S Y \

W t 4

AO r ' a i m

A STUDY OF SONATA A QUATTRO K. 347AND ALMA REDEMPTORIS MATER

K. 186 BY JOHANN JOSEPH FUX: THE HISTORICAL SIGNIFICANCE AS

WORKS FOR ALTO TROMBONE AND PERFORMANCE CONSIDERATIONS,

A LECTURE RECITAL TOGETHER WITH THREE RECITALS OF

SELECTED WORKS BY J. ALBRECHTSBERGER,

R. GREGSON, W. HARTLEY, E. BOZZA,

LARS-ERIK LARSSON, A. PRYOR

AND OTHERS

DISSERTATION

Presented to the graduate council of the

University of North Texas in Partial

Fulfillment of the requirements

For the Degree of

DOCTOR OF MUSICAL ARTS

by

Ronald D. Babcock, B.A., M.M.

Denton, Texas

May, 1994

S Y \

W t 4

AO r ' a i m

A STUDY OF SONATA A QUATTRO K. 347AND ALMA REDEMPTORIS MATER

K. 186 BY JOHANN JOSEPH FUX: THE HISTORICAL SIGNIFICANCE AS

WORKS FOR ALTO TROMBONE AND PERFORMANCE CONSIDERATIONS,

A LECTURE RECITAL TOGETHER WITH THREE RECITALS OF

SELECTED WORKS BY J. ALBRECHTSBERGER,

R. GREGSON, W. HARTLEY, E. BOZZA,

LARS-ERIK LARSSON, A. PRYOR

AND OTHERS

DISSERTATION

Presented to the graduate council of the

University of North Texas in Partial

Fulfillment of the requirements

For the Degree of

DOCTOR OF MUSICAL ARTS

by

Ronald D. Babcock, B.A., M.M.

Denton, Texas

May, 1994

\)K-

Babcock, Ronald D., A Study of Sonata a Quattro K. 347 and Alma

Redemptoris Mater K. 186 by Johann Joseph Fux: The Historical Significance

as Works for Alto Trombone and Performance Considerations, A Lecture Recital

Together with Three Recitals of Selected Works by J. Albrechtsberger, R.

Gregson, W. Hartley, E. Bozza, Lars-Erik Larsson, A. Pryor and Others. Doctor

of Musical Arts (Performance), May, 1994,124 pp., 20, examples, bibliography,

30 titles.

Johann Joseph Fux's influence on the development of eighteenth-century

alto trombone literature is significant. His music, when compared with that of

other composers who wrote for the alto trombone before 1730, reveals a more

elaborate and frequent use of the instrument. Many of Fux's compositions call

for alto, tenor, or bass trombone, but his Sonata a Quattro K. 347 and Alma

Redemptoris Mater K. 186 are of particular interest in regard to the composer's

treatment of the alto trombone. This study points out the technical demands

placed on the trombonist in Fux's works as compared to such contemporary

composers as Antonio Caldara and Marc' Antonio Ziani.

The primary goal of this study is to substantiate the importance of Fux's

role in the development of the alto trombone repertoire. Published and

unpublished works by Fux that significantly incorporate the instrument have

been studied and compared to compositions of his contemporaries. A thorough

discussion of Sonata a Quattro and Alma Redemptoris Mater illustrates the

technical aspects of his alto trombone writing.

The secondary goal of this study is to create a performing edition of Sonata

a Quattro and Alma Redemptoris Mater. The existing editions in Denkmaler der

Tonkunst in Osterreich and Johann Joseph Fux, Samtliche Werke are less than

complete. There are no individual parts for performers, and tempo indications

for several movements are missing. Mistakes in the parts of Sonata a Quattro

and discrepancies between the figured bass and continuo realization have

been corrected for the creation of a new edition.

Tempo, ornamentation, instruments, and articulation are also discussed to

assist in the presentation of an historically informed performance of the Sonata

a Quattro and Alma Redemptoris Mater.

Tape recordings of all performances submitted as

dissertation requirements are on deposit in the University

of North Texas Library.

111

TABLE OF CONTENTS

RECITALS vi

LIST OF EXAMPLES x

INTRODUCTION 1

Chapter

I. THE ALTO TROMBONE IN THE MUSIC OF JOHANN JOSEPH FUX AS COMPARED TO HIS CONTEMPORARIES 3

II. SONATA A QUATTRO K. 347. 9

Movement 1 10

Movement II 12

Movement III 13

III. ALMA REDEMPTORIS MATER K186 16

Movement 1 18

Movement II 19

Movement III 20

Movement IV 21

Movement V 23

IV. PERFORMANCE CONSIDERATIONS 26

The Instrument 26

Tempo and Rhythm 27

Ornamentation 30

Articulation 32

V. PERFORMING EDITIONS 33

SUMMARY 35

APPENDIXES

A. Works by Johann Joseph Fux with Significant Alto Trombone Parts 36

B. Critical Notes for Performing Editions 38

i v

C. Performing Edition of Sonata a Quattro K. 347. 40

D. Trombone Quartet Transcription of

Sonata a Quattro K. 347 65

E. Brass Quartet Transcription of

Sonata a Quaattro K. 347. 80

F. Performing Edition of Alma Redemptoris Mater K. 186 94

BIBLIOGRAPHY 122

North Texas State University School of Music

Graduate Recital

RON BABCOCK, Alto and Tenor Trombone

Assisted by

Rose Marie Chisholm, Piano June Satton, Trombone Terry Hopkins, Bass Trombone

Tuesday, June 24, 1986 8:15 p.m. Concert Hall

Sonata in Eb Gottfr ied Finger Allegro moderato Tempo di menuetto Adagio - Allegro comodo

Fantaisie Lyrique. . Jules Semler-Collery

Sonata No. Four for Three Trombones. . . .Pergolesi/Sauer Allegro Adagi o Presto e Staccato

Intermission

Concertino Ferdinand David Allegro maestoso Andante marcia funebre Allegro maestoso

Sonata Concertante Walter S. Hartley

Presented in part ia l fu l f i l lment of the requirements for the degree of

Doctor of Musical Arts

v I

presents

Graduate Recital

RON BABCOCK* Alto and Tenor Trombone

Assisted by Daniel Galbraith, Piano

Concerto for Alto Trombone

A11egro moderato Andante A11egro moderato

Johann Albrechtsberger (1736-1809)

Sonat i ne

A11egro v i vo Andante sostenuto A1legro

Jacques Casterede

INTERMISSION

Trombone Concerto Edward Gregson

Fantastic Polka Arthur Pryor (1870-1942)

Presented in partial fulfillment of the requirements for the degree of

Doctor of Musical Arts

WEDNESDAY, JULY 5, 1989 RECITAL HALL 8:00 P.M.

VII

University of North Texas

Cottege of 'Mm presents

A Graduate Recital

RONALD D. BABCOCK, trombone

accompanied by Evelyn Barthold, piano

Monday, July 5, 1993 8:15 p.m. Concert Hall

Concerto Christian Gouinguene Allegro Sicilienne Allegro vivo

Romance Carl Maria von Weber (1786-1826)

Ballade Eugene Bozza (1905-1991)

- Intermission -

Concertino Lars-Erik Larsson Preludium: Allegro pomposo (1908-1986) Aria: Andante sostenuto Finale: Allegro giocoso

Thoughts of Love Arthur Pryor (1870-1942)

Presented in partial fulfillment of the requirements for the degree of

Doctor of Musical Arts

VIII

University of North Texas

Cottuje ofMsm presents

A Graduate Lecture Recital

RONALD D. BABCOCK, trombone assisted by

Kerry French, soprano • Alexandra Adkins, violin Madeline Adkins, violin • Heather Groth, bassoon

Robert Santillo, organ

Monday, November 22, 1993 5:00 pm Organ Recital Hall

A STUDY OF SONATA A QUATTRO, K. 347 AND ALMA REDEMPTORIS MATER, K. 186 BY

JOHANN JOSEPH FUX: THE HISTORICAL SIGNIFICANCE AS WORKS FOR ALTO TROMBONE

AND PERFORMANCE CONSIDERATIONS

Sonata a Quattro, K. 347 Johann Joseph Fux (1660-1741)

Alma Redemptoris Mater, K. 186 Johann Joseph Fux

Presented in partial fulfillment of the requirements for the degree of

Doctor of Musical Arts

l X

LIST OF EXAMPLES

Example Page

1 a. Opening Sonatina to Missa Corpus Christi K. 10 by Fux(1713) 4

1 b. Kyrie from Missa Corpus Christi. 4 2. Si spezza il suolo from the oratorio

I libro con sette sigilli by Draghi (1694) 6 3. Cadences at measure 15 and at the end of

Movement I, Sonata a Quattro. 11 4. Alto trombone part in Movement I, Sonata a Quattro 12 5. Fugal subjects in Movement I, Sonata a Quattro 12 6. Alto trombone part in Movement II, Sonata a Quattro 13 7. Fugal subjects in Movement III, Sonata a Quattro 14 8. Alto trombone part in Movement III, Sonata a Quattro 14 9. Alto trombone part in Movement I, Alma Redemptoris. 18

10. Formal diagram of Movement I, Alma Redemptoris 19 11. Soprano and alto trombone in Movement II 20

Alma Redemptoris 12. Text settings from Movement III, Alma Redemptoris 21 13. Conflict of Rhythm, Movement IV, Alma Redemptoris 22 14. Soprano and alto trombone in Movement IV 23

Alma Redemptoris 15. Soprano and alto trombone in Movement V 23

Alma Redemptoris 16. Alto trombone in Movement V, Alma Redemptoris 24 17. Alto trombone trill from Movement V, Alma Redemptoris 24

18. Stress placement of fast sixteenth-note passages 29 in Movement IV, Alma Redemptoris

19. Interpretation of a trill from Movement V 31 Alma Redemptoris

20. Stylistic performance technique from the Sonatina 32 Alma Redemptoris

INTRODUCTION

Many modern sources regard Johann Joseph Fux as the most important

Baroque composer in eighteenth-century Vienna. As a composer of music for

the alto trombone however, he has been all but ignored. His masses, vespers,

oratorios and sonatas which include significant trombone parts are far more

numerous than those of earlier composers, and the alto trombone is given

prominent solo parts in several of his works. His two works that most

significantly feature the alto trombone are the Sonata a Quattro K. 347 and

Alma Redemptoris Mater K. 186. The purpose of this study is not only to show

the historical significance of these two works, but to substantiate Fux's important

role in the development of the alto trombone repertoire as well.

