Dynamic, Articulation and Special ffect Markings in Manuscript Sources of Luigi Boc tin's String ...

359 Pages·2010·16.36 MB·English

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Dynamic, Articulation Special ffect Markings
and
in Manuscript Sources Luigi Boc String Quintets
tin's
of
Loukia Myrto Drosopoulou
PhD
Department Music
of
University York
of
September 2008
Abstract
Luigi Boccherini's form largest his
the
chamber works part of compositional output
500 In Boccherini included
these to
of nearly works. works performance markings a
in his His
that
much greater extent violoncello sonatas and concertos. string quintets,
in large dynamic,
particular, present a variety of articulation and special-effect
important for
the
markings, constituting an source study of eighteenth-century
performance practice.
Boccherini listed 125 in his
thematic
string quintets catalogue
-
between 1771 1802 113 for
composed and of which were originally scored two
-
12 for If he
two to this transcriptions
violoncellos and violas. we add number made
for his total for this by least 24
string quintet, output genre rises at another works.
The during Boccherini's
the
quintets were mostly composed employment with
Spanish Infante Don Luis de Borbön between 1770 1785,
and and subsequently,
during his King Friedrich Wilhelm II Prussia, between 1786
employment with of and
1797.
This discusses dynamic, in
study articulation, and special-effect markings
Boccherini's in terms their Special has
string quintets of notation and use. attention
been to the these in to Boccherini's
given manuscript sources of works and particular
located the Staatsbibliothek Berlin Preussischer Kulturbesitz,
autographs at zu
-
Musikabteilung Mendelssohn-Archiv the Bibliotheque de France
mit and nationale
-
in to draw the habits,
order a clearer picture of composer's notational which are not
in
these
always reflected early and modern editions of works.
Since in
to
performance markings were not present a great extent
this to
eighteenth-century repertoire, particularly solo music, study aims add not only
individual
to the Boccherini's
scholarship of notational and compositional practices,
but knowledge
to the
also wider of eighteenth-century performance practice.
To
my parents and all my grandparents
Contents
List Tables
6
of
Introduction
s
Part 1 The Sources
Chapter 1 The Manuscript Sources String Quintets
the
of 15
1.1 The Berlin Manuscript Scores
15
1.1.1. History
15
1.1.2 Manuscript Types
22
Autograph Non-Autograph Scores
22
a. and
b. The Manuscript Parts Staatsbibliothek Berlin
the 34
at zu
The Brothers Jean-Pierre Jean-Louis Duport 37
and
Pierre Marie Francois de Sales Baillot 45
1.2 The Manuscript Parts Bibliotheque-Musee de l'Opera
the 69
at
1.3 The Manuscript Collection MS 16735 Departement de la Musique
the 85
at
1.4 Boccherini's Handwriting
93
1.5 Title-Pages
98
Part 2 Dynamic, Articulation Special-Effect Markings
and
Chapter 2 Dynamic Accent Markings
and 104
2.1 Terms Employed
105
2.2 Notation Meaning
107
and
2.3 Terms Signifying Dynamic Increase/Decrease 113
2.4 Terms Signifying Accentuation
138
2.5 Use Dynamics Accents
153
of and
4
2.6 Synonymity Evolution Dynamic Terms
of
and 160
Chapter 3 Articulation Markings
167
3.1 Terms Signifying Detached Execution
168
3.1.1 Staccato, dots
and vertical strokes 178
3.2 Signs Specifying Portato Legato Execution
and 202
Chapter 4 Special-Effect Markings
235
4.1 Flautato
237
4.2 Sulponticello (alponte)
250
4.3 Harmonics (Armonici)
261
4.4 Con
271
sordina
4.5 Pizzicato
280
Chapter 5 Smorfioso Other Expression Markings
and 284
5.1 Smorfioso, Con Smorfia Expression Terms
285
and other
Conclusion
302
Appendix 1
Title-Pages String Quintet Manuscript Sources
the 309
of
Appendix 2
Paper Characteristics MS Parts Staatsbibliothek Berlin
the the 335
of at zu
Appendix 3
Manuscript Sources According to Scribe 339
Bibliography
342
5
List Tables
of
Table 1 (p. 16): Manuscript Scores the Staatsbibliothek Berlin Preussischer Kulturbesitz,
at zu
-
Musikabteilung Mendelssohn-Archiv
mit
Table 2 (p. 33): The Autograph Manuscripts Luigi Boccherini's String Quintets
of the
at
Staatsbibliothek Berlin Preussischer Kulturbesitz, Musikabteilung
zu
mit
-
Mendelssohn-Archiv
Table 3 (p. 35): Manuscript Parts the Staatsbibliothek Berlin Preussischer Kulturbesitz,
at zu
-
Musikabteilung Mendelssohn-Archiv
mit
Table 4 (p. 52): Boccherini's String Quintets Bearing Schober's Signature
Table 5 (p. 70): Manuscript Parts the Bibliotheque-Musee de 1'Opera: Reserve 508 509
at and
Table 6 (p. 72): Manuscript Parts Bibliotheque-Musee de l'Opera Sorted by Shelfnumber
the
at
Table 7 (p. 107): Dynamic Terms in the Autograph Sources the String Quintets
of
Table 8 (p. 111): Dynamic Terms Indicating Gradual Decrease/Increase in Dynamic Volume
a
Table 9 (p. 139): Terms Signifying Accentuation in String Quintets
the
Table 10 (p. 241): String Quintets Containing Flautato Effect
the
Table 11 (p. 253): String Quintets Containing Sul Effect
the
ponticello
Table 12 (p. 263): String Quintets Containing Harmonics
Table 13 (p. 273): String Quintets Containing the Con Sordina Effect
Table 14 (p. 289): String Quintets Employing Terms Smorfioso Con Smorfia
the
and
Table 15 (p. 337): Paper Characteristics the MS Parts the Staatsbibliothek Berlin
of at zu
6
Acknowledgments
I
