regensburg source uses “Presto assai.” Bremner’s print differs from them both, however, in his use of cut-time meter; the others are set in common time. The movement is structured as a sonata form without repeats, a practice that grew more frequent with Stamitz’s “middle-period” symphonies and became his normal practice with his late works.[2] A brilliant upward “Mannheim rocket” introduces the march-like first theme (m. 3), even though Stamitz himself is less linked to this striking motif than some of his Mannheim colleagues.[3] It is supported by other characteristic gestures, such as the second violin’s measured tremolos and the lower strings’ “drum 8ths.” The second theme (m. 26) contains “filigree” embellishments along with alternating measures of piano and forte, but the development—which again features the rocket (m. 42)—also employs a Mannheim crescendo (m. 57). The initial two-measure orchestral rocket is omitted, however, when the march-like theme reappears for the recapitulation (m. 79).

The expressive “Andantino” is a duple-meter showcase for strings alone and comprises a straightforward rounded-binary form. Its delicate first theme features a downward octave jump followed by an upward leap of a twelfth; the pattern is repeated sequentially before making a long conjunct descent. Although the second theme (ms. 39) starts with an upper-neighbor gesture and several repeated notes, it shares the characteristic downward octave-jump motif. Each half of the structure ends with the celebrated crescendo technique, starting in measure 28 and again in measure 79. Throughout the movement, Stamitz shifts the dynamics from piano to forte in close succession, sometimes in every measure.

Stamitz’s gigue-like finale offers a bit of cyclic unity by launching another rapid Mannheim rocket at the opening, again supported by drum 8ths. This “Presto” employs a binary-sonata pattern that James Hepokoski and Warren Darcy call a “Type 2 Sonata” form, in which the first theme opens the second half of the movement in the dominant key (m. 69), but only the second theme returns (m. 109) to recapitulate the tonic (||: a/I b/V :||: a/V b/I :||).[4] In its initial appearance in the first half of the finale, the second theme (m. 39) opens with a piano conjunct descending scale, then shifts to a bouncy forte consequent phrase, creating a nice “classical” counterbalance to the opening theme. In general, the movement is an effervescent romp that exemplifies Stamitz’s skill at deploying the classical orchestra in diverse but always engaging ways.

Alyson McLamore

[1] Wolf, The Symphonies of Johann Stamitz, 381.

[2] Wolf, The Symphonies of Johann Stamitz, 285, 340.

[3] Wolf, The Symphonies of Johann Stamitz, 304.

[4] James Hepokoski and Warren Darcy, Elements of Sonata Theory: Norms, Types, and Deformations in the Late-Eighteenth-Century Sonata (Oxford: Oxford University Press, 2006), 353–4.

Anton Fils (Filtz): The Periodical Overture in 8 Parts – No. VIII

This is the eighth installment  of the Periodical Overtures in 8 Parts which are being published in conjunction with Musikproduktion Höflich.

Listen here before heading over to musikproduktion höflich to obtain the score and parts.

When Bremner issued Periodical Overture No. 8 in February 1764, he used the “Filtz” spelling that had appeared on the cover of Periodical Overture No. 4, but unlike his earlier publication by Fils, No. 8 employs the standard two oboes that characterized the majority of pieces in Bremner’s series. His decision to feature Fils a second time seems to have been shrewd, judging from the records of the eighth overture’s ten performances in the concerts of the Edinburgh Musical Society over an almost twenty-year span from 1768 to 1786, while an unspecified overture by “Filtz” was played as late as 1799. In some of the Edinburgh concert seasons, Periodical Overture No. 8 was the only work by Fils performed (even though the Society owned the other two Fils prints by Bremner), and in two seasons—1770 and 1786—Periodical Overture No. 8 was performed twice.[1] During the first of those seasons, the eighth overture is known to have been performed across the Atlantic: it closed the first half of the 9 February 1770 benefit concert at “Mr. Burn’s Room” on behalf of a Mr. Stotherd, a very active French horn player in New York.[2]