Born in Hirtenfeld in 1660, Johann Joseph Fux was able to fulfill his desire

to become a musician by acquiring an education not customarily available to

the peasant class. His ensuing rise to the position of one of the most important

and influential composers in eighteenth-century Vienna was remarkable

considering the social status of his parents. Little else is known about his life

until 1680 when he entered the university in Graz and began his musical

studies. In 1698 Emperor Leopold I appointed Fux to the position of court

composer with the intention that he compose primarily liturgical and

instrumental music. The appointment was prompted by court composer C. A.

Badia's interest in writing only operas and oratorios. After the death of Leopold

I, Fux remained court composer under Emperor Joseph I (r. 1705-1711).

Joseph I was one of many emperor-musicians, and his respect for the trombone

is evidenced by his alma ingrate (1705) for soprano, tenor trombone, and

continuo. After 1713 Fux served as vice Kapellmeister to the court under

Charles VI and as Kapellmeister to Wilhelmine, widow of Joseph I. In 1715,

when principal court Kapellmeister Marc' Antonio Ziani died, Fux was promoted

to Ziani's position, which he held until his own death on February 13, 1741.1

1Wellesz, Egon, Fux (London: Oxford University Press, 1965), 2-7.

CHAPTER I

THE ALTO TROMBONE IN THE MUSIC OF JOHANN JOSEPH FUX AS

COMPARED TO HIS CONTEMPORARIES

Much has been written about eighteenth-century Viennese compositions

for trombone. Johann Joseph Fux is frequently mentioned as being among the

earliest composers to exploit the alto trombone in a soloistic manner. In his

dissertation, The Soloistic Use of the Trombone in Eighteenth-Century Vienna,

C. Robert Wigness points out the technically challenging extended solo

passages and high tessitura of the Sonata a Quattro K. 347 and Alma

Redemptoris Mater K. 186.2 These two works are among the first to fully exploit

the alto trombone's qualities as a solo instrument.

Although many of his compositions are operas and keyboard works, Fux is

best known as a theorist and composer of church music. Of his 405 works

catologued by Kochel, at least 150 sacred works include parts for trombones.

Some of his masses in the stylus mixtus3 include a large number of

independent trombone parts as compared to other early eighteenth-century

compositions. The alto and tenor trombone are given prominently independent

parts in the opening sonatina of his Missa Corpus Christi (1713). Other

independent parts occur in the Kyrie and Credo, the most prominent of which is

a twenty-six-measure Andante section in the Kyrie featuring an alto trombone

2Wigness, C. Robert, The Soloistic Use of the Trombone in Eighteenth-Century Vienna (Nashville: The Brass Press, 1978), 14-16, 28-29.

3Stylus mixtus is the mixing of voices arid instruments in various combinations with independent parts for instruments as opposed to the stylus a cappella in which instruments serve only to double the voices.

obbligato. Example 1a is an excerpt from the opening measures of the Mass

and Example 1 b is from the Kyrie.

Example 1a. Opening sonatina to Missa Corpus Christi by Fux (1713).

Y #• f - o ~

m m m—

mfm }ff m\ »— mff -

B M

>0 p

# * M0 »

LLSV J. U

N=F J L '

m i »* m M — P • j r W— P 75 . CLl

£ A ( I I 1 f > 11 | " M 0 f*

m = I |

N 9—

=4 m = M

— 4 L

PF F 1

clarini

tbn. I

tbn. II

bsn.

r pr r J icJcrrj-r J i

Andante

tbn. I

vln. I

vln. II

Example 1b. Kyrie from Missa Corpus Christi.

i r I L J H T I [ j j r KR r j f ]• N'L

Fux's willingness to write such parts may have been due to the abundance

of fine trombonists in Vienna at the time. Of particular notoriety were Leopold

Christian, Sr., and his sons Leopold Christian, Jr, and Hans Georg Christian.

Wigness has speculated that one of these trombonists may have been the

intended performer of the Sonata a Quattro and Alma Redemptoris Mater.4

This may be a valid assumption, considering the high praise Fux himself gives

in a petition to raise the salary of Leopold Christian, Sr.

Leopold Christian, trombonist, who on his instrument has no equal, and he alone can meet the most difficult execution, I can advise nothing else than to award him 50 florins per month and an additional 10 florins per month for other duties.5

Other similar petitions by Fux illustrate his respect for the capabilities of both the

instrument and the several fine players available to him.6

Although Fux was not the first composer to use the alto trombone in a

soloistic manner, he certainly was one of the most prolific. Stewart Carter's

article Trombone Obbligatos in Viennese Oratorios of the Baroque provides a

list that includes six oratorios by Fux with solo alto trombone obbligatos. This

number is equaled only by Antonio Caldara (c. 1670-1736) whose first solo alto

trombone obbligato does not appear until 1726 in the aria Cost a fiume. Earlier

oratorios by Caldara include combinations of alto and tenor trombone. Of the

small number of instrumental works by Caldara, none includes trombones.7

Carter's article lists neither the Sonata a Quattro nor the Alma Redemptoris

4Wigness, The Soloistic Use of the Trombone in Eighteenth-Century Vienna, 28. 5Ibid. 28. 6Kochel, Ludwig Ritter, Johann Josef Fux (Hildesheim: Georg Olms, 1974), 380, 389, 391,

399, 402, 403, 408, 416. 7Freeman, Robert, "Antonio Caldara," The New Grove Dictionary of Music and Musicians, 20

vols., ed. Stanley Sadie. (London: Macmillian, 1980), III, 615-616.

Mater by Fux because they are not part of any known oratorios. Fux's soloistic

writing for the alto trombone is unmatched by his contemporaries when the

obbligatos from the oratorios, masses, and vespers are considered together.

Soloistic works for alto trombone which pre-date those of Fux were

composed by Antonio Draghi (1635-1700) and Marc' Antonio Ziani (1653-

1715). The earliest of these works is Draghi's aria Si spezza il suolo (1694)

which calls for bass voice, alto trombone, and bassoon. While the trombone

serves as an obbligato instrument, it shares that duty somewhat equally with the

bassoon, as seen in Example 2 from Carter's article.8

Example 2. Si spezza il suolo from the oratorio II libro con sette sigilli by Draghi (1694).

m m tbn.

bsn.

L'Odio

b.c.

S i

ftrr f»rj an ¥ ILLLfJl

Si spez za il s< spez suo - lo

i p u u u w

gi - ne ter

8Carter, Stewart, 'Trombone Obbligatos in Viennese Oratorios of the Baroque," Historic Brass Society Journal II (1990), 73-76.

Ziani composed an Alma Redemptoris Mater in 1705, scored for alto and

tenor trombones, alto voice, bassoon, and organ. The solo duties in this work

are shared equally among the three wind instruments. Two of Ziani's oratorios

contain arias for alto voice and alto trombone, Tempo verra from II mistico

Giobbe (1704) and Se dei pur senz' aita from La passione nell' orto (1708). No

specific information has been written about these two works, but the typical

Ziani aria of this type is a single movement ABA form, much shorter than a work

such as Fux's Alma Redemptoris Mater K. 186.9 There are no known

authenticated instrumental works by Ziani and his total output (approximately

186 works) is only slightly larger than the total number of works by Fux which

include trombone parts.10

The combination of Fux's influence as a well-known composer in Vienna

and the availability of fine trombonists prompted other composers of the time to

write for the alto trombone. Among these was Fux's most famous pupil, Georg

Christoph Wagenseil (1715-1777), whose Concerto is considered to be the first

written for alto trombone. Additional concertos were written by other well-known

composers, such as Johann Georg Albrechtsberger and Leopold Mozart. The

theoretical teachings of Albrechtsberger were based on Fux's treatise on

counterpoint, Gradus ad Parnassum. The treatise includes examples of Fux's

own compositions, many of which contain parts for alto trombone. One such

work used as an example of stylus mixtus is the Missa Credo in unum Deum K.

