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Tracing the Development of Early Classical
Style: The Bassoon Concerti of Johann
Wilhelm Hertel
Ashley Heintzen
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THE FLORIDA STATE UNIVERSITY
COLLEGE OF MUSIC
TRACING THE DEVELOPMENT OF EARLY CLASSICAL STYLE:
THE BASSOON CONCERTI OF JOHANN WILHELM HERTEL
By
ASHLEY HEINTZEN
A Treatise submitted to the
College of Music
in partial fulfillment of the
requirements for the degree of
Doctor of Music
Degree Awarded:
Spring Semester, 2006
The members of the Committee approve the treatise of Ashley Heintzen defended on
March 30, 2006.
______________________________
Jeffrey Keesecker
Professor Directing Treatise
______________________________
Seth Beckman
Outside Committee Member
______________________________
Eric Ohlsson
Committee Member
______________________________
Frank Kowalsky
Committee Member
The Office of Graduate Studies has verified and approved the above named committee members.
ii
TABLE OF CONTENTS
List of Examples…………………………………………………………………….iv
List of Figures……………………………………………………………..............…v
Abstract…………………………………………………………………………….. vi
INTRODUCTION…………………………….……………………………………..1
I. THE LIFE OF JOHANN WILHELM HERTEL…………………………….4
II. THE EARLY CLASSICAL STYLE
History………………………………………………………………12
The Galant Style…………………………………………………….16
III. CONCERTO IN B-FLAT………………………………………….. ………20
IV. CONCERTO IN A MINOR………………………………………………...30
V. CONCERTO IN E-FLAT…………………………………………………...39
CONCLUSION…………………………………………………………….............. 55
APPENDIX………………………………………………………………………… 58
BIBLIOGRAPHY………………………………………………………………….. 63
BIOGRAPHICAL SKETCH………………………………………………..………67
iii
LIST OF EXAMPLES
1.
Hertel, Concerto in B-flat, Movement 1, measure
Movement 3, measure 141-144………………..17
2.
Hertel, Concerto in B-flat, Movement 1, measure 1-2…………………….. 21
3.
Hertel, Concerto in B-flat, Movement 1, measure 24-38…………………...22
4.
Hertel, Concerto in B-flat, Movement 1, measure 118-119……………….. 25
5.
Hertel, Concerto in B-flat, Movement 2, measure 1-15…………………… 27
6.
Hertel, Concerto in A minor, Movement 1, measure 1-8………………….. 32
7.
C.P.E. Bach, Concerto in D minor, Wq 23, Movement 1, measure 1-8…… 32
8.
Hertel, Concerto in E-flat, Movement 1, measure 1-3……………………... 41
9.
Hertel, Concerto in E-flat, Movement 1, measure 4-25……………. …........43
10.
Hertel, Concerto in E-flat, Movement 1, measure 26-27…………………... 47
11.
Hertel, Concerto in E-flat, Movement 1, measure 38-39…………………... 47
12.
Hertel, Concerto in E-flat, Movement 2, measure 16-19…………………... 50
iv
LIST OF FIGURES
1.
Five-Ritornelli: Orchestra Return…………………………………………...3
2.
Hertel, Concerto in B-flat, Movement 1,
Five-Ritornelli: Orchestra Return………………………………….. 21
3.
Hertel, Concerto in B-flat, Movement 2,
Four-Ritornelli: Orchestra Return………………………………….. 26
4.
Hertel, Concerto in B-flat, Movement 3,
Four-Ritornelli: Soloist Return…………………………………….. 28
5.
Hertel, Concerto in A minor, Movement 1,
Five-Ritornelli: Orchestra Return………………………………….. 34
6.
C.P.E. Bach, Concerto in D minor, Wq 23, Movement 1,
Five-Ritornelli: Orchestra Return………………………………….. 34
7.
Hertel, Concerto in A minor, Movement 2,
Four-Ritornelli: Orchestra Return………………………………….. 35
8.
Hertel, Concerto in A minor, Movement 3,
Rondo/ Five-Ritornelli: Orchestra Return……………………......... 36
9.
Hertel, Concerto in E-flat, Movement 1,
Five-Ritornelli: Orchestra Return………………………………….. 40
10.
Hertel, Concerto in E-flat, Movement 2,
Four-Ritornelli: Soloist Return…………………………………….. 49
11.
Hertel, Concerto in E-flat, Movement 3,
Five-Ritornelli: Orchestra Return………………………………….. 52
v
ABSTRACT
The first half of the eighteenth century was an important time of transition in music
history that linked the end of the Baroque period to the Classical era. The music of the early
Galant style, which was written during this period, is commonly overlooked or undervalued. In
order to gain a more thorough understanding of the stylistic traits and structures that led to the
Classical period, a study of this music is important.
Johann Wilhelm Hertel’s (1727-1789) bassoon concerti reflect the transition in style
between the late Baroque and Classical eras. Hertel’s autobiography lists six bassoon concerti,
but the three concerti selected for this study are the only surviving works. The Concerto in B-flat
is the best example of a galant concerto with simple harmonies, three-part texture, mannered
cadences and regular phrases. The Concerto in A minor is similar in many respects to C.P.E.
Bach’s Concerto for Harpsichord in D minor, Wq. 23, in melodic construction, movements
related by key, false returns, and a stormy character. It is possible that it was written in Berlin
during Hertel’s year of study at the court of Frederick the Great. The Concerto in E-flat is the
longest and most complex of the three concerti, and the score includes two horns and two oboes
in the outer movements, and two flutes in the slow movement. The use of winds is significant,
and indicates the Concerto in E-flat is probably one of Hertel’s later compositions.
Although he composed a great deal of music, very few of Hertel’s manuscripts have been
published. Currently, there are nine published wind concerti by Hertel, including the three
bassoon concerti, three trumpet concerti, an oboe concerto, a concerto for trumpet and oboe, and
a concerto for trumpet, two oboes, and two bassoons. As of this writing, the majority of Hertel’s
works are not published, but the few pieces that have been issued are arguably among his best
works.
vi
INTRODUCTION
One of the lesser-known, but highly esteemed composers of the eighteenth
century was the North German composer Johann Wilhelm Hertel (1727-1789). He was
an excellent violinist from the studio of Franz Benda, and his concerti for violin and
keyboard were well regarded. Although Hertel considered himself a vocal composer,1 his
forty-eight instrumental concerti encompass a significant portion of his output. Hertel’s
early concerti show traits of the galant style with mannered cadences, tonal harmonies,
symmetrical phrasing and clear structure. His works are generally free of ornamentation
with the exception of precisely notated appoggiaturas and trills. In later concerti, phrases
become more fluid and are developed with a less obvious structure. By the end of his
career, Hertel’s works resemble the Classical concerti of Haydn and Mozart in motivic
construction, enriched textures, and limited counterpoint.
Hertel’s autobiography refers to “six concertos, a few easy, a few difficult” for the
bassoon.2 However, only three remain: the Concerti in B-flat, A minor, and E-flat Major.
Although the concerti cannot be dated precisely, a clear progression can be demonstrated
through a closer analysis of the works.
The Concerto in B-flat is an excellent example of Hertel’s early galant style of
writing. Phrases are two or four measures in length with careful attention to balance.
1
Marcel Pusey, “A Critical Edition of Two Symphonies by Johann Wilhelm Hertel (1727-1789)”
(MA Thesis, Brigham Young University, 1994) vii.
2
Patrick Peire, preface to Johann Wilhelm Hertel Concerti, Collegium Instrumentale Brugense,
Eufoda 1231.
1
Melodies are constructed around the triad over a transparent accompaniment. The
structure of the piece is clear, and the tonal harmonies contain very few chromatics.
The Concerto in A minor is dramatically different from the Concerto in B-flat. It
is one of the few concerti written by Hertel, or any composer of this period, in a minor
key. The melodies are driving and turbulent, with frequent interruptions and sudden
silences. The concerto shows possible influences of the rage arias popular in opera seria
during the 1750’s. Similar trends may be seen in Carl Philipp Emanuel Bach’s Concerto
in D minor, Wq. 23. A comparison of the two works shows interesting similarities,
including the use of the minor mode, the odd choice of meter (¾), similar melodic
construction, false recapitulations, and tonal relationships of the movements. C.P.E.
Bach’s harpsichord concerto was written in 1748 during a time when Hertel was in Berlin
for study. It is possible that Hertel modeled the bassoon concerto after the Bach
concerto.
The Concerto in E-flat is the best example of Hertel’s later works, and resembles
a Classical concerto. It is the longest and most intricate of his bassoon concerti with
melodies constructed around the smallest possible unit, the motive. With the
reintroduction of counterpoint that had been discarded during the early galant, Hertel
harmonizes melodies in thirds and sixths using various instrumental combinations. Most
importantly, it is the first time Hertel combines horns, oboes and flutes in the
accompaniment. The winds no longer serve in a ripieno function but are given solo
prominence and provide contrast in timbre.