Nearly all of the elements that Schubart applauded can be found in Periodical Overture No. 8—and the symphony also reflects the young composer’s full awareness of the Mannheim orchestral conventions. The rhythmic unison that characterizes the robust premier coup d’archet also showcases a descending E-flat triad that is heard at the opening of numerous other symphonies; historian Jan LaRue points to works by Johann Christian Bach, Carl Friedrich Abel as well as symphonies by Wagenseil, Montoro, and Kreusser.[3] Fils immediately makes the familiar motif his own, however, with an abrupt switch to piano for a staccato ascent. The shifts between forte and piano occur more rapidly during the bridge (m. 17), which is filled with measured tremolos and upward arpeggios. When the bridge reaches the dominant key, B-flat major, the second theme (m. 27) sustains a piano dynamic for a full four measures, during which the first violins invert the staccato scalar motif heard in the first theme. The second theme then makes its own sudden dynamic switch to forte (m. 31) and introduces the short-long Scotch snaps (or Lombardy rhythms) that will be a unifying device for the majority of the symphony. The last portion of the “Allegro’s” exposition presents a short “Mannheim crescendo” (m. 35), and—as is true for most of Fils’s opening movements—the sonata form continues without a repetition directly into the development (m. 45) and onward to the recapitulation (m. 61).

The Scotch snaps that had played a secondary role in the “Allegro” move into the foreground at the start of the “Larghetto.” This triple-meter movement, in the dominant key of B-flat major, reduces the ensemble to strings alone, and is again in sonata form, this time set in two repeated sections. Fils creates another instance of tight interconnections between themes: the first melody opens with a quick leap of a third and a descent to the tonic, followed by a rising series of Scotch snaps. After repeating those opening bars at a higher pitch level, the third phrase of Theme 1 (m. 5) opens with an F, an upper-neighbor G, and then four more repeated Fs. This “inner” motif then becomes the opening of the second theme in m. 13. It, too, is followed by a measure of Scotch snaps, but the upward leaps comprise larger intervals.

As the “Minuetto” demonstrates, Fils was not finished with Scotch snaps. The rounded-binary form (for the tutti ensemble) opens with a rather dramatic opening leap of a tenth from the tonic E-flat to a G, then descends more gradually. The consequent phrase (m. 5) then employs several of the familiar “snappy” rhythms, also in a descending phrase. The “Trio,” however, contains no rhythms shorter than eighth notes, and the majority of its phrases tend to ascend. Unusually, the “Trio” does not reduce the scoring, but rather retains all of the wind instruments for harmonic support throughout its binary structure.

Fils concludes the symphony with a lively gigue-like finale. This, too, is in sonata form, and “drum 8ths” support the bouncy opening theme that leaps upward sequentially for four measures, then descends more gradually through strings of eighth notes. Perhaps echoing the opening theme of the “Minuetto,” the finale’s second theme (m. 17) is launched by an upward leap of a seventh from F to E-flat, and then—after descending five steps—it rockets even higher, reaching a B-flat. Interestingly, when the second theme is recapitulated (m. 67), Fils reverses the order of its first two phrases, perhaps reserving the rocketing ascent to help drive the propulsion to the finish of this exuberant “Presto.” Bremner’s selection of this work for publication as Periodical Overture No. 8 may have again made his customers regret the too-short life of its composer.

Alyson McLamore

[1] Jenny Burchell, Polite or Commercial Concerts?: Concert Management and Orchestral Repertoire in Edinburgh, Bath, Oxford, Manchester, and Newcastle, 1730–1799, Outstanding Dissertations in Music from British Universities, ed. by John Caldwell (New York: Garland Publishing, 1996), 309, 311, 315, 323, 333, 336, 342, 346, 372.

[2] O. G. Sonneck, Early Concert-Life in America (1731–1800) (Leipzig: Breitkopf & Härtel, 1907), 170–171.

[3] Jan LaRue, “Significant and Coincidental Resemblance between Classical Themes,” Journal of the American Musicological Society 14, no. 2 (Summer 1961): 229.

 

Johann Stamitz: The Periodical Overture in 8 Parts – No. VII

This is the seventh installment  of the Periodical Overtures in 8 Parts which are being published in conjunction with Musikproduktion Höflich.

Listen here before heading over to musikproduktion höflich to obtain the score and parts.

As had been true in the preceding overture  (No. 6) in Bremner’s series, Stamitz used the key of E-flat major throughout Periodical Overture No. 7, and all of the movements—apart from the minuet-and-trio—are in what James Hepokoski and Warren Darcy have called a “Type 2 Sonata” form (||: a/I b/V :||: a/V b/I :||).[1] However, the opening “Allegro” differs from the others by omitting the repetitions that clarify the binary structure. Its opening theme in quadruple-meter is actually dependent on both the violins and the winds; the former play short bursts of eighth notes, separated by rests and emphasized with dynamic contrasts, while the winds play more sustained notes in a syncopated rhythm. The partnership of the first measure is repeated a third higher in the second bar, and this sequential motif becomes a cyclic element throughout the symphony: every movement opens with an upward sequence, most often featuring a rising third. Sudden dynamic contrasts—a Mannheim characteristic—also pervade the entire work.