11, scored with two trombone parts.11 The many composers who studied with

Fux or studied his music observed the large number of his compositions that

9Ibid. 56, 57. 10Antonicek, Theophil, "Marc" Antonio Ziani," The New Grove Dictionary of Music and

Musicians, 20 vols., ed. Stanley Sadie. (London: Macmillian, 1980), XX, 673-675. 11Wellesz, Fux, 15.

8

incorporated the alto trombone. A subsequent increase of alto trombone

appearances in secular orchestral literature is evident in the late eighteenth and

early nineteenth centuries. Of particular notoriety are Beethoven's Fifth

Symphony and the operas of Gluck and Mozart. Beethoven and Mozart both

studied from Fux's Gradus adPamassum.

Appendix A lists selected published and unpublished works by Fux with

significant parts for alto trombone. Many unpublished works such as his

oratorios would serve as valuable additions to the repertoire if modem editions

of the arias were provided. Also among the unpublished works is a Sonata a

Tre K. 365, written between 1726 and 1739. It is scored for two violins, alto

trombone, organ and cello.12 The addition of these sonatas and arias

establishes Fux as one of the most important figures in the early development of

the alto trombone repertoire. Of the published works, Sonata a Quattro K. 347

and Alma Redemptoris Mater K. 186 best illustrate Fux's style of writing for the

alto trombone. A detailed discussion of each of these works follows.

12Kochel, Johann Josef Fux, 162.

CHAPTER II

SONATA A QUATTRO K. 347

Although the date of this sonata is unknown, it is part of a collection of

instrumental works compiled for publication in 1717 and 1718 by one of Fux's

students, Johann D. Zelenka.13 It represents a more conservative style of Fux's

writing, reflecting the earlier Baroque practice of mixed ensemble sonatas

similar to Giovanni Gabrieli's Sonata pian' e forte (1597). Fux's sonata is

however, much longer, consisting of three fugal movements.

This sonata clearly falls into the category of sonata da chiesa (church

sonata). Organ serves as the continuo instrument, as is normally the case. The

fugal writing which prevails throughout each movement and the indication of

tempo markings rather than dance titles are also indicative of a sonata da

chiesa. The performance of church sonatas usually occurred in connection with

the Epistle, Gradual, or perhaps Offertory of the Mass, as was the case with

Giovanni Gabrieli's sonatas. Sonatas were also performed during Vespers

services.14 It is possible that the Sonata a Quattro K. 347was composed for

any of the aforementioned sacred functions.15 The majority of Fux's sonatas are

three movements, as is the case with the Sonata a Quattro. The key is g minor,

although the last flat of the key signature has been omitted, a common practice

13Alder, Guider, "Revisionsbericht" from Denkmalerder Tonkunst in Osterreich IX (Vienna: Artaria & Co., 1902), 55.

14Claudio Monteverdi's Sonata sopra Sancta Maria from the 1610 vespers is an early example scored for a large orchestra which includes three trombones.

15Newman, William S., The Sonata in the Baroque Era (Chapel Hill: University of North Carolina Press, 1959), 34, 35 & 255.

10

in the Baroque period. The instrumentation consists of violin, cometto,

trombone, bassoon, and organ continuo. In this respect Fux reflects an earlier

Baroque combination similar to Gabrieli's sonatas. This combination is unusual

for the time, since by the eighteenth century the cometto had almost completely

fallen from use. With the solo violin sonata rapidly gaining popularity, such

instrumental combinations would soon be obsolete.

The following detailed discussion of each of the movements is based on

Guido Adler's 1902 edition in Denkmalerder Tonkunstin Osterreich. Adler

includes no specific critical notes, but he does discuss two of Fux's church

sonatas that illustrate his contrapuntal techniques. Fugal themes and tonal

centers of the Sonata a Quattro are pointed out by Adler, but no analytical

details are included. Adler also mentions the sonata as being among those

which demonstrate the "contrapuntal mastery of Fux in its entirety".16

Movement I

A fifteen-measure introduction without tempo indication begins the sonata.

Adler suggests in his preface that it should be andante but gives no explanation

for the proposed tempo. The brevity, melodic character, and harmonic rhythm

suggest that a slow introduction would be appropriate, as slow introductions of

this type are not uncommon in the allegro movements of Baroque sonatas. The

introduction ends on a perfect authentic cadence with a picardy third

ornamented by the alto trombone. The same cadential formula is used to end

16Adler, Guido, "Einleitung" from DenkmalerderTonkunstin Osterrebh IX (Vienna: Artaria & Co., 1902), x.

11

the movement, with the alto trombone again serving to ornament the cadence

as shown in Example 3.

Example 3. Cadences at measure 15 and the end of Movement I from the Sonata a Quattro.

Measures 14 & 15, Movement I

n

vln.

cto.

tbn.

bsn.

m [_ [J*

s r\

vln.

cto.

tbn.

bsn.

Final two measures of Movement I

The first movement is a triple fugue with an introduction that serves to

introduce the first subject. The second and third subjects enter in the allegro,

and all three combine to end the movement. The thirty-second note passages

in the third subject show that Fux expected the trombonist to be able to

articulate rapidly. Other technically difficult passages for alto trombone within

the movement include the execution of rapid wide leaps, as shown in Example

4. Example 5 shows each of the three fugal subjects.

tbn.

tbn.

Example 4. From the alto trombone part in Movement I of Sonata a Quattro.

r j r j ¥ w

li '1, p

Example 5. Fugal subjects in Movement I of Sonata a Quattro.

12

Subject 1

i 3 #F|» vln.

cto.

vln.

cto.

vln.

cto.

m f £ Subject 2

f r r r ''I

i m Subject 3

L L j i r r r u r f ' 5E

The first movement is the longest of the three and the most technically

challenging for the trombonist. There are however, different demands placed

on the performer in each of the other two movements.

Movement II

This thirty-six-measure adagio is the shortest of the three movements. The

stile antico triple meter incorporates rhythmic values that consist largely of half

13

notes and whole notes.17 The imitative counterpoint is of a freer nature, with

two brief themes presented separately at the beginning and developed

throughout. Suspensions from the second theme that hold over the first beat of

nearly every measure are a distinct characteristic of the movement.

The unsettled tonal nature of the movement begins in E-flat major, passes

through a tonicization of c minor, and ends in g minor. The perfect authentic

cadence in g minor ends the adagio and resolves directly into the first measure

of the final allegro. Technical demands of the movement are few for the

trombone, but some phrases are long and of a somewhat high tessitura, as

seen in Example 6.

Example 6. From the alto trombone part in Movement II of Sonata a Quattro.

II O tbn.

j p j k 3 ^ s -7 p rj r i*l»r r > *J M i i ' L T | '

Movement III

The final movement is a double fugue in g minor. The transition from the

second to third movements is attacca, and the stile antico triple meter is

retained. The first subject is stated and immediately developed in a nine-

measure sequential solo for the violin. The subsequent entrances by the rest of

17Sf//e antico refers to the older polyphonic vocal style in which the beauty of the music is emphasized over the expression of the text. The half-note generally serves as the basic pulse in this style.

14

the ensemble move the tonality through f minor, c minor, d minor, F major, B-flat

major, and finally back to g minor with a perfect authentic cadence. The second

subject incorporates the remaining instruments, each entering in score order at

regular intervals. The section ends with a half cadence in g minor. Extensive

development of both themes follows, and the movement concludes with a

thematically independent coda. The two subjects of the double fugue are

shown in Example 7:

fori.

bsn.

fori.

bsn.

Example 7. Fugal subjects in Movement III of Sonata a Quattro.

Subject 1

f i . i i t n r r r

Subject 2

The multi-sectioned coda begins in common time with a short figure repeated in

imitation for only three measures. A four-measure toccata section follows,

which presents the longest passage of sixteenth notes for the alto trombone as

shown below in Example 8:

Example 8. Alto trombone part, Movement III of Sonata a Quattro.

fort.

Allegro

15

The final six measures of the sonata are adagio, alternating from common time

to six-four and back to common time.

Although it is not a solo for alto trombone, the sonata is historically

significant because of the technical demands it places on the performer. In

addition, the eight-minute performance duration is uncommonly long as

compared to other small ensemble sonatas that include alto trombone before

1700.

CHAPTER III

ALMA REDEMPTORIS MATER K. 186

Fux's Alma Redemptoris Mater K. 186 has been described by Wigness as

"one of the longest and most elaborate trombone solos in a vocal work of the

early eighteenth century."18 The earlier discussion comparing it with works by

Fux's contemporaries supports that statement and shows that the Alma

Redemptoris K. 186 is the most significant work for alto trombone composed

before 1728. As is the case with many of Fux's works, the exact date of

composition is unknown. However, an inscription on the title page indicates

performances dates of February 1,1728 and January 5, 1730.