All of Hertel’s concerti are in three movements in the order of fast-slow-fast.
Like many of his contemporaries, he constructs concerti in ritornello structure. In outer
movements, Hertel favors five ritornelli separated by four solo sections. The first
ritornello is the longest and provides the character and material to be presented. The first
solo section is commonly separated from the opening ritornello by a complete break that
serves to announce the soloist. Subsequent ritornellos are abbreviated versions of the
first. The final ritornellos conclude the movement but do not repeat primary thematic
material (Figure 1).
2
Statements of I & V
Modulation
R1
S2
S1
R2
R3
Return
S3
R4
S4
R5
__________________________________________________________
I
I---V V
R= Ritornello
I
I
I
S= Solo section
Figure 1: Five-Ritornelli / Orchestra return
Slow movements demonstrate Hertel’s skill at constructing beautiful, cantabile
melodies. Ornamentation is restrained and part of the line, never an addition. Slow
movements include a fermata over a cadential six-four chord at the end of the final solo
section for an improvised or written out cadenza. Hertel favors four ritornelli and three
solo sections in slow movements but experiments with various return combinations of
opening material.
Although he was well regarded by his contemporaries, Hertel has since faded into
obscurity. This treatise is presented in order to broaden the knowledge of Hertel’s music,
specifically the bassoon concerti. His biography and the discussion of the early Classical
style place Hertel within a historical time frame and show the influence of other
composers such as Johann Hasse, Carl Heinrich Graun, and C.P.E. Bach in particular.
The accompanying analysis focuses on formal structures, general style characteristics,
and Hertel’s compositional development throughout the three concerti.
3
CHAPTER I
THE LIFE OF JOHANN WILHELM HERTEL
(1727-1789)
Johann Wilhelm Hertel was born on 9 October 1727 in Eisenach, Germany, the
birthplace of Johann Sebastian Bach. Johann Wilhelm was the son of Johann Christian
Hertel (1698-1754), a virtuoso gamba player who was Konzertmeister of the Eisenach
Kapelle from 1733 to 1741 and of the Mecklenburg-Strelitz Kapelle from 1741 to 1753.
In addition, his paternal grandfather, Jakob Christian, had been Kapellmeister at the
Gottingen court in 1667 until approximately 1700 and also at Merseburg in Saxony,
Germany. When Duke Wilhelm Heinrich died in 1741 the Eisenach court orchestra was
disbanded. Johann Christian was able to secure employment as Konzertmeister at the
court of Adolph Frederick III in Neustrelitz on the recommendation of his friend, Franz
Benda, violinist at the court of Frederick the Great. He began his duties as leader of the
court orchestra on 1 January 1742.
Although Hertel came from a rich musical tradition, both parents discouraged
music as a career. It was the father’s wish that his son become a lawyer, while the
mother, a vicar’s daughter, wanted him to be a Lutheran minister. Regardless of his son’s
choice, Johann Christian believed that his son should acquire a solid background, not
only in music, but also in the humanities. As a result, Hertel received a well-rounded
education.
Between the ages of ten and fourteen, he attended classes at the prestigious Zerbst
Gymnasium in Eisenach, studying Classical Latin and Greek, mathematics, history, logic,
and theology. Later he began lessons with Christian August Wolf in logic, morals, and
natural law. Wolf was a philosopher at the University of Halle, but is best known as the
4
leader of the Enlightenment in Germany. Although his early musical education began
with his father, Hertel studied harpsichord with Johann Heinrich Heil (1706-1764), one of
Eisenach’s court musicians and a former pupil of J.S. Bach. By age twelve, Johann
Wilhelm had become a very proficient player, accompanying his father at the harpsichord
during a concert tour of Laubach and Dilleburg in Hesse, Germany.
At fifteen Johann Wilhelm left Neustrelitz for the Zerbst court, where he became
the apprentice to Karl Hoeckh (1707-1773), a close friend of his father’s and
Konzertmeister of the court orchestra. Hoeckh was one of the most important composers
of instrumental music in North Germany at the time, and Hertel attributed a great deal of
inspiration to Hoeckh, personally and musically. During his apprenticeship in Zerbst,
Hertel continued his academic studies at the Bartholomauschule and later at the
Gymnasium. He also came in contact with the well-known instrumental composer and
Kapellmeister Johann Frederic Fasch (1688-1758).
Upon completion of his studies in 1745, Hertel returned home to Neustrelitz. His
father intended for him to begin law school in Leipzig. Hertel, however, stopped in
Berlin at the court of Frederick the Great to visit his father’s friends, Franz Benda and the
Graun brothers. During the visit, Hertel heard a clavier performance by Carl Philipp
Emanuel Bach (1714-1788). According to Hertel’s autobiography, he was impressed by
Bach’s performance and claimed he had never before heard such beautiful music.
“Particularly the Bach concerto made such an impression on me that I could scarcely
think of anything else.”3 He bought a copy of the concerto, possibly the Concerto in D
Major, W.11, of 1743, with the intention “to practice it until it would sound close to what
it should and what it still did in my memory.”4 The experience became a large factor in
Hertel’s decision to pursue music full-time.
After his return to Neustrelitz, Hertel was appointed the position of violinist and
cembalist in the Hofkapelle of Duke Adolph Frederick III, where his father was still
Kapellmeister. Along with his study of violin and clavier, Hertel began to study
composition with his father. There was much support and appreciation of music at the
3
Daniel Heartz, Music in European Capitals, the Galant Style 1720-1780 (New York: W.W.
Norton, 2003), 416.
4
Ibid.
5
court, and other musicians and composers were welcomed guests of the Court. As a
result, Hertel became acquainted with some of the foremost musicians and composers in
northern Germany.
In 1747 Hertel was granted a one-year leave of absence from the Hofkapelle to
return to Berlin to study music at the court of Frederick the Great. The musicians at the
palace were some of the most prominent in Europe at the time. Hertel studied violin with
Franz Benda (1709-1786), composition with Kapellmeister Carl Heinrich Graun, and
keyboard lessons with C.P.E. Bach, from whom he received pieces for study. Hertel
gained further experience by performing in salons of the Berlin aristocracy and
composing music for such occasions. Kapellmeister Graun also allowed Hertel to play
violin in the royal opera as an unpaid visitor.5 In 1748, Hertel was required to resume his
position at the court of Neustrelitz.
In 1750, the court at Neustrelitz acquired a pair of new Silbermann fortepianos.
Hertel expressed enthusiasm over the new instruments in his autobiography, and unlike
most North German composers, including the Bach family, he preferred the fortepiano to
the harpsichord and clavichord. Differences in touch between the fortepiano and its
predecessors were noted by Hertel and are important because the North German
musicians tended to be indifferent to the distinction between instruments.6
In the autumn of 1750 Hertel’s father began losing his eyesight, and Johann
Wilhelm took over his duties as orchestra leader. Two years later, Duke Adolph
Frederick III died, and the musicians of the Neustrelitz court were dismissed. Hertel
remained at the court for a time with the widowed Duchess, and followed her to Schwerin
with a few of his former colleagues, where they joined the Kapelle of Duke Christian
Ludwig of Mecklenburg.
The new Duke and his family were accomplished amateur musicians and supported the court’s musical atmosphere. In 1754, Hertel was offered the position of court and
chapel composer. He functioned as Kapellmeister, although he was never given that title.
His duties were comprised of composing and performing music for the court. Hertel
5
Heartz, Music in European Capitals, 416.
6
Mary Romana Hertel, “Johann Wilhelm Hertel (1727-1789): A 250th Birthday Tribute,” College
Musica Symposium 18 (Spring 1978): 124.
6
gave up the violin and devoted all of his time to performing and composing on the
keyboard. Hertel was prolific during his first year as court composer, and he produced
many instrumental works and eight large cantatas.7 However, after only two years, Duke
Christian Ludwig died and was replaced by his son Frederick the Pious, who favored the
works of Italians, specifically Niccolò Jommelli and Giovanni Pergolesi, rather than
Germans. Until that time, Hertel’s primary influence was the music of Carl Heinrich
Graun and Johann Hasse. Therefore, to incorporate Italian elements into his style, Hertel
studied the works of Pergolesi and Jommelli and was pleased with the stylistic fusion
within his composition.
From 1757 to 1763, Schwerin entered into the Seven Years War, siding with
Prussia. The court musicians were placed on leave and struggled to find work wherever
they could. From 1758 to 1760, Hertel was the organist and church music director at
Straslund on the Baltic, northeast of Schwerin, and used the time for study and
composition. Two works he published during this period were Sammlung musikalischer
Schriften, German translations of French and Italian essays on opera and aesthetics with
commentary by Hertel, and two sets of Oden und Lieder on texts by Johann Friedrich
Lowen.8 Also during the war years, Hertel met Karl Adolph Kunzen, the former
Kapellmeister of Schwerin. Hertel characterized Kunzen’s compositions as somewhat in
the style of Georg Philipp Telemann--the early galant style--which Hertel at the time
already considered antiquated.9
In 1761 the musicians of Schwerin were requested to attend the month-long
festival in Neustrelitz, celebrating the marriage of Princess Sophie Charlotte of
Mecklenburg-Strelitz to George III, the new King of England. Hertel composed a
sinfonia for the occasion on Metastasio’s text Il vero omaggio (the true homage). The
piece gained much popularity and was copied many times.
