I recently received a message through The Wranitzky Project concerning a case of possible modeling between Beethoven and Wranitzky. This concerns the Symphony No. 2 of the former and the Symphony, Op. 52 of the latter. The very beginning of the slow introductions to both symphonies have a similar sound and melodic contour that it begs the question if one was influenced by the other, or perhaps paying respect to the other.
Whenever a case of quotation or modeling appears, it must be approached with delicacy and caution, and this case is certainly no different. Let's begin with the genesis of the compositions. Beethoven composed his Symphony No. 2 in D Major, Op. 36 during the years 1801-02, and it was first performed on 5 April 1803. Beethoven composed his symphony during a tumultuous time in his life with his hearing fading and with a greater sense of isolation. When Wranitzky composed his Symphony in D Major, Op. 52 remains undetermined. As far as dating the work the only reliable source we have is the 1805 publication by the Viennese publisher, Andre. If this was his latest symphony, it would not be inappropriate to put the Op. 52 within the window of 1802-04 for its composition and first performance. Beethoven's Op. 36 was published by the Viennese Bureau des Arts et d'Industrie the year after its first performance. So presumably both symphonies could have been composed within the same window of time, but which one came first still presents a problem.
Before exploring this a little bit further, here is the issue at hand. First is the Beethoven, followed by the Wranitzky. There are a couple of slight differences such as the anacrusis in the Beethoven, and the Beethoven is in triple meter while the Wranitzky is in common time.
Hopefully you can hear that both composers firmly establish the tonic then skip to scale degree 3 and descend from there 2-1-1-7 (with the last two coming in the form of a 4-3 suspension over the dominant). From here Beethoven provides a varied repetition of the first four bars before launching into a development section. As for Wranitzky, he repeats the initial statement one scale degree higher and closes the second phrase on V/V. This sequential presentation of themes appear to be common in Wranitzky's symphonies, particularly with P material in his first movements. After the statement of the first four bars the two composers have chosen two different paths to follow. The only strong relationship between the introductions is the opening four bars in the Wranitzky and the opening two bars in the Beethoven. Even the overall character of the two introductions oppose each other. Wranitzky's is rather straightforward and somewhat chorale-like in character, whereas Beethoven's sounds like a French overture with dotted rhythms and imitative tirades across the orchestra.
From a personal perspective, both composers knew each other, and in fact it Wranitzky who led the premier performance of Beethoven's First Symphony. Whether Wranitzky heard Beethoven's Second Symphony and decided to give a nod to his contemporary, or whether Beethoven did the same to Wranitzky for leading the premier of his First Symphony is still a matter of conjecture.
While examining this I found a possible case of multi-movement unity in Wranitzky's Op. 52 based on the opening four bars of the symphony. The opening phrase and the closing theme to A in the rondo Finale share an affinity with regards to melodic contour and cadence. Also the sequential statement of the same melodic material is present in both areas. Here is the example:
Even arguments suggesting multi-movement unity come under the same scrutiny as making a comparison with a work by another composer. Did Wranitzky intentionally compose the closing theme to the A section of the finale to have a melodic affinity with the opening of the symphony? Or could this simply be a coincidence involving a simple and common melodic contour and cadence type?
Showing posts with label Dissertation. Show all posts
Showing posts with label Dissertation. Show all posts
24 January 2011
The Dissertation Chronicles, Op. 10
Today I completed the draft to my first dissertation chapter and sent it off to my adviser. Originally, I planned to write a chapter on instrumentation and orchestration, but my adviser suggested that I split the two. So this first chapter is on instrumentation, meaning a discussion purely on just the instruments called on for a particular work. The following chapter will be on orchestration, how the instruments interact, aid in articulation of form, and provide special effects and flashes of virtuosity.
As I reviewed the literature, some scholars mention the instrumentation of a work or works, but rarely comment on it. Then there are hose like John Spitzer and Neal Zaslaw who research changing conditions, size, and balance among orchestras throughout Europe. Yet more often than not, the focus remains on the usual suspects: Haydn, Mozart, Beethoven, and Schubert. These are the canonical composers who led to the reduction of our understanding of Viennese symphonic culture. I hope to remedy this on some level with my dissertation.