This work is one of several Marion antiphons catalogued by Kochel for

soprano voice and instrumental accompaniment. K. 186 is the only antiphon by

Fux that calls for solo alto trombone, two violins, bassoon, and organ. An

additional Alma Redemptoris K. 200 by Fux is scored with two ripieno trombone

parts.19 The four Marion antiphons sung during the offices after the twelfth

century include the Regina caelorum, Regina coeli, Salve Regina, and Alma

Redemptoris. The Alma Redemptoris is sung during the vespers from the

Saturday before the first Sunday of Advent to the second Vespers of the

Purification.20 Egon Wellesz speculated that this particular antiphon is of such

an emotional nature that it could have been written for an opera or oratorio.21

18Wigness, The Soloistic Use of the Trombone in Eighteenth-Century Vienna, 28. 19Kochel, Johann Joseph Fux, 85. 20Jeffers, Ron, Translations and Annotations of Choral Repertoire, Vol. I: Sacred and Latin

Texts (Corvallis, OR: Earthsongs, 1988), 93, 94. 2 1 Wellesz, Fux, 30.

16

17

The correspondence of the inscribed performance dates with the usual season

of its performance however, suggests that it was written for performance during

the vespers sen/ice, not as part of a larger work. Hellmut Federhofer, editor of

Johanri Joseph Fux Samtliche Werke, also mentions that the motets and

antiphons were not intended for use in larger works.22

The text, which can be traced to a Munich manuscript of about the

thirteenth century, is a prayer to the virgin Mary for mercy on the people. The

Latin text with English translation is shown below:

Alma Redemptoris Mater, Loving of Redeemer Mother,

quae pervia caeli porta manes, who accessible of heaven gate (you) remain,

et Stella maris, succure cadenti, and star of sea, succor falling,

surgere qui curat populo to rise who strives people;

Tu quae genuisti natura mirante, You who begot nature marveling,

tuum sanctum Genitorum, your holy Creator,

Virgo prius ac posterius, Virgin before and after,

Gabrielis ab ore sumens illud Ave, of Gabriel from mouth receiving that "Ave,"

peccatorum miserere. sinners have mercy.23

22Federhofer, Hellmut, "Vorwart" from Johann Joseph Fux, Samtliche Werke, series III, vol. 1 (Basel: Barenreiter Kassel, 1961), vii.

23Jeffers, Translations and Annotations of Choral Repertoire, 93.

18

The group of solo motets and antiphons to which this work belongs shows the

influence of the Neapolitan school.24 Many are solo da capo arias introduced

by a recitative. Although K. 186 does not follow the da capo form, it does share

the emotional character associated with the Neapolitan opera.25

Each of the five movements of Fux's Alma Redemptoris K. 786 will be

discussed individually with regard to stylistic features and the role of the alto

trombone.

Movement I

Entitled Sonatina, this two-part movement begins with a fourteen-measure

slow introduction for solo trombone. The allegro section immediately follows

with the longest sixteenth-note passage of the work as shown in Example 9

below:

Example 9. From the alto trombone part in Movement I of the Alma Redemptoris.

Allegro

tbn. iki>"- »•tcd[£[fil^LdJ111!feLLi

H

24The Neapolitan style was developed primarily in Naples at the end of the seventeenth-century. It is associated with an emphasis of melodic line in opera over other dramatic concerns. Features include beautiful melodies with light accompaniment and the emergence of the da capo aria. The style remained popular throughout much of the eighteenth-century.

25Wellesz, Fux, 29, 30.

19

This twenty-eight-measure movement features the trombone with violin

accompaniment, while the soprano solo does not enter until Movement II.

Within this short movement, Fux incorporates the ritornello technique of the

Baroque concerto. The formal diagram in Example 10 shows that the solo

trombone part serves to modulate and establish tonal centers while the

accompaniment serves to confirm tonal centers through cadences. The firm

establishment of tonic and dominant is also evident in the movement, a trait of

the fully developed ritornello technique.

Example 10. Formal diagram of Movement I of the Alma Redemptoris.

solo 1 tutti 1 solo 2 tuttl 2 solo 3 tutti 3

measures: 1 3 3 6 6 11 11....14 15 25 25 28 keys& cadences: Bb: IAC Bb: PAC Bb->F:PAC F: PAC Bb->c->Bb:PAC Bb : PAC

Movement II

The soprano part begins the second movement with a slow introduction,

twice stating the opening line of the text, "Loving mother of redeemer." Un poco

Allegro is the tempo indication for the remainder of the movement to which the

text, "Loving Mother of the Redeemer, who remains the accessible Gateway of

Heaven and Star of the Sea," is set. The trombone and voice serve as equal

melodic partners in the thirty-two measure movement. Sections of imitative

dialogue are intertwined with extended coloratura passages in thirds between

voice and instrument, as shown in Example 11.

20

Example 11. Soprano and alto trombone in Movement II of the Alma Redemptoris.

tbn.

sop.

m & * i b

Ma - ter, LCfH isjU que per - vi-a cae - li por ta ma

§p p Et stel - la ma Et stel - la

)—^ ^ rx£/ J J *5 ns,

The uplifting nature of the movement with its rising sixteenth-note lines and

major tonality fits the text. Here Fux has considered the meaning and

expression of the text in order to define the musical content as stated in his

Gradus ad Parnassum: "...the melody should be appropriately set in a way that

is clear and expressive, it should be easily sung at sight by the singer."26

Movement III

The musical expression of Fux in his text settings is most evident in the

third movement which is scored for solo voice and continuo. The portion of text

set in this movement is, "Give aid to a falling people that strives to rise; O Thou

who begot thy Holy Creator, while all Nature Marveled." For each of the four

26Federhofer, Johann Joseph Fux, Samtliche Werke, vii.

21

occurrences of the word cadenti (falling), Fux uses a similar descending motive.

An ascending scale figure is used for the two occurrences of the word surgere

(to rise). Example 12, below, shows the rising and falling motives:

Example 12. Movement III from the Alma Redemptoris.

den

The key of the movement is g minor, and Fux takes care to state all parts of the

text at least once in the tonic key. A short aria in triple meter with a simple

accompaniment best describes the character of the movement. It is not,

however, in da capo form, as is the case with the arias from his oratorios.27

Movement IV

The fourth movement, indicated Un poco Allegro, incorporates a greater

variety of rhythmic combinations than the other movements. The mixing of triple

and duple rhythms gives it a character resembling the stile gallant.26 The type

of rhythmic conflict shown in Example 13 is not found in any of the other

movements. Such rhythmic variety demonstrates the broad style range of which

Fux was capable, particularly as compared to the earlier Sonata a Quattro.

27Winkler, Klaus, "Die Bedeutung der Posaune im Schaffen von Johann Joseph Fux," Johann Joseph Fux und die Barocke Blaser tradition (Graz: Hans Schneider, 1987), 185.

28Stile gallant refers to the pre-classical style. Characteristics of the style include the melodic sigh, long trills, and the free mixing of duple with triple rhythms.

22

Later works such as the Alma Redemptoris help to dispel the label given to Fux

as the "Austrian Palestrina."29

Example 13. Conflict of rhythm found in Movement IV of the Alma Redemptoris.

tbn.

vlri. I

vln. II

basso

p r i f r

m 1 11' ' L " LLT 1 CJ '

The setting of the text, "Virgin before and after receiving that 'Ave' from the

mouth of Gabriel," is in the same jubilant style as the second movement. The

trombone and voice combine in imitation, culminating with coloratura passages

as seen in Example 14. All four statements of the word "Ave" precede cadences

and are similarly melismatic.

29Federhofer, Hellmut, "Johann Joseph Fux," New Grove Dictionary of Music and Musicians, 20 vols., ed. Stanley Sadie (London: Macmillan, 1980), 43.

23

Example 14. Soprano and alto trombone from Movement IV of the Alma Redemptoris.

tbn.

sop.

IBEl) ^ = = 1 if)

J? J' ,i * m 0 f

" . r " ' u u - j • Ga - bri - e - lis ab o - re su - mens il - lud A

Movement V

The words "have mercy on Sinners" are all that are set in the final and

longest of the movements. The imitative style between trombone and voice

prevails throughout the movement, as shown in Example 15:

Example 15. Soprano and alto trombone in Movement V of the Alma Redemptoris.

i» | i . a - -5 = t f "ST C , t ip—*,

ton.

H\< i i . ,

m f J i \ 1

— i 4 r > „ | sop.

|t>i ^

T 1 1 f pec - ca

' T = = T " 7 r

- to - a im,

f r

pec - ca

&' * F

- to - rum

p. - - o Jh

mi -

-0 r

n r r i se - re - re,

- p — u & -

4^—

P lJ> -• I . M i 1 1 1 = = 4 F 1.11.. i y. 1 F °

MgT r \ \ \ n . " L + E ± mi - se - re - re, mi-se - re

1 r 11 re, n i i - s< 3-re

T 1 1

re,

No long coloratura passages are found as in other movements, so technical

considerations for the trombone focus on long phrases and trills. The

24

somewhat high tessitura (between d"! and a^l) may also be a factor for some

performers, considering that it comes at the end of the piece. The longest such

phrase in the movement is shown below in Example 16.

Example 16. Alto trombone part in Movement V of the Alma Redemptoris.

•r-4^ J| tbn.

i iJ |4» — a #

f = I f f*\

|° tt| r-e

H51' f f - I f — J

Fux does not call for the execution of trills as liberally as many

composers.30 The movement does, however, require the alto trombonist to

execute a half step trill on d1 and two whole step trills on c1. The distance

between harmonics and the way in which the half step trill is approached make

it particularly difficult for the alto trombone. Example 17 shows the trill in

context:

Example 17. Alto trombone trill from Movement V of the Alma Redemptoris.