7
Hertel, “A 250th Birthday Tribute,” 125.
8
Mary Romana Hertel, foreword to Keyboard Concertos in E-flat major and F minor (Madison,
WI.: A-R Editions, 1988), viii.
9
Hertel, “A 250th Birthday Tribute,” 126.
7
The Prussian troops departed Schwerin in 1762, and court activities resumed.
Hertel was now requested to compose works for Frederick the Pious in the form of sacred
cantatas. Up until that time, Hertel was mostly a composer of secular works.
After a serious illness in 1764 Hertel considered retirement. He gave most of his music
to the Prince, but retained the works by C.P.E. Bach and some of his own vocal works.10
The next year he was offered the position of privy secretary to Frederick’s sister, Princess
Ulrike Sophie of Mecklenburg (1723-1813), whom he followed to Hamburg. On one
occasion in Hamburg, Hertel met the famous German composer Telemann, at the time
eighty-four years old, who had been a close friend of his father. After two years, Hertel
returned to Schwerin.
In 1767 the Duke transferred the Hofkapelle to Ludwigslust. Hertel was relieved
of his post as Kapellmeister in order to remain in Schwerin, where he arranged concerts
for the nobility and gave piano lessons. He received the title of Privy Counselor to
Princess Ulrike in 1770 and continued to compose the bi-weekly concerts of sacred music
for the duke.
In 1783 Johann Christian Koppe, the son of the Rostock publisher, began
requesting autobiographies of prominent Mecklenburg residents, particularly theologians,
lawyers and scholars. Hertel was one of two musicians included in the collection.
Hertel’s autobiography was first published in 1784 as Volume 3 of the Weiner
Musikwissenschaftlichen Beitrage (Bohlau Verlag, Graz-Koln, 1957).11 The revised
second edition, published in 1806, contains many corrections from the first edition and a
six-page listing of Hertel’s work.12 The third edition was never completed. From the
three versions, Erich Schenk published the first complete edition of Hertel’s
autobiography in 1957.13 Written in the third person, it portrays Hertel as a likable and
hard working individual. The autobiography is more than an account of Hertel’s life and
compositions. It also provides valuable information about composers mostly associated
with the Berlin School, such as the Benda brothers, the Graun brothers, Johann Joachim
10
Hertel, “A 250th Birthday Tribute,” 127.
11
Hertel, Keyboard Concertos, vii.
12
Hertel, “A 250th Birthday Tribute,” 129.
13
Hertel, Keyboard Concertos, vii.
8
Quantz and Carl Philipp Emanuel Bach. The reader also gains insight into the musical
and social life in the North German cities of Berlin, Zerbst, and Straslund, as well as
Mecklenburg, which at that time comprised the duchies of both Schwerin and Strelitz.
In his autobiography Hertel expressed his thoughts on the art of composition as
follows:
He discovered all too quickly that it was primarily nature that
provides the talent for a fine composer, [but] that next to this,
much thought and arduous, protracted study was demanded.
Talent without industry produces nothing but a wild vine; industry
without talent only a forced, dry fruit. If one has neither, he would
be happier with a cobbler’s knife and last than with the art of
composition. Only he who combines superior talent and a soul full
of emotion with persistent diligence and a mind trained through
[exposure to] the sciences, and who meets the right opportunity to
gain momentum, can hope to achieve honor in this profession.
Much good certainly [results] when this combination is present;
but its absence is certainly also the reason for [there being] such
countless hordes of bunglers. No amount of travel, familiarity with
a great amount of music, or gentlemanly refinement and polish can
serve as a substitute.14
Hertel’s autobiography does not contain many references of a personal nature. It
does, however, note that in 1768, at the age of forty-one Hertel married a lady of the
court, Sophie Emilie von Wurmb, age twenty-six, who was one of his keyboard students.
After fifteen years, however, the couple separated in 1783. Hertel’s personal sorrow
precipitated a nervous breakdown.
In his last years, Hertel gave up the violin due to worsening eyesight. He devoted
himself to the study of the recently invented piano, popularized by Johann Christian Bach
in London. Hertel continued to work on cycles of sacred cantatas on the Passion of
Christ until his death on June 14, 1789.
Hertel was a prolific composer with an output that includes instrumental and
vocal compositions, theatrical works, translations, and an autobiography. Among
Hertel’s compositions are forty-eight concerti: fifteen for keyboard; nine for violin,
possibly for himself or Franz Benda; two for cello, possibly for his brother-in-law Marcus
Heinrich Grauel, who was cellist for the Royal Chapel in Berlin; three for flute, written
14
Hertel, Keyboard Concertos, ix.
9
for Ritter von Chassot; ten for oboe, possibly written for Johann Friedrich Braun, one of
the foremost oboists of the day and a pupil of Carl Besozzi15 (a celebrated composer);
three for trumpet, written for the Schwerin Court’s principal trumpet player Johann
Georg Hoesse;16 three for bassoon; and a double concerto for trumpet and oboe. In
addition, there were numerous other compositions including keyboard sonatas; violin
sonatas with continuo; partitas for organ and oboe; trios for harp, violin and cello, written
for Demoiselle Petrini, a harpist from Berlin; a few trio sonatas; a quartet for two horns
and two bassoons (“Sonata a Quattro”); a quintet for trumpet, two oboes and two
bassoons (“Concerto à Cinque”); secular and sacred cantatas; Lieder; and Italian arias.17
Hertel’s libraries in Brussels and Schwerin contain forty-five symphonies. Of particular
interest is the Symphony in C major that called for eight timpani.
The catalogue of vocal works contains masses, passions, sacred and secular
cantatas, two collections of Lieder, and includes precise information on the creation and
performance of several works. Though Hertel composed a full catalogue of his own
works, some of the included works are thought to have been by his father, Johann
Christian Hertel. The confusion is indeed understandable, and it is probable that Johann
Wilhelm would have been in possession of his father’s works.
Also included in Hertel’s estate were significant works of other composers:
Hasse’s operas Adriano in Syria, Olimpiade, Tito, Pellegrini al sepolcro, and Alcide al
Bivio; Graun’s Te Deum and Der Tod Jesu; J.S. Bach’s Choral-Gesang, Part I; nineteen
keyboard sonatas and eleven keyboard concerti by C.P.E. Bach; six clavier suites of
Handel; and two sets of clavier pieces of Benda.18
The manuscripts containing Johann Wilhelm’s signature in the Brussels
Bibliotheque had previously been in the collection of Johann Jakob Westphal (1756-
15
Gunther Joppig, preface to Concerto in G for Oboe and String Orchestra by Johann Wilhelm
Hertel (Vienna: Universal Edition, 1984).
16
Edward Tarr, preface to Concerto No. 3 in D Major for Trumpet and string Orchestra, by
Johann Wilhelm Hertel (Musikverlag: Mc Naughtan, 1992).
17
Hertel, Keyboard Concertos, ix.
18
Hertel, “A 250th Birthday Tribute,” 127.
10
1825), an organist, music copyist, and avid music collector from Schwerin,19 who bought
Hertel’s musical estate in its entirety in 1789, three months after Hertel’s death, at an
auction in Schwerin. Though the majority of Hertel’s estate consisted of books on
history, law and horticulture, his music collection received very little attention for
bidding. Printed editions were purchased for a quarter of their regular price, and
manuscripts sold for almost nothing.
At his request, Westphal’s vast collection was sold as a unit after his death instead
of at auction. A decade later, his library was acquired by Francois-Joseph Fetis and
distributed to the Brussels Bibliotheque du Royale Conservatoire during the nineteenth
century. Hertel’s compositions have also been preserved in the library at Schwerin’s
Wissenschaftliche Allgemeinbibliothek20 and remain largely untouched.
The lexicographer, Ernst Ludwig Gerber, mentioned Hertel in the 1790 listing:
“Since the middle of this century, he has been one of our most gifted, most sensitive
composers, whether in instrumental music or vocal works. Hertel composed a great deal
of music but very few of Hertel’s manuscripts were published during his lifetime.
Unfortunately, the most important compositions, written for the court at Schwerin, are
not generally known.”21 In general his works remained in manuscript and were not
circulated outside of the courts where they were composed.
19
Hertel, Keyboard Concertos, ix.
20
Hertel, Keyboard Concertos, ix.
21
Douglas Townsend, foreword to Concertos, Oboe, String orchestra, G Major, MHS 1040 New
York: Musical Heritage Society, 1968).
