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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unpublished works by Fux that significantly incorporate the instrument have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
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.
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.
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
r ^ f = j = l n\
i i ^ j 1 1 1 allegro K JH i ft f r-f m r f m M
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Johann Joseph Fux/Ron Babcock
Trombone 1
Trombone 2
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•>•? 1 P g' [ j rspssf VH1' - ? i
u r r p m ? Os m r \
f
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
— •
j ' ^ ' r f r j
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 ' * «
5 — i * r * 0 9 r ' " > = j —J > -.——r"'—
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-n' «f"J «T^J
j j j g
r*4i -B
£
m m
m f
85
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i i p
# " cj* r p m I {J [J )=k m i i p
m p
m m i Fgff p ¥ L/C; P LT [J
m t m '»» V P [Jf 1 Ef
i nnnffl jM nJ^f | J ? Si g
f j i P " p »r r j JM j r r >
n r J iJ i
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
» m i H n ^ •:
- 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
-fe—11—J $ 1 3 . 1 > -
J i j j* * J- *J U 'v < i u
• t F f * * " * H
^ —
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j M r T r 4 ' n ' n J ~ E
118. j t i m n
iJ u u m
3 g L J U f E j - J
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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L* « *
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-« > »—N-/ v J
i JM 1
U
[74] «/ P
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-i i . i
f
p. m f
— i
»
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-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 =
+ ^=\
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> -
ig • • J ' ^ - = IK. . . . =pa,=
m
f
- # * -
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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
'H| • =
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
£
Q 2 7 ]
^ <rJ p p
m mm?
F 3 3 3 ] J jM . . .
i f J f f J n
r.
— a i
^
• —
f _ JL U | t 9
3 E
r H i 4=4:
p - e ••
m m hs1 ' Jr r r r |g, r- r r r > » » « p f
n P o -
rr r r r ^ n (4* Ia> r f r n
!'>•» - i • — = * # eLsL = ^ g | t p
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 •
4=j —if—
=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
& m P¥
PP P W
£
92
; i,< i|" —<9 -- -f P" n § ' k ¥ - ,. p' s ' L
~4- 4= j
<<$' r l ig
4—J J J a 1 - 1 -
--•hi—J- J *
LJ J J , |
•)l| - = : '' i f t j j j , i
--6 =FR
^ J J f
i »,t . | 1 - . 1 TYi
+ * 4 |
r r f
J g) «-4 S
=fN *—
i M t - jL 9 F I r r -r r "•
= > ci \o--m—» r P K, j V r p
rJ Hf2
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r -n = =if9 r ' T
. I195l
=t= —i— -1 r. #•
P ^ P
" r i 1
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
—j— i=FF
1 j_
==1== J—j j J * • fc——h4
*'J [j-J- r t t I i - f r
'T.J ' J— • 0- P * ;-m 0 y== •U—J- J r r J :
> 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
\§ ' j M . 4
V
4, r r ?4
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f f f P M M J j <T 4 - 1
k . r m . . <• j t t h ,
, 7 , / ',
p p p a—z
LT U U **U
- - -ir ' J L L L f —
I™ •"—-p
f" r-,
L r J J J t J 1
-r. J ?
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
95
Alma Redemptoris Mater (ca. 1728)
Johann Joseph Fux/Ron Babcock
Sonatina Andante
Trombone
Violin I
Violin II
Soprano
Bassoon/Cello
Organ
$
V : \ ) ' " J J p
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—
— *
15 M M =
=**= 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
^1 V f
—1
'•*—> ^
r t r
r
98
J I I
IGU lJ J VI, ' ' F J J J J L \R
J £
i If i
21
7 « ^ I ? J J 3 P 21
21 -$s? * 5 ^ 5 ^ m
21
( I F P I R p r '' P 21
21
P j j n j TP
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
—f-ij J J J ^
24
j - j 1 — , — . — ^
r 7 ^ 1 /
— 1 — O — V = B
= = y
(• [ s i ! L X r L
r—r~f—-—T~ ML
—f-^ r = :
4 ^ -
m • " » '
I MJ-
/ • 4 = 1
= » - '
t =
24
- ^ H - 4 T — r • - - i r m • 1 w — C h—* C Z * —
b r • v i 24
» L l -
j J : ' ' ' ' 4 = :
/ '
•. 1
/
- f - i
1 p 1
— J H -
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
- £ F B r - 1 > i — — t
ft ^ ^ L i 27
f f r f r
J = t =
ft
" •
- * F S = f