In the rather brief first movement (only seventy-six measures), Stamitz makes use of many other recognizable “Mannheim” devices, such as “drum 8ths” (i.e., m. 1), measured tremolos (m. 7), and the quick rising-and-falling motif known as the Bebung (m. 41).[2] His own propensity to give special attention to the wind instruments is apparent in the second theme (m. 13), which is presented by the oboes playing in parallel thirds.

The leisurely “Andante,” in cut-time, opens with an upward leap and a descending cascade, along with the sequential repetition that characterizes Periodical Overture No. 7. It also features two uses of a rinzforzando indication in its first two full measures, reflecting Stamitz’s increasing interest in dynamic levels beyond piano and forte, and thereby leading historian Eugene K. Wolf to classify this work as belonging to the middle of Stamitz’s output, probably dating from the early 1750s.[3]

Even though Bremner retained Stamitz’s minuet movement in Periodical Overture 7, he diverged from his possible continental sources in two ways. First, he labeled the second of the rounded-binary structures as a “2d Minuet,” rather than using the “Trio” designation found in both Huberty’s and Hummel’s prints. Second, at the end of that second, quieter minuet, he failed to include any indication to take the customary “da capo al Men[uetto]” (as shown in the Hummel score) or “Al 1o [Primo]” (as indicated by Huberty). Perhaps Bremner assumed that ensembles would be familiar with the expected repetition scheme from their knowledge of the dance itself, even though it had not yet figured very frequently as a movement in British symphonies.

Bremner diverged again from Huberty and Hummel in the tempo designation for the finale: the two continental publishers both called it “Presto,” while Bremner labels it “Allegro.” Probably unwittingly, he thereby reinforced Wolf’s view that this compound-duple finale differed from many of Stamitz’s middle-period works by being “somewhat slower and more dance-like,” and its opening triadic melody certainly has a folk-dance quality.[4] Stamitz continues to showcase the oboes in multiple soli passages, starting in measure 13 when they present the second theme. This toe-tapping finale brings the symphony to a very satisfying conclusion and underscores why Stamitz enjoyed such long-standing popularity in the eighteenth century.

Alyson McLamore

[1] James Hepokoski and Warren Darcy, Elements of Sonata Theory: Norms, Types, and Deformations in the Late-Eighteenth-Century Sonata (Oxford: Oxford University Press, 2006), 353–4.

[2] Hugo Riemann, ed., Sinfonien der pfalzbayerischen Schule (Mannheimer Symphoniker), in Year 7, Vol. II, of Denkmäler der Tonkunst in Bayern, in Series 2 of Denkmäler deutscher Tonkunst (Leipzig: Breitkopf & Härtel, 1906), xvii.

[3] Eugene K. Wolf, The Symphonies of Johann Stamitz: A Study in the Formation of the Classic Style (Utrecht: Bohn, Scheltema & Holkema, 1981), 239.

[4] Wolf, The Symphonies of Johann Stamitz, 226.

Johann Stamitz: The Periodical Overture in 8 Parts – No. VI

This is the sixth installment  of the Periodical Overtures in 8 Parts which are being published in conjunction with Musikproduktion Höflich.

Listen here before heading over to musikproduktion höflich to obtain the score and parts.

Records show that The Periodical Overture No. 6 was performed in concerts of the Edinburgh Musical Society twice a year during 1768 and 1769, and it was then played three times in 1770. It was heard sporadically in the Scottish concerts over the next decade and a half: once a year in 1771, 1778, 1779, and 1780; then twice in 1781, once in 1782, three times in 1783, and once again in 1785.[1] Four years later, “The 6th Periodical Overture of J. Stamitz” opened the second half of the final concert in a three-performance 1789 subscription series offered in New York by pianist Alexander Reinagle (1756–1809) and cellist Henri Capron (fl. 1785–95).[2] Reinagle had emigrated from London three years earlier; perhaps he carried the Periodical Overture in his luggage.[3] As had been true for the previous Periodical Overture by Stamitz, the British Library’s copy of No. 6 had been sold by a rival of Bremner: Welcker’s Musick Shop on Gerrard Street, St. Ann’s, in Soho.[4]