In the instrumentation chapter I hold up the symphonies of Beethoven's contemporaries to the simplified historical narrative, mainly the idea of the Classical orchestra (strings in four parts, pairs of winds, and timpani). Among Beethoven's contemporaries, only about 40% of their symphonies, at best, used this instrumentation. most of the others used smaller forces, and the remaining symphonies used trombones in addition to the "classical" orchestra, and others used accessory instruments (Turkish instruments and the like). With the entrance of the trombones, three was not the norm as often told by the historical narrative, mainly because of Beethoven's Fifth and Sixth Symphonies.
Basically, accessory instruments amount to unconventional instruments. Turkish instruments (cymbals, triangle, military drums, and bass drums) are the most common addition. The example often referenced is Haydn's Symphony No. 100, "Military" from 1794. But before him came Franz Xaver Sussmayr and his Sinfonia turchesa from 1791. From the group of composers I examined, only two used Turkish instruments. Ferdinand Ries used them in the finale of his Sixth Symphony from 1822, and Paul Wranitzky used them in three of his symphonies (all composed for performance at the court of Marie Therese). The remaining symphonies using accessory instruments were composed by Wranitzky, and include two symphonies with keyboard (presumably composed with Marie Therese in mind), a symphony using four Papageno flutes and glockenspiel (both references to Mozart's Die Zauberflote (a favorite opera of Marie Therese), and a toy symphony. All of these symphonies by Wranitzky were composed during the last decade of his life (1795-1808).
It took longer than I would have liked to complete this chapter, but along the way I researched sources and did score study that helped lay the foundation for the next two chapters I will write. Orchestration is next, and there are several fascinating topics to explore with the symphonies I am looking at.
As I reviewed the literature, some scholars mention the instrumentation of a work or works, but rarely comment on it. Then there are hose like John Spitzer and Neal Zaslaw who research changing conditions, size, and balance among orchestras throughout Europe. Yet more often than not, the focus remains on the usual suspects: Haydn, Mozart, Beethoven, and Schubert. These are the canonical composers who led to the reduction of our understanding of Viennese symphonic culture. I hope to remedy this on some level with my dissertation.
In the instrumentation chapter I hold up the symphonies of Beethoven's contemporaries to the simplified historical narrative, mainly the idea of the Classical orchestra (strings in four parts, pairs of winds, and timpani). Among Beethoven's contemporaries, only about 40% of their symphonies, at best, used this instrumentation. most of the others used smaller forces, and the remaining symphonies used trombones in addition to the "classical" orchestra, and others used accessory instruments (Turkish instruments and the like). With the entrance of the trombones, three was not the norm as often told by the historical narrative, mainly because of Beethoven's Fifth and Sixth Symphonies.
Basically, accessory instruments amount to unconventional instruments. Turkish instruments (cymbals, triangle, military drums, and bass drums) are the most common addition. The example often referenced is Haydn's Symphony No. 100, "Military" from 1794. But before him came Franz Xaver Sussmayr and his Sinfonia turchesa from 1791. From the group of composers I examined, only two used Turkish instruments. Ferdinand Ries used them in the finale of his Sixth Symphony from 1822, and Paul Wranitzky used them in three of his symphonies (all composed for performance at the court of Marie Therese). The remaining symphonies using accessory instruments were composed by Wranitzky, and include two symphonies with keyboard (presumably composed with Marie Therese in mind), a symphony using four Papageno flutes and glockenspiel (both references to Mozart's Die Zauberflote (a favorite opera of Marie Therese), and a toy symphony. All of these symphonies by Wranitzky were composed during the last decade of his life (1795-1808).
It took longer than I would have liked to complete this chapter, but along the way I researched sources and did score study that helped lay the foundation for the next two chapters I will write. Orchestration is next, and there are several fascinating topics to explore with the symphonies I am looking at.
02 May 2010
The Dissertation Chronicles, Op. 9
After a long period of time collecting sources, pilfering through sources, listening to symphonies, reading along with scores, and analyzing scores, actual dissertation writing will begin. I decided to start with instrumentation and orchestration because it should be a fairly easy place to start. That was the thinking anyway. But as it often occurs, more laid beneath the surface, and things began spiraling out. The question one must ask is, "At what point do I stop and say enough is enough?" Well, I have finally drawn a line in the sand. I have a wealth of topics and information to discuss, so much so that a chapter that was going to be dedicated to instrumentation and orchestration will now become two separate chapters, one devoted to instrumentation and the other to orchestration. I am starting on the instrumentation chapter first because it should be the easier of the two. The basic distinction between instrumentation and orchestration is the former simply examines the instruments called upon by the composer for a specific work, and the latter is how this instrumentation interacts among the different instruments.
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