11
CHAPTER II
THE EARLY CLASSICAL STYLE
History
During the early eighteenth century, there was a deliberate break with music and
styles associated with Baroque composers such as Johann Sebastian Bach, whose music
was criticized as being artificial, contrived, and excessively complex. The new breed of
Italian opera composers, including Giovanni Bononcini, Antonio Caldera, Giovanni
Maria Capelli, Francesco Gasparini, Antonio Lotti, Benedetto Marcello, Alessandro
Scarlatti, Antonio Vivaldi, and the later works of German composers Georg Frederic
Handel and Georg Philipp Telemann,22 sought to create music that was lighter, moving,
impressive and noble. The term style galant was used by the German music critic Johann
Mattheson of Hamburg, in Das forschende Orchestre of 1721, to describe the above
composers as “the most famous and galant composers in Europe.”23 It was the German
music critics who coined the term galant to mean no more than “modern” or “Italian
modern.”
The German theorist Heinrich Koch described the use of the learned, or
contrapuntal, style as appropriate for church use, while the galant was associated with
chamber music or the theater. According to Koch, the galant was distinguished from the
learned style:
22
Heartz, Music in European Capitals, 18.
23
Ibid.
12
1.
2.
3.
through the many elaborations of the melody, and divisions of the
principal melodic tones, through more obvious breaks and pauses
in the melody, and through more changes in the rhythmic elements,
and especially in the lining up of melodic figures that do not have a
close relationship with each other, etc.
through a less interwoven harmony
through the fact that the remaining voices simply serve to
accompany the main voice and do not take part in the expression of
the sentiment of the piece, etc.24
The new Italian style focused upon clarity, rejecting any contrapuntal complexity.
Phrases were balanced and orderly with the bass line supporting the prominent vocal line.
In turn, the melodies were vocally conceived with a much greater emphasis on rhythmic
variety. Composers were praised for their expressive and beautiful singing melodies.
Venice, secondary only to Naples in refinement of the new style, was more
devoted to instrumental music. Vivaldi’s new concerto, borrowing a ritornello
framework from opera seria, was energized by opposing soloist and ensemble, thus
creating tension and release. The concluding ritornello provided a synthesis of musical
ideas. This concerto form spread rapidly through Europe. The symphony, following the
framework of the concerto, also emerged in northern Italy followed by the modern
sonata.25
Courts played an important part in the musical life in Germany, and ultimately the
individual ruler decided the music to be performed and the amount of money to be made
available to finance the project. The court at Dresden became a willing recipient of the
new Italian style through its close relationship with Venice. Kapellmeister Heinchen and
Konzertmeister Pisendel were strong supporters of the Vivaldi concerto. “From Dresden
they helped disseminate Vivaldi’s works and style throughout northern Europe, not only
through copies of his music that they brought back with them but through their own
instrumental works closely modeled on his.”26 The court’s Neopolitan-trained opera
24
Heartz, Music in European Capitals, 19.
25
Ibid., 999.
26
David Schulenberg, Music of the Baroque (New York: Oxford University Press, 2001), 298.
13
composer, Hasse, was given generous support and artistic freedom to establish Dresden
as the leader of the Italian style in Germany.
The court at Stuttgart was regarded as a “paradise for musicians.”27 Duke Carl
Eugene requested that lavish Italian operas and ballets be presented under the direction of
Jommelli, who was the leader of the Italian opera style in Germany after Hasse.
Unfortunately, the Duke bankrupted his duchy through his musical extravagance and his
citizens paid the price in blood during the Seven Years War.28
The court of Mannheim was fairly small, as was Stuttgart. For many years,
Duke Carl Theodore of Mannheim supported a distinguished opera, ballet, sacred music,
and above all, symphonic music, within his budget. The symphony in Mannheim briefly
became a rival to the Great court of Vienna.
Frederick the Great in Berlin was a military and musical tyrant who controlled all
decisions. From the beginning of his reign in 1740, Frederick proclaimed the superiority
of French intellectual life and Italian music, and sought to establish a royal opera house
that would rival Dresden. Many of Frederick’s musicians came from Dresden, including
flautist Johann Joachim Quantz, violinists Franz and Johann Benda, Georg Zarth, Johann
Gottleib Graun, and his brother Carl Heinrich Graun, who became the Kapellmeister at
the Berlin court.
Carl Heinrich Graun was the only one allowed to compose operas; King Frederick
chose the libretti. Graun’s music mixed the Italian and French styles. He preferred the
French overture until Frederick told him to stop writing them; from then on he was only
permitted to compose Italian overtures. The music critic Friedrich Reichardt made the
observation in Letters Concerning Music by an Observant Traveler, published in 1774,
that Graun’s operas suffered in quality in comparison with Hasse’s. “What did not please
was cut, even if it was the best number in the opera. Being rather one-sided and stubborn
in his taste, the King allowed Graun no freedom and variety in his operas.”29
27
Heartz, Music in European Capitals, 1001.
28
Ibid., 1001.
29
Ibid., 389.
14
One of the greatest musicians Frederick acquired was Carl Philipp Emanuel Bach
in 1738. He was hired as one of two harpsichordists, the other being Christoph
Nichelmann, a former student of Johann Sebastian Bach. While in the Prussian King’s
service, C.P.E. Bach composed over forty keyboard concerti.
Because of Frederick’s musical participation and support, several of the royal
musicians established weekly private concerts and music societies dedicated to new
instrumental and vocal music. The music historian Johann Nicolaus Forkel attributes the
rise of the solo concerto in Berlin to the music societies.
After the reign of the present king of Prussia began[,] such a
general love of music arose in Berlin that, following the example
of the king, everyone strove to contribute to the growth of this
charming art. Not only did the king strengthen greatly the royal
chapel, showing by this how much he wanted to further the
cultivation of music in his states, but also private persons lent
themselves to the project through the founding of special musical
societies with the intention of supporting their great monarch.30
C.P.E. Bach, Nichelmann, and the composers of the concert societies, raised the standard
of composition in North Germany, making this region one of the most important
contributors to the instrumental concerto.31
After 1750, composers grew weary of the current galant style and began to
endorse limited use of contrapuntal writing. In his Abhandlung von der Fugue (Berlin,
1753), Friedrich Wilhelm Marpurg praised Telemann for his ability to integrate galant
styles and counterpoint.32 Quantz also supported reviving some of the old virtues which
he discussed at length in his Versuch einer Anweisung (Berlin, 1752). Jommelli, a strong
supporter of counterpoint, had been criticized early in his career for writing orchestral
accompaniment that was too interesting at the expense of the voice. According to Daniel
Heartz, the period after 1750 can be regarded as a second phase of the galant style.33
30
Daniel Heartz, Music in European Capitals, 413.
31
Ibid., 417.
32
Ibid., 1003.
33
Ibid., 1004.
15
The Galant Style
The new, or galant, style was markedly different from the Baroque in several
aspects. One difference can be seen in the structure, with the new emphasis on regular
and periodic phrases, seen in two, four and eight bar segments that often repeated. The
new style strove for simplicity. In contrast, Baroque composers avoided periodic
phrasing within forms such as fugues, ricercars and sonatas, in an attempt to veil the
structure. One effective way to hide the structure was to employ a running rhythmic
ostinato, such as quickly changing and extremely chromatic arpeggios. Galant
composers, instead of arpeggiating chords, repeated the same pitch in the bass, creating a
“Trommel bass” or drum beat. While periodic structure does not remain as segmented
and obvious as in the early Classical, it remained a fundamental trait during the entire
Classical-Romantic period.34
Composers of the early Classical period, in a deliberate effort at simplicity, chose
keys no more complex than three sharps or three flats. Baroque composers also stayed
within three sharps or three flats, but this was due to the limitations of wind instruments
of the time. Harmony in the early Classic period was bright and cheerful, and readily
accessible to the listener. Pieces in major keys outnumbered minor keys at a ratio of
three to one. The Italians, Bohemians and South Germans returned to the basics of
harmonic language, primarily to the tonic, subdominant and dominant. Modulations were
used cautiously and only to a closely related key. The North Germans, especially C.P.E.
Bach and his brother, Wilhelm Friedemann, retained more of the complicated harmonies
from the Baroque.
The role of the bass was simplified, and the harmonic rhythm gradually slowed.
Many crucial aspects of music were affected simply by the change in the harmonic
rhythm. The relationship of the bass to the melody was perhaps affected the most.
During the Baroque, all voices participated in the rhythmic continuity, and occassionally
upper voices were assigned the task of rhythm keepers over an ostinato bass. In the new
style, all means of harmonic progression and rhythmic structure were delegated to the
bass, while the uppermost voice contained the melody. The melody, with its longer note
34
Friedrich Blume, Classic and Romantic Music, A Comprensive Survey, trans. M.D. Herter
Norton (New York: W.W. Norton, 1970), 32.
16
values in fast movements, evolved into a “singing allegro.” Any other melodic voice was
definitely secondary.