Stamitz used the key of E-flat major for all the movements of Periodical Overture No. 6, but the opening “Allegro” in common-time differs from the others by employing a sonata-form structure without repeats. The first half of the opening polyphonic theme sustains its pianissimo dynamic over “drum 4ths” for a surprisingly extended twenty-one measures, then pauses for a fermata. The second half of Theme 1 is a robust forte with sequential upward rockets in the first violins. The transition (m. 38) employs the Mannheim school’s beloved measured tremolos, and the second theme in B-flat major—at measure 62—is closely related to the first theme, similar to the monothematic sonata-form approach that Joseph Haydn would use in a number of his works. The main contrast in this passage is Stamitz’s increased emphasis on the oboes, who play a much more active line; another measured tremolo leads to the start of the development (m. 113). The development’s sudden drop to pianissimo launches another favorite Mannheim device: a full-ensemble crescendo to fortissimo over the next nine bars. Moreover, the horns are given an extensive “vibrato” indication by means of a long, wavy line. The recapitulation’s return to the tonic (m. 174) also returns to the pianissimo dynamic, but the winds are given an even more prominent role, including some distinctive triplets.

Both the second and third movements employ the same form, diagrammed as ||: a/I b/V :||: a/V b/I :||. James Hepokoski and Warren Darcy have labeled this pattern as a “Type 2 Sonata.”[5] The duple-meter “Andante” reduces the scoring to strings only, playing a fairly disjunct “a” theme and a more conjunct, triplet-filled “b” melody (m. 29). The finale employs the full ensemble, again in duple meter, but now at a lively “Presto.” The first theme is syncopated with quick upward arpeggiations (and vibrato passages in the winds), while the more lyrical second theme (m. 57) showcases the oboes above “drum 8ths.” The lengthy second half of the Type 2 binary sonata form features some lovely harmonic progressions and employs another Mannheim crescendo that starts in measure 205. The movement represents one of Stamitz’s most extended structures, leading Eugene K. Wolf to classify it as a very late work, as well as “probably also [Stamitz’s] most dramatic.”[6]

Alyson McLamore

 

[1] Jenny Burchell, Polite or Commercial Concerts?: Concert Management and Orchestral Repertoire in Edinburgh, Bath, Oxford, Manchester, and Newcastle, 1730–1799, Outstanding Dissertations in Music from British Universities, ed. by John Caldwell (New York: Garland Publishing, 1996), 310–345 passim.

[2] O. G. Sonneck, Early Concert-Life in America (1731–1800) (Leipzig: Breitkopf & Härtel, 1907), 187–8.

[3] Robert Hopkins, “Reinagle: (2) Alexander Reinagle,” in The New Grove Dictionary of Music and Musicians, 2nd ed., ed. Stanley Sadie (London: Macmillan, 2001), Vol. 21: 153.

[4] British Library, g.474.n.(4).

[5] James Hepokoski and Warren Darcy, Elements of Sonata Theory: Norms, Types, and Deformations in the Late-Eighteenth-Century Sonata (Oxford: Oxford University Press, 2006), 353–4.

[6] Wolf, The Symphonies of Johann Stamitz, 338.

 

 

Pietro Maria Crispi: The Periodical Overture in 8 Parts – No. V

This is the fifth installment  of the Periodical Overtures in 8 Parts which are being published in conjunction with Musikproduktion Höflich.

Listen here before heading over to musikproduktion höflich to obtain the score and parts.

Although Crispi’s overture is scored for the customary “eight parts” that comprised the majority of works of Bremner’s series, the winds are not given truly independent material. In fact, whenever the oboes play, they double one or both of the violin parts almost without fail. On a few occasions, they play sustained pitches while the higher strings present measured tremolos or oscillating patterns. Similarly, the horns customarily play a simplified version of material drawn from various string parts; they are never featured on their own. Moreover, as is the case in over half of the Periodical Overtures, the ensemble is reduced to strings alone in the middle movement.

The first movement introduces Crispi’s fondness for sharp dynamic contrasts. Structured as a sonata-rondo form in common time, the cheerful “Allegro Spiritoso” opens with a principal theme that returns in the tonic D major at m. 60 and again at m. 99. Curiously, the opening theme consists of two six-bar phrases in its first two appearances, but it is truncated to five-measure phrases in its final statement. Although Crispi was not a member of the Mannheim school of composers, various devices associated with that influential mid-century ensemble appear throughout the movement, such as the measured tremolos in m. 17 and onward, the “drum 8ths” in the low strings beginning in m. 3, or the oscillating Bebung gestures that launch each occurrence of the second theme (mm. 37, 57, 88, etc.).[1] In comparison to the robust principal melody, the secondary theme seems wispier and much less substantial. Its phrase lengths are also modified in its successive re-appearances.