Li h. £ tbn. p

The Alma Redemptoris Mater K. 186 by Fux has been shown to be a

significant solo work for the alto trombone. Melodic roles are shared equally by

both voice and instrument, and Fux himself placed the trombone as the

30As illustrated by the example in Wigness' Soloistic use of the Trombone in Eighteenth-Century Vienna, pp. 32 and 33, Georg Reutter requires the execution of many trills in the Domine from his Requiem. The date of composition is unknown; however, Reutter was appointed as court composer in 1731.

25

uppermost voice. Other works of the period may make similar technical

demands, but no earlier work places the alto trombone in such a dominant solo

role. A performance duration of at least ten minutes placed unprecedented

responsibilities upon performers of the instrument. With the availability of fine

trombonists, such as those in the Christian family, composers in Vienna were

able to follow Fux's lead of in building a repertoire for the alto trombone.

CHAPTER IV

PERFORMANCE CONSIDERATIONS

The previous discussion has helped to provide an understanding of the

historical background, significance, and context of Fux's Sonata a Quattro and

Alma Redemptoris Mater. This knowledge should prove valuable in the

presentation of an historically informed performance. Much general information

is available from surviving sources about performance techniques, but little has

been written about specific considerations for the trombonist. The following

discussion will cover instrumentation, rhythm, tempo, articulation, and other

Baroque performance practices which the trombonist should consider.

The Instrument

It is generally accepted that the flaring of the trombone bell occurred by

around 1740.31 There is, however, evidence suggested by a surviving example

at The Shrine to Music Museum in Vermillion, South Dakota, that the

transformation to a larger bell and bore had not been completed by mid-century.

The ten-millimeter bore of a 1744 tenor trombone by Johann Paull Franck

matches that of many other examples from the sixteenth and seventeenth

centuries.32 The bell of the Franck trombone is 12.1 centimeters, a diameter of

only one to two centimeters larger than earlier examples. Dimensions of the

3 1 Pierce, Terry, "The Trombone in the Eighteenth Century," International Trombone Association Journal, VIII (March 1980), 7.

32Fischer, Henry George, The Renaissance Sackbut and Its Use Today (The Metropolitan Museum of Art, 1984), 43.

26

27

Franck instrument, which was built in Vienna, are very close to most modern

reproductions built by Collier, Finke, Meinl, and other manufacturers of

sackbuts.33 The information regarding dimensions, as well as the

instrumentation of the works to be performed, indicate that a performance on

sackbut would be appropriate. The alto sackbut is suitable for balance with the

softer cornetto and violin, and combinations of those instruments, as mentioned

earlier, existed as early as the sixteenth century. The obvious problems

associated with balancing a trombone with solo voice may also be alleviated by

using an alto sackbut.

Tempo and Rhythm

In his Sonata a Quattro Fux has provided tempo indications for all but the

introduction to the first movement. As mentioned earlier, Adler suggests that the

introduction should be performed andante. There is no evidence to indicate

any other than a slow introduction, as they are common to fast movements of

the period. Furthermore, Fux would have no reason to include the allegro

marking that follows in the movement if a change in tempo were not intended.

The third and the final movements of his Alma Redemptoris Mater are also

without tempo indications. Various rules have been documented to aid in

establishing tempos for these movements.

The meter of the second movement is 4. According to many sources, it

should be performed at a moderately slow tempo in comparison to the final

meter of the movement, which is 2. This assumption is based upon the writings

of Robert Donington, who states that the smaller the bottom number is in

33 Ibid. 46-53.

28

relation to the top number of a key signature the faster the tempo. He also

states that one cannot rely completely on this method of determination, due to

the uncertainty of practice at the beginning of the eighteenth century.34 In the

case of the Alma Redemptoris Mater, good musical sense dictates that the

tempo of the third movement should indeed be slower than the allegro

movements which precede and follow it. A moderately fast tempo (allegro

moderato) would in turn be appropriate to the character of the final movement.

The tempo marking allegro moderato could also permit easier execution of the

long phrases.

The question of how fast is adagio and how slow is allegro is addressed by

Quantz in his treatise On Playing the Flute. He assigns metronome markings to

the various tempo indications to serve as a guide. They range from the fastest,

allegro assai, in which a quarter note equals 160 beats per minute, to the

slowest, adagio assai, in which a quarter note equals 40 beats per minute.

More helpful, however, are Quantz' instructions on the proper manner of playing

allegro.

No attempt ought to be made to play the allegro more quickly than the passage-work can be played with uniform quickness, lest you be forced to play some passages, perhaps more difficult than others, more slowly which causes a disagreeable alteration of the tempo.35

Quantz' statement is good advice for the performance of any music with

technically challenging figures. Another area addressed by Quantz is the

concept of rhythmic stress on important notes.

34Donington, Robert, Baroque Music: Style and Performance (London: Faber and Faber, 1982), 27.

35Quantz, Johann Joachin, On Playing the Flute, translation by Edward R. Reilly (London, Faber and Faber, 1966), 130.

29

Where it is possible, the principal notes always must be emphasized more than the passing. In consequence of this rule, the quickest notes in every piece of moderate tempo, or even in the Adagio, though they seem to have the same value, must be played a little unequally, so that the stressed notes of each figure, namely the first, third, fifth, and seventh, are held slightly longer than the passing, namely the second, fourth, sixth, and eighth, although this lengthening must not be as much as if the notes were dotted.36

The concept of unequal notes has been addressed in many treatises of the

period.37 Debates by modern scholars question the amount of stress

appropriate and even the existence of the practice in Germany.38 When used

with discretion, however, the technique lends grace to long passages of even

note values. An application of the technique to a fast passage from the Alma

Redemptoris is shown in Example 18. In fast passages such as this, the

performer should stress only the first note of each four-note figure.39

Example 18. Illustration of stress placed on fast sixteenth-note passages in Movement IV of the Alma Redemptoris.

tbn.

Another aspect of rhythm and tempo which will help achieve a good

Baroque performance is the proper execution of rubato. To many misinformed

performers, the use of rubato has been restricted to music composed after the

36 Ibid. 123. 37Veilhan, Jean-Claude, The Rules of Musical Interpretation in the Baroque Era (Paris:

Alphonse Leduc, 1979), 20-27. 38Neumann, Frederick, "The Notes Inegales Revisited," New Essays on Performance Practice

(Ann Arbor: UMI Research Press, 1989), 65-76. 39Veilhan, The Rules of Musical Interpretation in the Baroque Era, 21.

30

eighteenth century. The practice is in fact well documented in the Baroque

period and considered to be an important aspect of good musicianship, as

mentioned by Mersenne in his Harmonie Universelle (1636).

The beat-whether in two or in three-- is changed a number of times to make a given piece of music sing, hurrying or retarding the downbeat or the upbeat according to the text and words, or to the differing passions of the subject.40

The subtle acknowledgement of cadences is especially important in

imitative passages which seem to proceed endlessly without rest. It is therefore

important for the performer to have a working knowledge of the basic harmonic

structure of the piece. The fugal movements of the Sonata a Quattro have many

cadences which are not apparent at a glance. An analysis will reveal points of

momentary rest, helping to determine where rubato might be appropriate. The

amount of rubato must be applied in accordance with the importance of the

cadence. It may range from a slight hesitation between phrases to a

rallentando at the end of the movement.

Ornamentation

The contrapuntal nature of the Sonata a Quattro leaves little room for

ornamentation. Excessive embellishments can easily obscure the melodic lines

and should therefore be limited to final cadences. Fux preferred his music to be

performed "without all the embellishments, ornaments and variations in which

singers and instrumentalists used to try to outdo each other."41 However, he

does call for the execution of trills in the Alma Redemptoris Mater. A general

40Ibid. 32. 41Wellesz, Fux, 22.

31

rule of practice for the seventeenth and eighteenth centuries is to always begin

the trill on the beat, one diatonic step above the written note. When the duration

of the note permits, there should be a gradual acceleration through the trill. A

slight hesitation on the principal note should be made before continuing.42

Example 19 illustrates this interpretation of a trill from the Alma Redemptoris

Mater.

Example 19. Illustration of the interpretation of a trill from Movement V of the Alma Redemptoris.

tbn.

tbn.

During the Baroque period, vibrato was described in many sources as an

ornament that serves to color certain notes, and the soloistic passages of the

Alma Redemptoris Mater provide many opportunities to use it. Modern vibrato

is generally incorporated as an integral part of the tone. In Baroque

performance practice, however, it should be held for the end of select notes and

be unobtrusive, as described by Donington:

Excepting as an ornament, Baroque vibrato differs from romantic vibrato in being less intense, less sustained, less insistent in every way, but certainly not in being altogether absent.43

Articulation

42Veilhan, The Rules of Musical Interpretation in the Baroque Era, 44. 43Donington, Baroque Music: Style and Performance, 36.

32

On the topic of articulation Quantz remarked, "notes must not appear to be

glued together."44 Trombonists should be aware of this concept in which a

lifting or silence falls between the notes unless otherwise notated by the

composer. This practice, known as articulatory silence, is best illustrated with

an example from the Alma Redemptoris. Although it is difficult to notate the

exact amount of silence between the notes, the opening as it might be notated

with regard to performance practice is shown in Example 20.