“Classic-Romantic music lives by melody, and it is in the melody that the finest
expressive value and highest originality lies.”35 Opera seria prepared the way for melodic
independence, but melody did not achieve its stamp of originality until well into the
Classical era. In an effort to return to music in its simplest nature, composers used folk
songs as models, with melodies that were constructed around the four or eight bar phrase.
Many composers employed the same turns and cadential formulae. Two
particular cadences became so frequently used that they were known as cadence galante.
The first cadence is nothing more than the common I-IV (or ii6/5)-V-I with a descending
treble melody (Example 1). The second cadence is just a variation of the first with the
bass rising by step from the first to fifth degree with a descending treble.36
Descending treble
Rising bass
I
IV V I
i
iv
V i
Example 1: Hertel, Concerto in B-flat, Movement 1, m.4; Movement 3, m.141-144.
Early Classical composers also focused more attention on contrast. Each phrase
differed rhythmically or dynamically from its predecessor, with careful attention to
balance. Certain rhythms became common, such as the syncopation, dotted rhythms,
Lombard or Scotch snap rhythms, and dance and march rhythms. Italian composers
35
Blume, Classic and Romantic Music, 45.
36
Heartz, Music in European Capitals, 23.
17
preferred a vital, energetic rhythm; the French often repeated the same stereotypical
rhythms, while the Bohemians, Austrians and Germans preferred the dance-like or
swaying rhythms. Rhythm became another means of refining expression.37
Throughout the Classical era, the size of the concerto orchestra continued to grow.
Winds--at first oboes and horns--no longer served as ripieno instruments, but now
provided a separate harmonic background. Their use also became more fragmentary,
serving to enhance the timbre of particular phrases, chords or cadences. Early concerti by
C.P.E. Bach in the 1740’s featured an accompaniment of strings, harpsichord, and
sometimes two horns. By 1750 C.P.E. Bach composed his Concerto in D, H.433, which
included optional wind parts of two oboes, two trumpets/horns, two flutes (ad lib.), and
timpani (ad lib.). Ten years later, however, he was consistently writing parts for flutes
and horns within the concerto accompaniment.38 Haydn also included two oboes and two
horns in his Symphony No. 3 in G major, written in 1763.39 In ensemble writing of the
next forty years, woodwind sections continued to grow in number to include pairs of
flutes, oboes, clarinets, and bassoons, in addition to horns. The harmonic expansion set
the stage for the more independent and solo roles given to woodwinds during the
Classical and Romantic eras.
Although many forms carried over from the Baroque, hardly any new forms
appear at the beginning of the early Classical. Dance movements were excluded from
most forms; C.P.E. Bach and W.F. Bach banned the dance from their sonatas entirely.40
The exception was the minuet, which was now equipped with a trio instead of the
Baroque “Minuetto II.” The concerto grosso was continued in England well into the
1760’s but died out in the European continent around 1750, possibly due to the popularity
of the Mannheim symphony.
37
Blume, Classic and Romantic Music, 34.
38
Hans-Günter Ottenberg, Carl Philipp Emanuel Bach (New York: Oxford University Press,
1987), 233.
39
Donald Grout and Claude Palisca, A History of Western Music, 4th ed. (New York: W.W.
Norton & Co., 1988), 588.
40
Blume, Classic and Romantic Music, 56.
18
In contrast, the solo concerto became an instrumental vehicle for virtuosic display
similar to the Italian opera aria for the vocalists, and even borrowed the ritornello form.
Ritornello form, or structure, pertained to the alternation of passages for the entire
orchestra, called the tutti (Italian for “all”), and lightly accompanied passages for the
soloist with continuo accompaniment. The tuttis restated various parts, from the opening
ritornello (providing stability) and concluded with a final statement of all or part of the
opening material. “Equally crucial is the presence of modulations, so that successive
ritornellos are usually in different keys, the first and last in the tonic. Most of the
modulations take place during the solos, so that the opening of each ritornello serves as a
point of arrival. In other words, the ritornellos are the main guide posts of the movement,
each one confirming any modulation that has taken place during the preceding solo
section.”41
Johann Sebastian Bach was responsible for the transfer of the Italian ritornello
structure to the keyboard concerto in North Germany beginning with his Brandenburg
Concerto No. 5, completed in 1721, and the many keyboard concerti written between
1730 and 1733.42 His “Italian” concerti included recognizable melodies instead of
motives that could be fragmented and developed, and provided a basic harmonic scheme
between sections to provide balance, contrast, and clarity. In comparison, many North
German composers, including Hertel, Quantz, C.P.E. Bach, Nichelmann, Christoph
Schaffrath, and the Benda brothers composed their concerti in the various ritornello
structures to the exclusion of all other forms.
41
Schulenberg, Music of the Baroque, 296.
42
Douglas Lee, “Christoph Nichelmann and the Early Clavier Concerto in Berlin” Musical
Quarterly Vol. VII, No. 4 (October 1971), 636.
19
CHAPTER III
CONCERTO IN B-FLAT
Movement One: Allegro
Hertel’s Concerto in B-flat is an excellent example of the galant style with its
short phrases, mannered cadences, tonal harmonies, three-part texture, and attention to
balance and clarity. The phrases are very clear and regular, most often four bars in
length, and frequently separated by cadences and rests. Unfortunately, this gives the
movement a fragmented feeling. As Hertel matured in his compositional skills, he was
able to connect his melodies much more effectively by using transitional figuration,
allowing for a more continuous feeling to the movement.
Following the Italian galant model, the melody is presented in the violins only; all
other voices provide support. The melodies are elegant, pleasing, lightly decorated with
turns, quick trills, and appoggiaturas. Simplicity and transparency is achieved by
Hertel’s writing in a three-voice texture, a device he maintained throughout most of his
works. For example, when the first and second violins are in unison, Hertel includes
separate viola and bass lines, but when the violins are in harmony, typically in thirds, the
viola and bass lines are doubled.
The bass pattern, referred to as “Trommel bass,” uses repeated eighth notes to
outline the harmonic progression and keep time. Example 2 illustrates the opening half
of the first phrase, shown as Theme A, in a three-voice texture over a descending
“Trommel bass.”
20
Melody A
“Trommel bass”
Example 2: Hertel, Concerto in B-flat, movement 1, m.1-2
First movements of Hertel’s bassoon concerti follow the five-ritornelli/four-solo
plan, typical of outer movements of a concerto, with the orchestra restating the return
(Figure 2).
Statements of I & V
Modulation
R1
S2
S1
R2
R3
Return
S3
R4
S4
R5
__________________________________________________________
m.1
21
40
Bb:
Bb---- F—C-------
58
76
85
97
F----
d
d----- Bb
105
121
Bb
Bb
Figure 2: Hertel, Concerto in B-flat, Movement 1,
Five-Ritornelli / Orchestra return
The opening orchestra ritornello, R1, presents three distinct themes A, B, and C,
and a transitional and closing theme all constructed around similar rhythmic motives of
eighth notes, mixed with two sixteenths. The first solo section, S1, follows the ritornello
structure without incident or surprise. The A theme is presented in the key of B-flat and
outlines the ascending tonic triad and is balanced by a descending dominant chord. The
21
four bar phrase includes long and short appoggiaturas, carefully notated, and ends with a
galant cadence.
The B theme is constructed in a statement-response style with step-wise motion
that connects the orchestra and soloist. The transitional theme, given to the bassoon,
allows for figuration before the entrance of the syncopated C theme. The bassoon begins
the modulation to the dominant by using technical figuration and cadencing in the key of
F major as expected. Of note, during the closing of S1 is a tritone sequence followed by
a half-step resolution that appears in several of Hertel’s concerti and could be considered
to be a trademark of his (Example 3).
Theme B
Figuration
Theme C
Example 3: Hertel, Concerto in B-flat, movement 1, m. 24-38.
Reprinted with kind permission of Breitkopf & Haertel, Wiesbaden, Germany
22
Figuration
Tritone Sequence
Tritone
Tritone
Example 3 Continued.
The second orchestra tutti, R2, confirms the soloist’s modulation to the dominant
and very closely duplicates the opening ritornello. The second solo, S2, corresponds to
the Classical/Romantic development and begins the area of modulation and thematic
fragmentation. It is thirty-eight bars in length and does not move far harmonically. The
bassoon begins in the dominant key of F major with themes A and B, but they are not
developed. The bassoon continues with technical figuration over a harmonic progression
outlining the circle of fourths that begins the move toward D minor. To reemphasize the
key change and close of S2, Hertel includes secondary dominants in the harmony to add
tension to a basic I-IV-V-VI progression that cadences in the mediant key of D minor.