The central “Andantino”—a thirty-six-measure ternary structure with a codetta extension, set in the dominant key of A major—again displays Crispi’s penchant for variable phrasing. During the opening section, he shifts between short motifs that start on the downbeat and phrases that begin at other points of the duple-meter measure, keeping listeners slightly off-balance. The B section (m. 12), in E major, sustains a quiet dynamic level, contrasting with the final A section (m. 20) in which Crispi again plays with subito dynamic contrasts.

The closing “Allegro assai” returns to D major but is a bit more adventurous in its harmony. The first half of this gigue-like finale (in 3/8 time) resembles a conventional sonata-form exposition, presenting a first theme in the tonic, then moving to the dominant A major for both a second theme (m. 17) and a closing theme (m. 28). After the repetition of the exposition, the first theme is heard in A, and shifts abruptly to a repetition in the tonic minor (m. 45). (Crispi uses a favorite device—a rapidly descending five-note scale—to transition to this surprising key.) A short rising sequential passage leads to the second (m. 61) and closing themes (m. 72), set in the expected D major. As with the preceding movements, Crispi delights in echo effects achieved by sudden dynamic changes.

We do not know if Bremner issued the Periodical Overtures simply in the order that he acquired them, or if he planned the way that the early symphonies would be grouped in their respective sets of six. If he did follow some scheme, it is tempting to regard Periodical Overture No. 5 as the lighter, scherzo-like “relief” before the subsequent Periodical Overture No. 6 by Johann Stamitz, which, in performance, is triple the length of Crispi’s contribution. Still, Crispi incorporated various moments of flair in his treatment of phrasing, dynamics, and harmony, and the appeal of his sole representation in Bremner’s series should encourage musicians to seek out his many other surviving compositions.

Alyson McLamore

[1] Hugo Riemann, ed., Sinfonien der pfalzbayerischen Schule (Mannheimer Symphoniker), in Year 7, Vol. II, of Denkmäler der Tonkunst in Bayern, in Series 2 of Denkmäler deutscher Tonkunst (Leipzig: Breitkopf & Härtel, 1906), xvii.

 

Anton Fils (Filtz): The Periodical Overture in 8 Parts – No. IV

This is the fourth installment  of the Periodical Overtures in 8 Parts which are being published in conjunction with Musikproduktion Höflich.

Listen here before heading over to musikproduktion höflich to obtain the score and parts.

In The Periodical Overture in 8 Parts, No. IV, Fils’s colorful orchestration is apparent from the opening measures of the “Allegro.” The upper strings launch a vigorous measured tremolo in cut-time, emphasized by a loud tonic E-flat from the horns, while the lower strings play a quarter-note motif that arpeggiates the tonic chord. The flutes soon rise above the mass of sound with a light-hearted motif that starts slowly but ends with a flurry of sixteenth notes. The upper strings get a brief respite from their nearly continuous tremolos during the quiet start of the second theme (m. 29), but forte tremolos resume four bars later in the second violins, the violas, and the cellos/basses. Above them, the first violins play a series of staccato climbing arpeggios punctuated by flute flourishes. Numerous members of the ensemble race through upward scales during the closing theme at m. 45.

Fils crafts an unconventional form with these materials. The simple quarter-note arpeggio from mm. 1-2 is thrust into prominence in an imitative duet that launches the movement’s second half in m. 59. After considerable harmonic wandering, Fils restates the second theme at m. 128, now in the tonic E-flat, but only four measures of the theme are heard before the noisier closing-theme scales return (m. 132). James Hepokoski and Warren Darcy would likely call this structure a “Type II Sonata,” in which the first theme’s material—bravely represented by the tiny quarter-note motif—is heard only in the dominant during the second section.[1]

Although the “Andante” shares many features with the “Allegro”—the key of E-flat, the Type II sonata form—the mood is completely different. It is a soothing interlude of gentle appoggiaturas, far removed from the muscular tremolos of the first movement. The horns are tacet throughout, and the flutes are silent for the first ten bars. However, in mm. 15 and 17, when the unison strings play forte sextuplets, the flutes respond with short interjections, and they then embellish the string melody in much of the second half of the movement.