Example 20. Illustration of a stylistic performance of the Sonatina from the Alma Redemptoris.

tbn.

tbn.

m m a

1 p ' j j ' i p - f i ftyflf r » i M

The performer must take care not to tongue the beginnings of notes too hard or

cut them off too sharply. There should instead be a rounding of the notes to

instill grace to the melody.

44Veilhan, The Rules of Musical Interpretation in the Baroque Era, 11.

CHAPTER V

PERFORMING EDITIONS

Performing editions of Alma Redemptoris Mater and Sonata a Quattro will

provide valuable additions to the alto trombone repertoire. Although suitable

for study, the existing editions in Denkmaler der Tonkunst in Osterreich and

Johann Joseph Fux, Samtliche Werke are not sufficient for performance. There

are no individual parts for performers, and tempo indications for several

movements are missing. Tempo markings applied to the performance editions

of Alma Redemptoris Mater and Sonata a Quattro have already been

discussed. While mistakes in the parts of Adler's edition of Sonata a Quattro

need correction, and discrepancies exist between the figured bass and

continuo realization, Federhofer's edition of Alma Redemptoris Mater is

relatively free of error. Critical notes of both editions are included in

Appendix B.

The inclusion of cornetto in Sonata a Quattro, as well as the inherent

problems of balance deem it practical to create an edition for modern

instruments. Replacing the cornetto with a trumpet would simply compound

balance problems due to the range of the part. The range of a transposed B-flat

trumpet part would be from e1 to e,3 a difficult register in which to balance with

a violin. The re-scoring and lowering of some figures would alleviate the

problem of a high tessitura, but the problem of balancing a trumpet against a

violin in the same register would remain. Three possible instrumental

combinations exist which do offer practical solutions. A violin may

33

34

be used to replace the cornetto, resulting in a well-balanced instrumentation. In

this case, no scoring changes need to be made since the cornetto part is in

treble clef and non-transposing. Transcriptions of the Sonata a Quattro for

brass quartet and trombone quartet have been included in appendixes D and E.

The trombone quartet version was created by lowering the sonata by an octave,

which placed the parts well within the ranges of an alto, two tenors, and a bass

trombone or tuba. The brass quartet transcription was created by transposing

the violin and cornetto parts for B-flat trumpet. In addition, the sonata was

lowered by a third to the key of e-minor due to the high range of the trumpet

parts. No changes were needed to adapt the the bassoon part for trombone.

Although the performance connected with this study will be accomplished with

original instrumentation, the transcriptions will provide more accessible future

performance mediums for the Sonata a Quattro.

SUMMARY

Johann Joseph Fux composed over 150 works that contain trombone

parts. Many of the masses, such as the Missa Corpus Christi, include

independent alto trombone parts, an unusual trait for the early eighteenth

century. At least eight significant solo alto trombone obbligatos from his

masses, oratorios, and vespers are known. A closer examination of other works

in manuscript would undoubtedly reveal more. No earlier composer surpasses

Fux in the number of works that utilize the alto trombone or the technical

demands placed on the performer.

The comparison of Sonata a Quattro K. 347 and Alma Redemptoris Mater

K. 186 illustrates two distinct compositional styles of which Fux was capable.

The sonata is a musical example of the mature Baroque style, and its fully

developed fugal movements reflect Fux's contrapuntal expertise. A lighter

texture with a style approaching pre-classical best describes the Alma

Redemptoris Mater.

Both works hold distinct positions with regard to historical significance.

Sonata a Quattro is of unprecedented length among known sonatas that

include alto trombone, and the Alma Redemptoris Mater features the alto

trombone to a greater extent than any earlier work. Performing editions of these

two works will enhance the alto trombone repertoire from an historical as well

as an artistic perspective. They are both works of substance that deserve

recognition and frequent performance. Research of other works by Fux still in

manuscript should provide additional valuable contributions to the repertoire.

35

APPENDIX A

Works by Joharin Joseph Fux with Significant Alto Trombone Parts

36

37

APPENDIX A

Works By Johann Joseph Fux With Significant Alto Trombone Parts

In the following works, the alto trombone is either prominently featured as an obbligato instrument, or given independent instrumental parts. The list includes only the known works of this type. An investigation of all works still in manuscript is necessary to complete the list.

Missa Corpus Christi K. 10, SATB, 2 tpts, 2 vlns, 2 tbns, bsn, cto, va, vc, violon & org. First performance, 1727.

Mottetto de Nativitate Domini. Plaudite Deo nostro K. 167, sop, 2 vlns, va, 2 tbns, bsn, vc, violon & org. First performance, 1729.

Alma Redemptoris Mater K. 186, atbn, sop, 2 vlns, bsn, vc & org. First performance, 1728.

Vedi che il Redentorfrom the oratorio II fonte della salute K. 293, sop, atbn, chalumeau & org. Composed, 1716.

Dal limbo from the oratorio Cristo nell' orto K. 296, alto, atbn, 2 vlns & org. Composed, 1718.

Da Christo ch' e pro from the oratorio Gesu Cuisto negato da Pietro K.297, alto, atbn & org. Composed, 1719.

O beata I'alme from the oratorio La cena del Signore K.298, sop, alto, atbn, 2 vlns, va & org. Composed, 1720.

Venite, angioli from the oratorio II testamento di nostro Signor Gesu Cristo al Calvario K. 299, sop, alto, atbn & org. Composed, 1726.

Chi ti conosco from the oratorio La deposizione della croce K. 300, sop, alto, 2 atbns & org. Composed, 1728.

Sonata a Quattro K. 347, vln, cto, atbn, bsn & org. Compiled and published in 1717 & 1718.

Sonata a Tre K. 365, 2 vlns, atbn, vc & org. First performance, 1726.

APPENDIX B

Critical Notes for Performing Editions

38

39

APPENDIX B

Critical Notes For Performing Editions

Sonata a Quattro K. 347

Key signature changed from one to two flats. Although the key is g minor, the original key signature omits the second flat, as was frequently the case in baroque music.

m. 1, Tempo marking andante added.

m. 48, E-flat added to second beat of the violin part to remain consistent with key of b-flat major.

m. 148, Adler's editorial e-flat in the trombone part removed to prevent melodic tritone.

mm. 173 & 174, Adler's editorial e-flats in the violin part removed to prevent melodic tritone.

m. 69, Ties added to cornetto part between the a-flats and to the trombone part between the e-flats for melodic consistency.

m. 204, Allegro in Adler edition moved to m. 198.

Alma Redemptoris Mater K. 186

Tempo marking of Adagio added to beginning of third movement.

Tempo marking of Allegro added to m. 151.

All dynamics are consistent with the Federhofer edition.

Original slurs as well as editorial slurs by Federhofer have been retained. Additional slurs have been included for consistency in melody and between parts (soprano mm. 172, 189, trombone mm. 188, 208, 209).

The cello and bassoon parts have been combined into one part.

No correction of parts was necessary.

APPENDIX C

Performing Edition of Sonata a Quattro K. 347

40

41

Sonata a Quattro (ca. 1716)

Johann Joseph Fux/Ron Babcock

(andante)

Violin

Cometto

Trombone

bassoon

Organ

j v rnr 1 p* f 0 p f 0 1 r iir r N '' ^ '..[J

^ , , -— ^

h r I 1=

L J

S f J

- =

j f j j g 4 w - - r J

(andante)

~P—[-|l—nP— v 1 1 , W n , p i 1 j-i ^ r r r

l ^ 1 , » - = l

' ' f C-Lff i ]

f f t r

r r ^ c r r r

42

Rol m m M

i f f V

'^i 1' JV r 'if C j T P # J n

±=k j j J. i y ^ ^ i.j i*'^ f r r r

i = ±

I c f P t=T rrf J L

w m = 3

i i ^ * r <r r i 16] allegro

frf-f mm *4 J

P C r t T r r r r r _ j | r* Tp 0

I s 1 4 r i U 1 ' i — f f j ^ n

1 5_U-£_ L L -fa£ d M

^r\

1*1 1 n r._ 1 J , ^ f t s l h\

ki* i b — 0

7 f ' U L / X — r * r —

f 0

f M

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APPENDIX D

Trombone Quartet Transcription of Sonata a Quattro K. 347

65

66

Sonata a Quattro (ca. 1716)

Johann Joseph Fux/Ron Babcock

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Trombone 2

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M r Lrcii" * e e S (', \ ? £

§§E i E

IZ> 11> a 1 i«, r P-f r r rifr r . HM 11 |*Y S7 P 0 |gj> L- j = d

-0 "

f rffrcfflr < ^ ImiT [J —"-*— f '' f r r r p *— ' f f f f r |f> " Pp d- "

*)' 1 \> * p m "

— yr U * a r r r r r r r c_l I r ^ r f

^ f [ r U ,'. i n f l ^HH

J f r •••) >j f| =j ~ V \,M-r—-* — i -

L-:i:.J «M^ r# 1| J O

79

m m H§| •4#

# — * — #

Adagio

# #

i s 0 0 0 > tftrijT J*J

f f f f A1' JTP:J?trj £

3 i f it j i t - i

m ^ 0 j ~ j l /O p p g p fl* , L I* - M 0 m 0' m

•>•? 1 P g' [ j rspssf VH1' - ? i

u r r p m ? Os m r \

f

APPENDIX E

Brass Quartet Transcript of Sonata a Quattro K. 347

80

81

Sonata a Quattro (ca. 1716)