Hertel minimizes the importance of the third ritornello, R3 by withholding
primary themes A and B, a technique favored by the Benda brothers. “This tendency to
assimilate R3 into S2-S3 gives the central area of modulation an even stronger solo
emphasis and further heightens the contrast to R4. The result of this tendency is an
23
approximation of a four-ritornello-three-solo design in which the entire central
modulatory area becomes a unified S2.”43
The bassoon reenters with S3 and a twelve bar development using the closing
motive. “It is functionally similar to what later theorists would refer to as sonata-form
retransition: its purpose is to lead the musical flow, back to the tonic from the point of
furthest harmonic remove, generally the minor submediant or mediant when the
movement is in a major key.”44
The final four bars before the return are the most chromatic as tension is
heightened by secondary dominants and fully-diminished vii chords. Whereas the first
movement of the Concerto in B-flat uses the descending chromatic device pattern very
sparingly to add tension, the entire first movement of the Concerto in A (analyzed in the
next chapter) is based on the device. The harmony in the Concerto in B-flat is constructed
upon a “Trommel bass” that descends from tonic to dominant and back and alternates the
relatively dissonant secondary dominant sonorities with consonant major and minor
chords. The device is a carry-over from the Baroque and used quite frequently in the
galant and is even referred to by Daniel Heartz as “cliché.”45
The return of the opening melody, R4, is initiated by the orchestra in the tonic key
of B-flat. The soloist enters for the fourth and final solo section, S4, using a motive from
the transitional theme to display the bassoon’s technical capabilities. Hertel, in a very
clever move, combines his trademark falling-tritone motive followed by half step
resolution with a short version of the descending chromatic progression (Example 4) to
add a further degree of tension to the final bassoon cadence. Just a few decades later,
cadenzas are inserted at this point allowing for additional technical flourish by the soloist.
The fifth and final ritornello is an exact duplication of the opening ritornello, though the
A theme is not repeated again.
43
Shelley G. Davis, “C.P.E. Bach and the History of the Recapitulatory Tutti in North Germany”
in C.P.E. Bach Studies, ed. Stephan L. Clark (Oxford: Oxford University Press, 1988), 69.
44
Ibid., 67.
45
Heartz, Music in European Capitals, 417.
24
Tritone
Tritone
Tritone
Descending Chromatic bass
Example 4: Hertel, Concerto in B-flat, movement 1, m. 118-119.
Reprinted with kind permission of Breitkopf & Haertel, Wiesbaden, Germany
Movement Two: Adagio
The second movement is in the subdominant E-flat major, a favored key
relationship for the middle movement, and provides a relaxation in tension. Hertel’s skill
as a vocal composer is quite evident in the long, expressive, and vocally conceived
melodies of the Adagio movement. Unlike other composers of the time, Hertel precisely
notated the duration of his ornaments, including trills and appoggiaturas. Even though
the melodies are not overly decorated, each ornament is part of the line, not an addition.
The movement includes four ritornelli surrounding three solo sections (Figure 3).
This is the favored plan by C.P.E. Bach in the second movements of his early concerti,
and it anticipates the overall ritornello solo plan associated with Mozart’s concerti.46
46
Davis, “C.P.E. Bach,” 72.
25
Statements of I & V
Modulation
Return
R1
S2
R3
S1
R2
S3
R4
___________________________________________________________
m.1
16
Eb:
Eb--Bb
29
32
Bb---- g----
Eb
47
50
62
Eb
Eb
Eb
Figure 3: Hertel, Concerto in B-flat, Movement 2,
Four Ritornelli / Orchestra-Return
The harmony is very conservative, moving only to the dominant B-flat and the
mediant G minor. Two cadenzas help articulate the structure; the first cadenza is
designated by a tonic six-four chord and separates the end of the first solo and the second
orchestral tutti. The second cadenza occurs in the final bassoon passage separating the
third solo section from the final orchestral ritornello. Hertel writes out both cadenzas.
Within the first ritornello, there are three clearly defined themes and a closing
melody (Example 5). The lyrical four bar A theme rises and falls around a dotted-eighth
and sixteenth rhythm. The B theme, in contrast, is calm and sparse and is comprised of
eighth and quarter notes that outline the dominant, B-flat. The short, two measure C
theme features the long appoggiatura still over the dominant harmony followed by the
release of tension and the transition back to tonic in the closing melody. The themes flow
into one another very gracefully without transition material. As in most of Hertel’s
concerti, the first entrance of the bassoon is prepared by a full cadential break.
26
A Theme
C Theme
B Theme
Closing
Example 5: Hertel, Concerto in B-flat, movement 2, m. 1-15.
Reprinted with kind permission of Breitkopf & Haertel, Wiesbaden, Germany
Over a sparse accompaniment, the bassoon enters S1 with a restatement of themes
A and B in tonic. The melodies, ornamented with long appoggiaturas, are placed in the
vibrant middle register of the bassoon, which allows for a clear and beautiful first
statement by the soloist. The closing theme is omitted in order to harmonically prepare
the first cadenza. The cadenza is no more than a trill, which concludes the first solo
section in the dominant, as expected.
The second orchestral tutti, R2, is only four bars long, stating the A theme. The
bassoon enters with the B theme but does not begin the modulation to G minor until the C
theme. At the end of S2, in an awkward move, Hertel inserts new material in the bassoon
27
line that has no other function than to set-up the orchestra return of tonic and primary
material.
The orchestral return is in the initial key E-flat using the A theme. The bassoon
enters with the B theme for the fourth and final solo and is answered by the orchestra.
The C theme would normally follow; but quite unexpectedly, the bassoon plays a D-flat
and continues to develop the B theme in F minor. After a transition through a circle of
fifths, the orchestra returns to E-flat and prepares for the second cadenza. The final
ritornello in the orchestra is the same as R1, but without the A theme.
Movement Three: Allegro ma non presto
The third movement is composed in 3/8 with the feeling of a dance movement. It
is graceful, elegant, and consistent in its phrase structure. Four ritornellos are
interspersed with three solo sections, as in the second movement. This time, however, the
soloist rather than the orchestra plays the return which is the preferred pattern for third
movements in C.P.E. Bach’s early concerti (Figure 4). This approach was also used
regularly by the Grauns, Nichelmann, Franz Benda, and most often by J.C. Bach.47
Statements of I & V
Modulation
Return
R1
S2
S3
S1
R2
R3
R4
_______________________________________________________
m.1
42
71
Bb:
Bb--F--F
111
144
F--g-- g----BbBb
169
201
Bb
Figure 4: Hertel, Concerto in B-flat, Movement 3,
Four Ritornelli / Soloist Return
The movement has slow harmonic rhythm. Only three keys are explored and
include three primary themes, a transitional and closing theme. The primary melody, A,
47
Davis, “C.P.E. Bach,” 68.
28
establishes the dance-like feel with a lightly decorated four bar melody. The violins play
the melody in thirds while the violas and cellos accompany in contrary motion thereby
creating a clear three-part texture. The contrasting B theme is played at the dominant for
four bars and is echoed in the tonic. The C theme, the longest of the movement (ten
bars), is made-up of a two bar descending sequence that emphasizes the second beat
metric displacement over a steady bass rhythm. The arpeggiated transitional theme is
four bars long and is echoed at piano, followed by an emphatic closing melody.
The first solo section, S1, follows the first ritornello with the A theme stated in
tonic and echoed at the subdominant. The B theme begins at the dominant, but instead of
resolving moves to the deceptive submediant key of G minor. Hertel uses the diversion
to add idiomatic passage work that leads back to the expected key of F major. The
second orchestral ritornello is an exact duplicate of the first except at the dominant.
The second solo section, which begins the development, does not contain any
distinct thematic material but begins immediately with scalar and triadic figuration. The
notes become faster and more intricate, as the section continues, before cadencing in G
minor. In R3 modulation and sequencing is continued in the orchestra using the B theme
in a circle of fourths and the C melody in a two bar descending sequence, which also
serves to return to the original key of B-flat.
Hertel sets up the return with the transition from the mediant D minor to the
entrance of the bassoon in B-flat major and the primary theme. The themes A and B are
stated in their original form, but the bassoon continues with its final display of virtuosity
by sweeping up the scale, using sequential leaps with quick trills and other rhythmic
figuration that lead toward a dramatic close. The orchestra concludes the concerto with a
statement of the A, transitional, and closing themes.
Hertel’s Concerto in B-flat is technically the least demanding of the three concerti
examined in this treatise but the technical concerns are by no means trivial. The writing
is very idiomatic for the bassoon. Although the figuration demands a certain degree of
proficiency with octave and tenth leaps and extended sixteenth note passages, it would be
accessible to a skilled amateur. Hertel composed in the then current galant fashion with
beautifully constructed melodies and straight forward harmony, yet he is able to add
surprise and satisfaction all within the traditional form.
29
CHAPTER IV
CONCERTO IN A MINOR
Movement One: Allegro con spirito
The Bassoon Concerto in A minor is unique in the Hertel library and is vastly
different from his other concerti. Most strikingly, the concerto is one of the few
examples of Hertel’s music written in a minor key. Major tonalities were preferred in the
galant, and outweighed minor modes at a ratio of three to one. The opening movement is
also written in 3/4, an unusual choice for Hertel, and discouraged by Quantz in his flute
treatise Versuch einer Answeisung die Flöte traversiere zu spielen (1752), stating that the
meter should be reserved for the weighty arias in opera seria.48 The mood is not galant,
but energetic and disruptive almost to the point of anger. With the quick tempo, minor
mode, large leaps (measure 2), sudden dynamic changes, abundant dotted rhythms, and
agitation it is characteristic of a rage-aria, popular during the first half of the eighteenth
century.