Since Bremner omitted the minuet, the overture shifts gears to the rapid-fire “Presto,” again in E-flat major. Fils’s Mannheim affiliation is clear in various regards: the first theme repeatedly includes the quick rising-and-falling motif known as the Bebung, while the lower strings accompany with steady “drum 8ths.”[2] After a stretch of measured tremolos (m. 13 and onward), a brief tutti silence signals the second theme (m. 32) in the dominant key, featuring the violins and flutes in what jazz musicians might call “trading fours.” The violins and flutes then jointly present the closing theme at m. 50, a series of rising scales harmonized in thirds. In the manner of a Type II sonata form, the second half of the finale repeats the three themes but reverses their tonal centers: the first theme (m. 70) remains in the dominant, while the second (ms. 122)  and closing themes (ms. 140) both shift to the tonic. The “Presto” is an exhilarating whirl, and listeners are likely to agree with Fils’s peers in regretting that he did not live a longer life.

Alyson McLamore

[1] James Hepokoski and Warren Darcy, Elements of Sonata Theory: Norms, Types, and Deformations in the Late-Eighteenth-Century Sonata (Oxford: Oxford University Press, 2006), 353–4.

[2] Hugo Riemann, ed., Sinfonien der pfalzbayerischen Schule (Mannheimer Symphoniker), in Year 7, Vol. II, of Denkmäler der Tonkunst in Bayern, in Series 2 of Denkmäler deutscher Tonkunst (Leipzig: Breitkopf & Härtel, 1906), xvii.

Johann Stamitz: The Periodical Overture in 8 Parts – No. III

This is the 3rd of the Periodical Overtures in 8 Parts which are being published in conjunction with Musikproduktion Höflich.

Listen here before heading over to musikproduktion höflich to obtain the score and parts.

In Periodical Overture No. 3, Bremner made his first major structural change to a pre-existing work: he completely eliminated the third movement—a minuet and trio—that had appeared in both the (earlier) Parisian and Amsterdam prints. In fact, Stamitz had been in the first wave of composers to add that dance to their symphonic works. Nevertheless, English audiences seem to have been slower than their continental counterparts to embrace the expansion of symphonies into the four-movement “sonata cycle” model, so Bremner arbitrarily trimmed Stamitz’s symphony by 25%, apparently to bring it more in line with British taste. Since Stamitz had died even before Huberty’s print appeared, Bremner would have been unable to seek the composer’s consent to the change, but since international copyright laws did not yet exist, it is doubtful that Bremner would have felt any need to obtain permission.

Bremner’s three-movement version of the symphony had a wide reach. In 1768, five years after its publication, records show that it was performed twice during concerts of the Edinburgh Musical Society (on 4 March and 15 July). It was played again the next year, on 17 February and 8 December; twice in 1770; again on 27 November 1778; thrice in 1781; two times in 1782; three times each in 1783 and in 1784; and once again in 1785.[1] Also in 1785, when the Moravians founded a community in Fairfield, England, Stamitz’s Periodical Overture No. 3 was among the works in their music library.[2] It may have been the unnumbered “Periodical Symphony” by Stamitz that closed the second act of a 1771 concert in Boston, Massachusetts, although Bremner had issued five other works by Stamitz before that point, any of which could have been the symphony in the concert listing.[3] The simple fact that Bremner rapidly published six Stamitz symphonies within the first year of his series also suggests that the initial issue had enjoyed strong sales. Moreover, a sticker on the British Library’s copy of the overture indicates that it had been sold at Welcker’s Musick Shop on Gerrard Street, St. Ann’s, in Soho.[4] It seems unlikely that a music retailer would carry a rival printer’s publication unless it was in high demand.

An interesting feature of Periodical Overture No. 3 is that it is a very early example of a cyclic symphony. All three of its movements incorporate a motif drawn from a Czech Christmas carol, “Nesem vám noviny,” sung in German as “Kommet, ihr Hirten” and adapted in English as “Bells Ringing in the Tower” and “Come, All Ye Shepherds.”[5] A repeated motif in the last phrase of the carol …  lends its contour to various moments in the overture: in the woodwinds in ms. 10, 12, 14, and elsewhere in the first movement; in ms. 24, 25, and so forth in the “Larghetto”; and in augmentation at the start of the finale (ms. 2-3 and 6-7). Moreover, Stamitz designated the first movement as a “Pastorale Presto,” thus linking his symphony to a popular Nativity custom of writing “pastorella” works for performance in the Christmas season, often in church.[6]