Johann Joseph Fux/Ron Babcock

Trumpet I

Trumpet II

Trombone I

Trombone II

dbi (andante)

m

w J: P i m m

§ j j j ' i ' j m P

w

jp i | i | > r r i y 0

h ) » , t „ , = = = i

p—#—m 0 jg # •»-— #

V ' < = l & = 9 0 * ' ' I

M f r i* i» 1 U r

= f H •*) JJ | P 7 —» * =

£ S f - 5*

82

Rol

r n n n ftr if

m IS • 0 ^

ifc=i |* 8j*

k if /Os

m r\ $

m fl6l j, allegro t r r C J f r

P C J C j £

m P L f C j P S

i f f e S r > 1 p c j L j f r [ j

£ « r p c J c j i £

83

p a

- f - M -u s *

* #

' i

• r U 1 r uCJC-r 1 f P 0 m _=P=*1

[ j r r =|

n n j 9 " 1 •—' '

ig. n r=i ii' 1

1 f r ~f

U • " J *-*•' J * %

v fs f r~'l* r g —

[ g a ^ i ^ < 9 J f n

^ —J

'r r l t 1

n H i 1 1 i* r r f~r r~r rr a 1 P ^ | * f t T?Pm g ' = - H A - . 7 / —

I n H l f ! r r = c**

9 ' 13, f fn

' P LJ 0 * m 4 p p

* 11 11 11 *

l_t r r — m

j a j — J ey, | "•» -|» .'

r j r j = r

— •

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a m n ^

g

l S S = 1 3

C J U f C j G J C t f L j 0 1 t)

H H e

I 1—ft » pi

wm m m

f i p

84

l l M j ,j> ^

#

^ £ = - i r '!• c r u t t a i

T ' j F l i P > ft • * — > • *

18 > f f r=fc= H ^ H

j [ i f r

- i > I n > L - ^ ')•> =

* * L r J J J * =

, p [ j ~ r r £ L

tS i> «i« • =

P L ; J " 3 J J j

< g ' = | g .

J^L|

? » r j n « I §\ * ' 4 ^ • BBM

LW—4 W J J J J fLI

b ? M

w j | * — J — • —

— *f F

i t Ci f 1

rn m J *)

i a ,

7 P ^ • i f ' * «

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-n' «f"J «T^J

j j j g

r*4i -B

£

m m

m f

85

n V CJ U m [481 P Ujc j n p J) . J"l;

i i p

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m p

m m i Fgff p ¥ L/C; P LT [J

m t m '»» V P [Jf 1 Ef

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86

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*. h J ~ H . — • - » - . . r i r 1 9 ' ' 1 " = l i e . . . . - . . . 1 #-

' 1 1 V - » P - *

, r " I ' i) u t ^ = 1 GI«* 1 •F P

l - t r ^ f rr — T - v

7 /

• ' r ' i = = d

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- L - ^

= S = 2 — J L —

. r i r w i

n w T

§> 1 7 P j j J

J M » — F — • — * - % -

' i ' * ^ —m—f—F J — P — f — F —

3 ^ * * T'P'F * * f 0 "m $ ' r i 1 M

| g . f r p . | C J r u C J = j

€ / m * w m — A f rz m

• • '» 1 * - ± = 5 5 -- * * 4 — - — k —

-* 7 ^ L - T 1 feH

T * = ± = b = « - y = t

J • *—#—• oLJt—j—j— |# •M #

4 = - *

*' ' 1 « * <•* 4 * » m f'ff\

4BV-*—* * 0 * * \ r T Ur i J f l f t J * = r n ? T ^ i 4 = 1 = • m m

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J i j j* * J- *J U 'v < i u

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^ —

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j M r T r 4 ' n ' n J ~ E

118. j t i m n

iJ u u m

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87

i l M ., p r r r f i r > , h j •i 11 ' " L.

i ¥ n r i i" '

/ # w

1 _T] 1

u m 1

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llg. . > I * 11' J J J J J

If r > J J-

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r * i • = -*H—r 1

L* « *

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-« > »—N-/ v J

i JM 1

U

[74] «/ P

' r r i

-i i . i

f

p. m f

— i

»

— * k = .

-Hit-5 r = M =

J

* N = t M =

— * —

nf==r t u.

K p.

d

B—k" V . « ==tt

«> i ' P « |" ' U = \

11J u L l P-f4

I w ~ w ~

n n 1 LJ U [^N 1

•4 m m m- -m ~

*£ J

i $ i t * . m *

*

if n

' 1 U L

j n § ' 1J M P*i i n

M = 4 =

+ ^=\

k - J — * « ^

> -

ig • • J ' ^ - = IK. . . . =pa,=

m

f

- # * -

~ I*" 6 -• f

L p r = F —Tf 1 r [ J

•"» i

•—f— k=P=£ s N

i f m _ r * *

— $ —

; f if L-T o 1

J J J ^

J Li Lf [ I H U " LXf m r\

-t*=V

88

Adagio m M 1 1 J f J

m fii"!

< r r 1

i M j i j

: = £ = = - -f e

N r = ^

5 n

]

a1 ^

ia, ^ r f —m~z — '• *p

6f—

~e—u

a

••

r i - J „ tJ ~ 0 J

-f9 Ia> i f i

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U]

p hp^ 9 _ 1 » 1

O

hp t* - M - 2 — = M = H g [ '

» e - i i j w w m i b

~e^ m * r r r

\f> o

DM]

41 T r ri-*fe

T ''• ii-

ft

i n -&1- w

w

8 9

M y {> f

f m l <9 * \ \ f i 0~

W •e—e-

m m

t s s allegro | | auegro

ft = F # i £ p J |» p

£

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m mm?

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i f J f f J n

r.

— a i

^

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p - e ••

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n P o -

rr r r r ^ n (4* Ia> r f r n

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90

rmi w

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P""~ 0

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p p o

9

91

F W e—ii — n IH*—f— ~P— Ffl ?' ft P 0 h"-4^y

k¥t *z p = H 1 1— 4=4

•J—J P" p n 4=° = N

n

1-= = ~ © ^

0 rJ

~TT ( ^

rJ Q

y 0 p •

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=t=H 11 p

=*= =f=|=F 1:11 '1 ~**A

= N ri p

rJ

5! ~rs J— -6»—" ==H *=*=

[11 J M * r J j r J: j 1 j j J

B = ~ -fJ-ja—I*

^1 ? rJ r r R * p f = f =

m r 0 m f

I 0 a * m

r 9 0 — 0

4= —0 m m * _lf)l—p__

k"» > r r r r r

r) [ 1 r If

W=H= f r •' r r 1

0 P

f i j» nt

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PP P W

£

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i »,t . | 1 - . 1 TYi

+ * 4 |

r r f

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--p L -p -e jl Jr1 1-^ *-r= rf— = H

r -n = =if9 r ' T

. I195l

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11981 (Allegro)

__—*— i J m 9 ' I ; i.t , . ^FF i i i 1 J

r i n ' r * . . j r n .

• t LJ a— (11 , I

r * i • r i |S> t i l l

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> i m i * ' ' ^ Lr a(

> h 7 — —— - — 4 m — = L L

11 r ~ ? ± = • #

i l ¥ , .1 [

UMtttJ I r r r r f i t&m rx r*rr_r

f P m P m ^ $ ' ^ J- *= IK, r ^ ,=l -flefcj U j ^ J

*yf f I I = •p 4# r; r t r = = j

93

P

ft1,1JTJ3 cJ .JLr c _ r u u

i

r ± V 1

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V

4, r r ?4

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k . r m . . <• j t t h ,

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p p p a—z

LT U U **U

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I™ •"—-p

f" r-,

L r J J J t J 1

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i

4 * ' 1 j j , j J j W | J | ^

4 ^ S . 0 ^ ^

On

I P

K | ii j 1 1 3 = p ? i s p

/CN

Os

f ^

§EE M - ? E v p ^ O =6*-j j l l p

APPENDIX F

Performing Edition of Alma Redemptoris Mater K. 186

94

95

Alma Redemptoris Mater (ca. 1728)

Johann Joseph Fux/Ron Babcock

Sonatina Andante

Trombone

Violin I

Violin II

Soprano

Bassoon/Cello

Organ

$

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1 Andante

P

y : \ ) ' J J i j E

3 e e s e ^ /

/

J J J f f

r r J j

•> j ' f

f m /

96

1 ^ - = 4

J L I - . n . . * = C. f. * p *

•• " ' ''

JL ~ 1m m m W i j t t ? rJ »—

/ j ' . — « .