The bassoon concerto is remarkably similar in form, melodic construction, and
rhythmic patterns to Carl Philipp Emanuel Bach’s Harpsichord Concerto in D minor, Wq.
23, written at the court of Frederick the Great in 1748. Hertel was granted a one-year
leave from 1747-1748 to study at the Berlin court--composition from Carl Graun, violin
with Franz Benda, and harpsichord with C.P.E. Bach. It is also stated in his
autobiography that Hertel was given pieces by C.P.E. Bach for study, and it is probable
that Hertel came in contact with the Harpsichord Concerto, Wq. 23. By comparing the
formal structure and opening ritornello of each concerto, the influence of C.P.E. Bach on
Hertel’s Concerto in A minor may be clearly seen.
48
Heartz, Music in European Capitals, 418.
30
The two concerti are written in minor keys, 3/4 time over a descending “Trommel
bass.” Each begins with a tonic chord that leaps down an octave on beat two followed by
stepwise motion (Example 6 and 7). The second bar begins on the fifth scale degree and
resolves by an octave leap down. Both contain short trills, dotted rhythms and similar
melodic leaps creating a phrase full of emotion, almost violent in character.
Although the opening eight bars are very similar in the two concerti, there are
harmonic and melodic differences worth noting. Both concerti contain an octave leap
down in bar two. Bach, however, adds an additional octave on the third beat and thereby
creates a metric displacement in the second bar (Example 7). The meter is not clearly
defined again until the fifth measure and does not cadence until bar eight on a half
cadence. In contrast, Hertel includes a glissando into the third bar thereby defining the
meter, and produces a neat eight-measure antecedent and consequent phrase ending with
a galant cadence (Example 6).
A descending “Trommel bass” propels the agitation of both concerti. C.P.E.
Bach’s progression is relatively consonant, consisting of mostly major and minor chords,
though he chooses to add dissonance and shock through the extra long appoggiatura.
Hertel uses an extremely chromatic descending harmonic line, a carry-over from the
Baroque and reminiscent of J.S. Bach. One example of J.S. Bach’s chromaticism may be
seen in the “Crucifixus” from Bach’s Mass in B Minor, BWV 232, written in 1733,
which features a chromatically descending bass line from tonic to dominant and was
traditionally used in the Baroque to symbolize death.49 Hertel uses a similar progression
of secondary dominants and augmented sixth chords alternating with major and minor
chords as the harmonic foundation of the first movement of the bassoon concerto to
prolong the tension.
49
Charles Burkhardt, Anthology for Musical Analysis, 6th ed. (Belmont: Schrimer, 2004), 121-123.
31
i
V6
V6/iv
v6
IV6
iv
iv6
V
V7
Galant cadence
F+6
V
i
Example 6: Hertel, Concerto in A minor, movement 1, m. 1-8.
Reprinted with kind permission of Breitkopf & Haertel, Wiesbaden, Germany
Metric displacement
Additional
octave
1
i
v6
2
VI
1
III6
Appoggiatura
iv
3
H.C.
III
viio6
i
V
Example 7: C.P.E. Bach, Concerto in D minor, Wq. 23, movement 1, m. 1-8.
Reprinted with kind permission of Breitkopf & Haertel, Wiesbaden, Germany
32
The contrasting secondary theme in both concerti is in the relative major, a
favorite device of Jommelli,50 and offers an emotional reprieve with its cheerful dotted
rhythms. The C theme returns to minor in each concerto, but Hertel’s melody is more
melancholy in character. The D theme builds tension with driving eighth notes and
dissonant harmonies and is echoed at a piano level, similar to the Bach concerto. The
opening ritornello closes in the tonic key in preparation for the soloist. Typical of
Hertel’s concerti, the orchestra makes a full break before the entrance of the soloist,
unlike the Bach concerto.
The bassoon enters in the tonic with a melody that is based on the A theme, but it
is more lyrical and less dissonant in the harmony. In contrast, the Bach concerto
immediately begins figuration that is loosely based on the A melody. The solo is
interrupted after the first phrase with an interjection by the strings and a full statement of
the A theme. The interruption device was popular among North German composers,
notably in the clavier concerti of Christoph Nichelmann, one of two accompanists for
Frederick the Great.51 The bassoon proceeds with the B theme in C major followed by a
one bar interruption of the A theme in G Major. The transition to the second ritornello
features Hertel’s signature falling tritone device, followed by figuration. The second
orchestral tutti restates the themes in the relative major key of C, thereby reinforcing the
modulation made by the bassoon and providing structural stability.
The developmental section of the bassoon concerto displays an intriguing design
and innovation. The bassoon begins the development with a statement of the A theme in
C major as the orchestra continues to interject. After cadencing in D minor, the orchestra
begins R3. In the Concerto in B-flat, primary themes, mostly A and B, were withheld in
order to minimize the importance of R3. However, in the Concerto in A minor, a full
statement of the A theme is played, followed by C and D, and oddly, the bassoon enters
with the closing melody. The entrance of the bassoon marks the third solo, S3, and
begins the transition to F major. The orchestra return is expected to follow, but the
primary key of A minor has not been re-established. Instead, Hertel inserts an orchestral
statement of the D melody without the echo, still considered part of the solo section S3.
50
K. Marie Stolba, The Development of Western Music, 2nd ed. (Madison, WI: Brown &
Benchmark, 1994) 371.
51
Lee, “Christoph Nichelmann,” 651.
33
What follows is the most astounding aspect of the entire concerto. The bassoon
enters with the opening theme A, in the key of F major, creating a false return in the
submediant key! After eight bars the bassoon modulates back to the tonic key, and the
orchestra enters with a double return52 of the main theme in the tonic key of A minor
(Figure 5).
Bach’s Concerto in D also contains a false recapitulation. It is initiated by the
orchestra as part of the third ritornello R3 in the dominant minor key of A. The soloist
enters S3 in A minor but re-transitions back to D minor for the true return, R4 (Figure 6).
Statements of I & V
Modulation
R1
S2
S1
R2
R3
Return
S3
False R4
Return
S4
R5
_________________________________________________________________
m.1
33
77
a:
a---C C
104
137
154
175
C----
d
d----- F--a
183
190
232
a
a
a
Figure 5: Hertel, Concerto in A, movement 1,
Five-Ritornelli: Orchestra Return
Statements of I & V
R1
S1 Cadenza
Modulation
R2
S2
R3
Return
S3
R4
S4 Cadenza
R5
False
Return
_________________________________________________________________
m.1
44
91
d:
d--Bb Bb
98
126
202
221
253
262
g
g---a
a
a--d
d
d
Figure 6: Bach Concerto in D, movement 1,
Five-Ritornelli: Orchestra Return
52
Schulenberg, Music of the Baroque, 320.
34
306
d
313
d
Although longer and more complex than the Concerto in B-flat, the first
movement of the Concerto in A minor maintains a clear formal design. The alternation
between ritornello and soloist remain very regular. By following a traditional structure,
Hertel is able to experiment with a variety of new gestures such as the minor mode, ¾
time, interruptions, false return, and relating the movements through keys. Other midcentury composers such as Hasse and C.H. Graun favored the same form and gestures,
but the abundant similarities to the harpsichord concerto suggest that Hertel’s Bassoon
Concerto in A was influenced by C.P.E. Bach.
Movement Two: Grave
The slow movement is typically in the relative major key of C, though the
mediant or the submediant was also acceptable in the early Classical concerto.53 Hertel
chooses F major, the submediant and the key of the false recapitulation from movement
one. The movement is in the form of four-ritornelli-three solo with an orchestra return
(Figure 7).
Statements of I & V
Modulation
Return
R1
S2
R3
S1
R2
False
Return
S3 Cadenza
R4
________________________________________________________________
m.1 8
17
21
30
34
36 44
45
F:
F--C
C
C--a
a------F---
F
F
F
F
Figure 7: Hertel, Concerto in A, movement 2,
Four Ritornelli / Orchestra-Return
The first ritornello begins in F major and modulates during R2 to the dominant, as
expected. Three themes are presented in the opening ritornello. The regal A theme is
built on dotted-eighths and sixteenths and suspensions. The similarity to the A melody of
the slow movement of the Concerto in B-flat is striking and shows Hertel’s ideas, not
C.P.E. Bach’s influence. The B theme is full of grace and charm and demonstrates the
53
Lee, “Christoph Nichelmann,” 645.
35
long appoggiatura and the galant cadence. The last theme, C, builds tension through
ornamentation and faster rhythms ending with an imperfect authentic cadence and the
arrival of the soloist.