Stamitz structured the quadruple-meter first movement in the pattern that James Hepokoski and Warren Darcy call a “Type II Sonata.”[7] The movement begins with a conventional exposition in D major; it transitions to the dominant A major and introduces a second theme at ms. 35 and a closing theme at ms. 47. However, when the first theme, filled with soft “drum 8ths” and a series of imitative descents, reappears in ms. 66, it is also in A major. The return to the tonic key (ms. 104) coincides with the recapitulation of the closing theme. That third theme is followed by the second theme (ms. 120) as well as an additional statement of the closing theme at ms. 132. The first theme does not return in the tonic key at all, and the movement ends at a pianissimo, reflecting its unconventionally quiet opening.[8]

Although the triple-meter “Larghetto” (in the subdominant key of G major) also starts quietly, it features numerous sudden piano—forte contrasts (and vice versa), reflecting the Mannheim taste for distinctive dynamic variety. Like the opening movement, it employs a Type II sonata pattern, this time with repeated sections in a ||: 1st theme/I – 2nd theme/V :||: 1st theme/V– 2nd theme/I :|| progression.

In contrast to the quiet openings of the first two movements, the “Vivace” in D Major begins at a vigorous forte and with a unison premier coup d’archet.[9] The finale conforms to a model sonata-form in a bouncy 6/8 meter. Richard Will suggests that this lively gigue-like conclusion supports the “glorifying and praising God” that concludes the St. Luke account of the Nativity story.[10] Even without a religious connotation, Periodical Overture No. 3 presents a well-unified yet varied listening journey.

Alyson McLamore

[1] Jenny Burchell, Polite or Commercial Concerts?: Concert Management and Orchestral Repertoire in Edinburgh, Bath, Oxford, Manchester, and Newcastle, 1730–1799, Outstanding Dissertations in Music from British Universities, ed. by John Caldwell (New York: Garland Publishing, 1996), 310–344 passim.

[2] Karl Kroeger, “An Unknown Collection of Eighteenth-Century Instrumental Music,” Fontes Artis Musicae 35, no. 4 (October–December 1988): 277, 280.

[3] O. G. Sonneck, Early Concert-Life in America (1731–1800) (Leipzig: Breitkopf & Härtel, 1907), 262.

[4] British Library, g.474.n.(3).

[5] https://www.cpdl.org/wiki/index.php/Nesem_v%C3%A1m_noviny_(Traditional); Eugene K. Wolf, The Symphonies of Johann Stamitz: A Study in the Formation of the Classic Style (Utrecht: Bohn, Scheltema & Holkema, 1981), 303.

[6] Richard Will, The Characteristic Symphony in the Age of Haydn and Beethoven, New Perspectives in Music History and Criticism (Cambridge: Cambridge University Press, 2002), 86.

[7] James Hepokoski and Warren Darcy, Elements of Sonata Theory: Norms, Types, and Deformations in the Late-Eighteenth-Century Sonata (Oxford: Oxford University Press, 2006), 353–4.

[8] Wolf, The Symphonies of Johann Stamitz, 303.

[9] David D. Boyden and Peter Walls, “Coup d’archet,” in The New Grove Dictionary of Music and Musicians, 2nd ed., ed. Stanley Sadie (London: Macmillan, 2001), Vol. 6: 579.

[10] Will, The Characteristic Symphony in the Age of Haydn and Beethoven, 90.

 

Coming soon…..

The Periodical Overture in 8 Parts – Number IV: Anton Filtz

Francesco Pasquale Ricci: The Periodical Overture in 8 Parts – No. II

This is the 2nd of the Periodical Overtures in 8 Parts which are being published in conjunction with Musikproduktion Höflich.

Listen here before heading over to musikproduktion höflich to obtain the score and parts.

Like most mid-eighteenth-century symphonies, Periodical Overture No. 2 is a three-movement, fast-slow-fast structure. The work opens in E-flat, moves to the relative minor in the second movement, and returns to E-flat for the finale. A surviving manuscript of Ricci’s composition, held in the National Library of the Czech Republic, contains two trumpet parts rather than horns, but it also lacks the central “Andante” movement, so it is unknown if Bremner altered the instrumentation of Ricci’s original score or worked from a different version of the symphony altogether.[1]

The first movement, “Vivace assai,” displays many of the elements that made the still-new genre of the symphony so exciting for listeners. Structured as a sonata form without repeated sections, its energy is apparent from the start, as steady “drum eighths” in common time propel the orchestra forward through shifting harmonies, as shown by the figured bass. Rapid contrasts between piano and forte create roller-coaster-like effects, while extended crescendos and measured tremolos also build drama. The first theme is filled with slurred pairs of neighboring notes, while the second theme (ms. 30) is much more staccato.