J-CJ u y u

M' f r m

j j - -•l

1 4 L JIL fL fL

W-0-* J-

= J T n ^

- i H -

*

f C / L u L J j - L •0•

T = 4

'ti.i. -—h-»—•—- * - = 4 = i f i r i = 5 = 3 = 1

L * = H

i ' P 1

' J , J> j 1 1 r •

j j

— J -m

i j

« *

P

1— 7 i

4

1'>1.I' V i

j 1 * l

« p £

j #

} i =

if J

~ v x 9

t '

jU1 ' * f .. 1 . i r 1 1

i fljii = N £

Y= :

i* V (• P

Y = H $ J' > .

r f = = 1=^=1= fil g ^ — a & [f ~

•j a —

U=J » •

t 1 r r 1

i Lb r ^ m M J J—J—j 4 7 P U

51 / U-J

7 ib « = t = f - m hr '—5 =^f .

^ t>—F—* ^ T =

* 4 = = ± • 4 9

* f T 1

j = t = M # 1 •

d

«•/

?»—1 /

4=i f

^ ¥ = f = ^ f f f J | J J :

jZ T

-7! 6 — f r r

f r f 1 r r i

-r f J

I— / H »

97

12 . j1

— 1 111

r f e r *= —# ii r f r

= = = 3

=i(f=:=f W = * 12

- h H M

— R_ K-j

0

p—TT"

—ip—

j» t|J • * = f = &

-=£sJ=

r—fhP~~ T ^ ^ 12 ,

JUI-

s - _ p J * U - ^ U - t M

r = 12

**•!. * « — P — C f N = I f # *

— 0 f-

0 ^ r » ' [•

12

J J - . .

' 1 s

h - J) n J J J \ J # T = J> j

— *

' I ' ' • h < — —

9* i */ a r */ 5 ^

= F = t

ff=l t „

=\ N = = = ^ = p r r '

f-

7 7 P — 1 — —

Allegro 11 fl i b—•—«_i-M—P m mrn—m—m m V -

i

§ r p # l

0**"

bm-p-p—

— *

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=**= r r r r 1

T — :

15

$ f = * - f r b . r

T 15

*)• I P m «f S , * P V . K 1 > i - f * F-—e 2—jJ >4)gr|?

*

• *

4 = ^ p 1"' * *

»

J

1J > =E

d j J =

T i • i ' < = t = = 15

r o j = > = t

• p

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—1

'•*—> ^

r t r

r

98

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IGU lJ J VI, ' ' F J J J J L \R

J £

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21

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21

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I r f.

p r y P r 1

P U &

9 9

0 C j ^ C

l l 1 ' - F f i - =

m^ ir n — = — B — V - R

•• '

ML

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24

j - j 1 — , — . — ^

r 7 ^ 1 /

— 1 — O — V = B

= = y

(• [ s i ! L X r L

r—r~f—-—T~ ML

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4 ^ -

m • " » '

I MJ-

/ • 4 = 1

= » - '

t =

24

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b r • v i 24

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j J : ' ' ' ' 4 = :

/ '

•. 1

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r — 24

J

= J

r *

W -

t i

h , . _ ? _ Z _ V

1 l i ) 11>

1 " • i 1 m

1 p 1 1

Adagio

27 m m

I t l - T r r r p «

fL

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ft ^ ^ L i 27

f f r f r

J = t =

ft

" •

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! = ^ = i > p

5

I l >

" w p

.= J - H p L £ —

• M. J , ^ I p r

= f r =

27

o : | f i

27 JP l J ' 1

9 m | -

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0

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= 1 i f J j

Al - ma

Adagio

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1 0 0

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£ i j '

1 i • &

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30 *\l r \>

Red !* ' 0

• U 1

em - pto - ris f r - r n 1

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h a - te r R e d - e m -

Y ~

r [ -1 pto - ris,

S p—

30 e , 9 9 J—|_[U I f J ' m — &

¥ = n 30 1

* > : L | i

f * = f* f c t C J T

— 1 f1—w

t X L f r ~ r J * - j

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r f U j f e

. / 1 ? — m d L I J 1 j r pi r • « J J _ . j r i

Un poco Allegro

181> - = 34

iP J ' - M P * - — = *

ir

f i v f i v , 3 ft = = H = H X / i L!> - • . > 1—>

" E ® w =

1* p 1 T m 1 = * * a : m

h U r J J 1

34 = ^ F l F =

L I M ' ' Al

* -

ma m f*

Red - e = P = i

mdF m f f

pto - r — p — is Mi P =

a - ter, |,f r P ? ] }

^ f -3 4 Un poco Allegro

# J ' , * -= 4 = |

1 P r j i - S - H J j = |

i f

s [ ? — 4 — { -

r M f

— y — f

r § m

€

l f p r 5 n r 1 J

1 0 1

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c — r

Ma - ter,

37 p

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:£

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1 0 2

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r = *

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r - e ma ris,

= F #

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M i M

} * * ' ' j = r > > 7 b 1

105

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Lp J' r /frVTrr H

ir {L + fL£.

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tr f M. —

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57

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84

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BIBLIOGRAPHY

Books

Baines, Anthony. Brass Instruments, Their History and Development, New York: Charles Scribner's Son's, 1981.

Bate, Phillip. The Trumpet and Trombone, London: Ernest Benn Limited, 1966.

Donington, Robert. A Performer's Guide to Baroque Music, London: Faber and Faber, 1978.

. Baroque Music: Style and Performance, London: Faber and Faber, 1982.

Fischer, Henry George. The Renaissance Sackbut and Its Use Today, The Metropolitan Museum of Art, 1984.

Guion, David. The Trombone: It's History and Music, 1697-1811. New York: Gordon and Breach, 1988.

Jeffers, Ron. Translations and Annotations of Choral Repertoire, vol. I: Sacred Latin Texts. Corvallis, OR: Earthsongs, 1988.

Kochel, Ludwig. Johann Josef Fux: Hofcompositor und Hofkapellmeister der Kaiser Leopold I., Joseph I und Karl VI. von 1698 bis 1740, Hildesheim: Georg Olms, 1974.

Newman, William S. The Sonata in the Baroque Era, Chapel Hill: The University of North Carolina Press, 1959.

Quantz, Johann Joachim. On Playing The Flute, translation by Edward R. Reilly. New York: Schirmer Books, 1966.

Speer, Daniel. Instruction in the Musical Arts, Ulm S.W. Duhmo, 1687.

Veilhan, Jean-Claude. The Rules of Musical Interpretation in the Baroque Era. Paris: Alphonse Leduc, 1979.

Wellesz, Egon. Fux, London: Oxford University Press, 1965.

Wigness, C. Robert. The Soloistic Use of the Trombone in Eighteenth-Century Vienna, Nashville: The Brass Press, 1978.

122

123

Dissertations

McGrannahan, A. Graydon. The Trombone in German and Austrian Ensemble Sonatas of the Late Seventeenth-Century, U.N.T., DMA Lecture Recital, 1981.

Williams, Jeffrey. The Trombone in German and Austrian Concerted Church Music of the Baroque Period, U.N.T., DMA Lecture Recital, 1974.

Articles

Antonicek, Theophil. "Marc1 Antonio Ziani," New Grove Dictionary of Music and Musicians, 20 vols., ed. Stanley Sadie. London: Macmillian, 1980, XX, 673-675.

Bryan, Paul. "A Look at Some Eighteenth-Century Source Material for the Trombone," The International Trombone Association Journal, IV. January 1976, 6-7.

Carter, Stewart. "Trombone Obbligatos in Viennese Oratorios of the Baroque," Historic Brass Society Journal, II, 1990, 52-77.

Federhofer, Hellmut. "Johann Joseph Fux," New Grove Dictionary of Music and Musicians, 20 vols., ed. Stanley Sadie. London: Macmillian, 1980, VII, 43-46.

Freeman, Robert. "Antonio Caldara," New Grove Dictionary of Music and Musicians, 20 vols., ed. Stanley Sadie. London: Macmillian, 1980, III, 613-616.

Guion, David. "The Pitch of Baroque Trombones," The International Trombone Association Journal, VII, March, 1980, 24-28.

Huglo, Michel. "Antiphon," New Grove Dictionary of Music and Musicians, 20 vols., ed. Stanley Sadie. London: Macmillian, 1980, I, 471-481.

Pierce, Terry. "The Trombone in the Eighteenth Century," The International Trombone Association Journal, VII, March, 1980, 6-10.

Neumann, Frederick. "The Notes Inegals Revisited," New Essays on Performance Practice, Ann Arbor: UMI Research Press, 1989, 65-76.

Winkler, Klaus. "Die Bedeutung der Posaune im Schaffen von J. J. Fux," Johann Joseph Fux und die Barocke Blasertradition, Graz: Hans Schneider, 1987, 177-199.

124

Letters

Banks, Margaret Downie. Curator of Musical Instruments at The Shrine to Music Museum and Center for Study of the History of Musical Instruments, Vermillion, SD, July 21, 1993.

Music

Fux, Johann Joseph. Alma Redemptoris Mater K186, Johann Joseph Fux, Samtliche Werke, series III, vol. I, ed. Hellmut Federhofer, Kassel: Graz: Barenreiter, 1961.

Missa Corpus Christi K10, Johann Joseph Fux, Samtliche Werke, series I, vol. I., ed. Hellmut Federhofer, Kassel: Graz: Barenreiter, 1959.

. Sonata a Quattro K347, Denkmaler der Tonkunst in Osterreich, vol. IX, ed. Guido Adler, Vienna: Artaria & Co.,1902.