! = ^ = 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 | -
J J 1 I i - h
0
- s — h
= 1 i f J j
Al - ma
Adagio
I , r ' I i i 27 SO r , t
1 0 0
f P r 30
£ i j '
1 i • &
30 - f r V - (9 = T 1 = 1
30 \S lI- > h . . i 9 n > n n ^ ~f P
30 *\l r \>
Red !* ' 0
• U 1
em - pto - ris f r - r n 1
_ l _ — p J Ma - ter,
* m
- * ^ — z A l - m a Mi
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
" p K —
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
ma Red - em
c — r
Ma - ter,
37 p
=£ I ^ F
9 rr : T 37
r , r
j p
39
39
39
39
m 39
39
m
u u ' UJ per - vi - a cae - li por ta ma
:£
H c _ f L J r c _ _ r C — T
1 0 2
41
JpL k~ - -
i i g ^ g i E M * 1 ••
T — 41
r = *
U - r r = 7 ^ r m i ^ I i . . . fr=i
I ' P L J J -4 1 nes, Et stel - la
• I * B - m * «S ^
r - e ma ris,
= F #
' V U - J 1
, Et stel - la
_ f r U I
' ' V J U ' 41
1 — i —
—
I '
J 4 =
' ' fci
= ^ = 3
s J - 4 - s — 2 —
t t j r u r
^ I ^ bp • • •
• 7 p H '-f-—F 2 — F —= FP
- H F u R P RR, J . . . z . 4 — . 2 ,, , r i —J—
m Lf U
m n n n ^
103
f T ^ f 46
P LI' « ^ m p—9 ^ m P » | P ^ * ir ||hr
i i p
f — i
T L I J U 46 —
J lI' r w n~ p ^ r M f 3 -
— ^ 4 v =
* —
— h f t Tf--
I 0 • •
H — V=-
46 , P • y r ' 1 - ) • —
" n,
*)IL|, T~\ - p — * — - » s r — p— m-
*
quae
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46
H ^ =
2 - W i -
/
r - f r
$—
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V ^ J
1 V
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^
¥=•, 46 *
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\jf\» P- j _ — [
49
A 1 Q I h = r * r m 0 , M IT f * P 1* * 0 W
- M f F F #
per - vi - a cae - li por ta rna-nes, Et stel - la
V M ; j j J
49 p r f ' r —
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S P P £ m 52
52
52
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H H
ris, Et stel - la
m m 52 m r
l i n m m E
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54
1 > , p r r r r f i r 54
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/ «TTT
L y
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p f f m m1 *-# - m P— "-—
54
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L L y '
5 4 ma
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r 1
ris,
v A m
X 1 -si—m— v r 1 p u r u \
54
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$ — J 2 _ p _
_ J - J v i
i j ^ r
• n 1 ' f ^ p
^ J j r rn
M i M
} * * ' ' j = r > > 7 b 1
105
w ? = 67 r*
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Lp J' r /frVTrr H
ir {L + fL£.
TFSfn *
tr f M. —
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• i l l * * LJ^^ 3
=r= 57
t\i 11. r , j =£^ r r t ^ 9 M m <• r T ^ l / K
57
- j f e - f c k -
L j [ J J — ' j - | . , =
[ J J J
j n
J
57
<> I | | .
« rJ- C-f CJ f . j -7
— 0 .
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* - t r f i . f n r ^ T - J LJ — — •Lfc J U" 1
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60 "9-i tr , * ft 1 if ,—»-«" - i .
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>r ... ft r V j:=
jjf i r f r -
t frV n.
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67
106
67
67 cur re ca - den - ti, sue - cur re ca - den - ti
67
J ] .J v k
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m j 4
72
$ 72
41,1' ^ C J 72 _ .
Pi b«n *pi r r f *pi sur - ge- re qui cu - rat po - pu - lo, sue - cur - re ca - den - ti, sue - cur - re ca-
t | J i 72
72 f r U r i l
r m
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78
78
107
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§ 3 E
m Tu quae ge - nu-
w 78
m n fo- [ J I" 78 r
84
84
84 i _ e>+!
m r c j c j ' " J t f f i J l l J |E
i - stl, na - tu-ra mi - ran
mm 11 r r ; i r w
tu- um
84
84
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108
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91
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T 1
J ^ j* n i J u. fr ffrf =p=* flrtf — p 1—j r r J J | 9 1 san - ctum Ge - ni
*>: »> kr *—
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rem,
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le -— 1 J
^ 1 ' J > 1 r t i j . i
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91 f ib kp i
T — i f -~f h.
M -¥—;
p - i - f . J — » — N5
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97
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97
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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.