The brief C minor “Andante” seems almost mysterious at first: it is set in simple triple meter, reduces the ensemble to strings alone, and opens at a piano dynamic level. Like the first movement, however, it leaps suddenly to forte multiple times; it also offers back-to-back contrasts between motifs that use either staccato or legato articulations.

Unlike many early symphonies, the finale is not gigue-like but is instead a “Minuetto Grazioso,” retaining the triple meter of the “Andante” but returning to the E-flat major tonality of the first movement and restoring the horns and oboes to the ensemble. The first oboe is featured in several short passages, perhaps reflecting Ricci’s awareness of the new scoring trends originating in Mannheim. Despite the “minuet” designation, the architecture is a sonata form, with the treble and bass instruments pulling in opposite directions in the first theme. The second theme (ms. 17) brings back other elements of the “Vivace assai,” such as the drum eighths and measured tremolos, and its irregular phrase lengths further contradict the “dance” expectations of the movement’s title. Ricci seems to have been fully aware that he was creating music for the pleasure of a still-new social phenomenon: that of concert-goers.

Alyson McLamore

[1] https://rism.online/sources/550040744.

Coming soon…..

The Periodical Overture in 8 Parts – Number III: Johann Stamitz

Johann Christian Bach: The Periodical Overture in 8 Parts – No. I

I am very excited to introduce the first of the 61 Periodical Overtures in 8 Parts which are being published in conjunction with Musikproduktion Höflich.

Listen here before heading over to musikproduktion höflich to obtain the score and parts.

The structure of the Periodical Overture No. 1 reflects the close kinship between Italian operatic overtures, or sinfonie, and early symphonies. It is in three movements, in a typical fast-slow-fast tempo arrangement, and the middle movement is in the key of G, the subdominant of the outer movements’ D major tonality. Although (the publisher) Bremner would eventually exceed the “eight parts” limit in some of the later items in the series, he eliminated the trumpet and timpani parts from Bach’s operatic version. As would be true in all of Bremner’s Periodical Overtures, the bass is figured.

The first movement also reflects many features of the newer “Mannheim” taste. It is marked “Allegro con Spirito” and presents a striking unison arpeggiated passage after a bold hammer chord. The eighth-note rhythms of the opening soon yield to sixteenths, reflecting the principle of increasing animation; the lower strings frequently perform “drum eighths” as part of the first theme’s steady propulsion through two- and four-bar phrases. The second theme at ms. 29, in A major, drops to piano and features more polyphonic interweaving of lines; the winds frequently play sigh motives. After a series of sudden dynamic contrasts, Bach’s closing theme (ms. 39) again opens at piano with the upper strings playing “tip-toe” passages in thirds.

Structurally, the “Allegro con spirito” is a sonata form without a development, which James Hepokoski and Warren Darcy call a “Type I Sonata.”[1] Therefore, while the first theme is heard in A major beginning in ms. 46, it immediately jumps back to the tonic D major in ms. 50, followed by the second theme and closing theme in measures 69 and 80.

The “Andante,” like the first movement, is in common time, and has been called “elegantly poised.”[2] The ensemble is reduced to strings alone, but there is again a strong opening chord, followed by numerous sudden dynamic contrasts. The “B” theme, starting in ms. 9, is peppered with numerous Scotch snaps. The movement’s architecture is a rounded binary form, with the “A” theme returning in ms. 21. The subsequent coda (ms. 28) continues the contrasting dynamics, but gives the low strings occasional pedal tones on the tonic G.

The “Allegro assai” follows the popular trend of a gigue-like finale. Set in 3/8 time, it has the customary disjunct bounciness of a jig. It also is tied to the opening movement by means of a unison arpeggiated opening, again in a descending direction. Like the slow movement, it is in rounded binary form, with its opening melody returning in ms. 45. Bach brings the movement—and the overture—to an emphatic close by repeating the tonic chord thirteen times in the last five bars. Periodical Overture No. I gave the public a very fine introduction to Bach’s instrumental prowess as well as a promising indication of the quality of future items in Bremner’s series.

Alyson McLamore

[1] James Hepokoski and Warren Darcy, Elements of Sonata Theory: Norms, Types, and Deformations in the Late-Eighteenth-Century Sonata (Oxford: Oxford University Press, 2006), 345.

[2] Ernest Warburton, program booklet commentary for Johann Christian Bach, Opera Overtures Vol. 1, The Hanover Band, conducted by Anthony Halstead, CO 999129-2, compact disc, 17.

 

Coming soon….

The Periodical Overture in 8 Parts – Number II: Francesco Ricci