to thank Dr Peter Seymour Dr Jonathan
wish
my supervisor and my advisor
Wainwright for the interest that they have in this
advice, encouragement and
shown
Professor David Wyn Jones for his
study; also,
valuable comments and suggestions
to this thesis. The Department Music for its financial including for
that
of assistance,
in Berlin Paris. The following libraries
the
research undertaken and staff members of
institutions for kind in
their for
and assistance supplying materials necessary this
in
their to their
study, permission examine rare materials and manuscripts
include in
to this thesis:
collections, and where applicable, reproductions
Staatsbibliothek Berlin Preussischer Kulturbesitz, Musikabteilung
zu mit
-
Mendelssohn-Archiv Jean Christophe Prümm in Bibliotheque
and particular;
-
de France, Departement de la Musique Bibliotheque-Musee de
nationale and
1'Opera; British Library; Nederlands Muziek Instituut; Letterenbibliotheek,
Universiteit Utrecht, University York Library Interlending Service. I
the
and of and
like Prof. Dr Hannelore Hoch Dr Manfred Asche for
to thank their
would also and
kind hospitality during in Berlin, for inspiring
the
my research visits and evening
life; family friends for
their
conversations about arts, science and my and continuous
support, and above all, my parents.
Author's Declaration
Hereby, I declare that I am the sole author of the present thesis. Part of Chapter 2 on
Dynamic Markings in form Royal Musical Association
the
was presented revised at
Students' Conference in January 2008.
Research
7
Introduction
The technique in Luigi Boccherini's (1743-1805)
study of performance practice and
has been largely focused his i. his
works on solo works, e. violoncello concertos and
in Boccherini included
Yet,
these
sonatas. works, performance markings to a much
lesser in his his in
than
extent chamber works and string quintets particular.
Furthermore,
unlike many other eighteenth-century virtuoso violoncellists,
did His importance,
Boccherini treatise. therefore, to
not write a string overall
has been largely despite
the
eighteenth-century performance practice overlooked,
his display
that the
variety of markings chamber works and meticulousness with
these
which are marked.
Perhaps
this tendency
observation reflects a more general of recent
to theoretical
performance practice scholarship, place more weight on sources and
for issues. Whereas
the types
solo repertoire study of performance practice such of
have been largely discussed in Robin Stowell's Violin
sources studies such as
Technique Performance Practice in Late Eighteenth Early Nineteenth
the
and and
Century (1985) Valerie Walden's One Hundred Years Violoncello: A History
and of
has
Technique Performance Practice, 1740-1840 (1998),
chamber repertoire
of and
largely been left A does include in its discussion
that
chamber
unaddressed. study
is Clive Brown's Classical
theoretical
and orchestral repertoire, alongside works,
does
Romantic Performing Practice 1750-1900 (1999),
this
and although study not
include discussion Boccherini's The to
therefore,
a of works. present study aims
illustrate Boccherini's importance by
to
eighteenth-century performance practice
his
investigating in
performance markings autograph and manuscript copies of string
draw
the time
quintets, and at same attention to the usefulness and resourcefulness of
for
this
chamber music repertoire purpose.
8
in his
Boccherini listed 125 thematic
string quintets catalogue,
composed
largely for
between 1771 1802, two Apart from
and which are scored violoncellos.
included in his Boccherini
the works catalogue, also made several transcriptions
of
for
the total
this
other works setting, raising number of string-quintet compositions
by least 24
at another works.
large
Despite
the these that during
number of editions of works appeared
his lifetime,
these
as well as nineteenth-century editions and modern ones,
works
day in The largest
to the their
remain present unpublished entirety. edition of these
is
the the Parisian Pierre Honore
works still nineteenth-century edition of publishers
Janet (d. 1832) Alexandre Cotelle (1786-1858), known Janet Cotelle,
and as et who
between 1818 1823 issued in total 93 Boccherini's The
and of string quintets. most
important is Opere Complete di Luigi Boccherini
these the
modern edition of works
Istituto Italiano la Storia della Musica, by Pina Carmirelli,
the
edition of per edited
issued between 1970 1985, first 10
the
which was and consisting of sets of
Boccherini's first in full
this the to
string quintets; edition was appear score rather
Despite fact it
than the this the that
separate parts. usefulness of edition, and appears
have been largely based
to these there
on manuscript sources of works, are many
in hairpins,
the
editorial additions and alterations notation, such as use of which are
in A discussion
the the
not reflected manuscript sources of string quintets. on
Boccherini's based becomes thus
this
performance markings solely on edition
problematic.
It has been for the
therefore
present
considered useful and also necessary
focus draw
in
study to on primary sources of these works, order to a clearer picture
individual
Boccherini's habits
that
of notational practices and are not always
in
reflected subsequent editions of this works. For this purpose, the autographs and
9