The bassoon enters S1 in F as expected, and modulates to C major. The strings
re-enter the second ritornello also at the dominant, C. The bassoon begins the
modulatory section in C but does not transition back to F major as expected. Instead, the
bassoon transitions to the key of the first movement, A minor, and the orchestra enters
with a false return. Interestingly, the false return is in the key of the first movement. The
orchestra transitions back to F major for a true return of opening material and R3. The
bassoon participates in the exchange of themes and ends with a brief cadenza that is
written out by the composer.
Although it is straightforward in its harmony and musical dialogue between
soloist and orchestra, the second movement is very expressive and less fragmented than
the first. Even the phrase lengths are more regular. The movement also demonstrates
Hertel’s skill in writing beautiful, vocally-conceived melodies.
Movement Three: Allegro di molto
The third movement of a Classical concerto is typically in a rondo form but may
also be in four-ritornelli three-solo form. Hertel uses neither in this case. Instead, the
movement is written in a combination rondo and five-ritornelli four-solo form (Figure 8).
Intro
R1
S1
Intro
R2
S2
R3
S3
Return
R4
S4
R5
___________________________________________________________
m.1
32
85
117
158
177
189
197
247
d:
a--C
F--C
C--d
g
g
d
d--a
d--a
Figure 8: Hertel, Concerto in A, movement 3,
Rondo/Five-Ritornelli / Orchestra return
The third movement should begin in A minor but instead begins in D minor
creating an introduction to the first solo and not defining the tonality until much later.
36
C.P.E. Bach employed a similar device in the second movement of his Concerto in D
minor with an introduction in D minor, the key of the first movement, thereby bridging
the two movements and only later defining the key of F major. Quantz also utilized this
device in several of his flute concerti and may even have provided C.P.E. with the model
for the work.54 After a presentation of three themes in a tonally unstable first ritornello,
the orchestra eventually moves to the expected key of A minor.
The bassoon enters with a more lyrical variation of the primary melody in A
minor. However, the orchestra interjects back in the key of D minor, resulting in a lack of
tonal center. The bassoon restates the melody in D minor but transitions to C major, the
typical way to end an S2 section. Oddly, there is a complete break of a quarter-note beat
before R2, serving to separate the sections very dramatically.
The R2 section is expected to be stated in C major. Instead the primary theme in
F and continues with sequences and finally transitions to C major for the second solo
entrance. S2 is normally the area of instability, but due to the lack of harmonic stability
thus far, Hertel writes technical figuration. Within this demanding section, Hertel writes
sixteen measures of continuous sixteenth notes. The passage is long for a wind player
and is typically avoided in Hertel’s bassoon concerti.
The third ritornello once again is separated by a rest after the solo section and
continues the harmonic instability in the key of G minor, punctuated by technical
flourishes in S3 by the bassoon. The return, R4, is similar to the beginning and replays
the primary theme in the key of D minor. However, the bassoon also re-enters S4 in D
minor for a final flurry of technique, with a transition back to A minor. The final
ritornello, R5, is separated by a rest and again begins in D minor. It is only the last five
bars that clearly reaffirm the key of A minor.
Harmonically, the movement is very unstable with secondary dominants as the
basic device. To balance the instability, the phrase structure is very consistent--typically
four bars--and contains only three themes. Throughout the entire concerto, only four
keys are used (A, C, D and F), all of which serve to reinforce the tonal relationship
between movements.
Although the Concerto in A minor is not dated, a comparison with C.P.E. Bach’s
Concerto in D minor, written in 1748, clearly places the bassoon concerto around the
54
Schulenberg, Music of the Baroque, 319.
37
same time. The influence of C.P.E. Bach may explain the new elements in Hertel’s
writing, such as chromatic harmony, false returns, harmonic relationships between
movements, and extreme emotionalism. This description would be very fitting for C.P.E.
Bach, but it is a very different style for Hertel.
Hertel’s Bassoon Concerto in A may have also been written and performed while
in Berlin in 1747-48 for the weekly concert societies that were directed by the royal
musicians and were used to promote the latest compositions.
The concerts of the society always began with an overture or
symphony by one of the best masters, followed by seven, or at
most eight, other compositions, consisting of concertos, trios or
solos. Musicians who were members of the royal chapel but not
members of the society often loaned their talents to the concerts.
Marpurg names several string players, including Georg Zarth, in
this category, along with two horn players and three bassoonists.
Visiting composers were known to bring their music to the
concerts.55
Although Hertel experiments with new devices in the Concerto in A minor, he
continues to maintain galant ideals by composing in clear and regular phrases, beautiful
melodies, and idiomatic writing for the bassoon. It is a remarkable work and probably
the most widely known of the three bassoon concerti.
55
Heartz, Music in European Capitals, 415.
38
CHAPTER V
CONCERTO IN E-FLAT
During the second quarter of the eighteenth century, winds began to appear in the
concerto accompaniment, and they provide a valuable tool with which to date works of
this period. C.P.E. Bach included horns within his concerti as early as 1740 (Concerto in
F for two Harpsichords, Wq 46) and cautiously added flutes or oboes alongside horns in
his concerti of the 1750’s. By the 1760’s winds were consistently used in C.P.E. Bach’s
concerti, the most common combination being two flutes and two horns.56 Hertel’s
Symphonies in D and G, dated 1761/62 by Marcel Pusey, include two flutes, two oboes,
and two horns, though neither symphony uses winds in the slow movement.57 Hertel’s
Trumpet Concerto in D, No. 3 is estimated, on stylistic grounds by Reine Dahlqvist, to
have been composed around 1760 and does not contain winds at all.58
While Hertel did not date the majority of his works, two keyboard concerti are
dated by the composer.59 The Concerto in A minor of 1772, one of only four keyboard
concerti written in a minor key, is scored for string accompaniment only. The Keyboard
Concerto in E-flat Major of 1774 has horns in all three movements, and flutes in the slow
movement. It is the only one of the five keyboard concerti to include winds.60
56
Ottenberg, Carl Philipp Emanuel Bach, 233.
57
Pusey, “Two Symphonies by Johann Wilhelm Hertel.”
58
Tarr, preface to Concerto No. 3 in D Major for Trumpet.
59
Hertel, Keyboard Concertos, ix.
60
Ibid., x.
39
The Bassoon Concerto in E-flat is similar in instrumentation to the Keyboard
Concerto in E-flat. It also includes two oboes alongside two horns in the outer fast
movements and two flutes in the second movement. The combination of oboes and flutes
is significant in Hertel’s concerto repertoire and probably places the Bassoon Concerto in
E-flat among his latest works. It is likely that this concerto was composed in the mid1770’s.
Movement One: Allegro
The first movement is one-hundred and seventy bars long, which is quite long
when compared to the first movement of the Trumpet Concerto No. 3 and the
Symphonies G and D, which are both less than eighty bars in length. The structure of
the first movement contains five- ritornelli with an orchestra return, the typical first
movement form (Figure 9).
Statements of I & V
Modulation
R1
S2
S1
R2
R3
Return
S3
R4
S4
R5
__________________________________________________________
m.1
26
51
Eb:
Eb---- Bb
69
88
Bb--C- C
100
114
c----- Eb
119
150
Eb
Eb
Figure 9: Hertel, Concerto in E-flat, movement 1,
Five-Ritornelli / Orchestra return
Many of the galant ideals are discarded. Long melodies found in the previous
bassoon concerti are replaced with themes that are based around short motivic fragments.
Although the melody is most often contained in the violins, other voices, including the
winds and bass line, are given occasional melodic importance. In order to maintain a
transparent texture, the “Trommel bass” technique is used very sparingly. The galant
cadence has disappeared and very conservative counterpoint, mostly thirds and sixths, is
40
reinstated. Themes and sections flow gracefully into one another and actually help define
the meter without any of the awkwardness found in earlier concerti.
The extensive first ritornello contains six distinct rhythmic or melodic themes,
and a closing melody, and is quite complex in its construction. The orchestra begins in
unison, a favorite Hertel device, with the melody presented by the violins and supported
in various ways by the oboes, horns, violas and cellos. The primary theme, A, is a fourbar phrase that combines an outline of the tonic triad alternated with short trills,
resembling primary themes written by Jommelli.61 The oboes reinforce the introductory
violin motive but are primarily used to outline melodic highpoints. The horns, violas, and
cellos also reinforce the first three notes of the violin motive, but continue with a
rhythmic fragment that not only outlines the harmony but continues almost as a
countermelody. In just the first four bars Hertel demonstrates his ability to use the winds
to vary the texture, construct a motive and develop it within a phrase, and give the bass
line an interesting yet supportive role (Example 8).
Violin Doubling
Viola and bass Doubling
Theme A
Example 8: Hertel, Concerto in E-flat, movement 1, m. 1-3.
61
Pusey, Two Symphonies, 3.
41
Maintaining the galant ideals of clarity, Hertel separates the A and B theme by a
full cadence and rest. The B theme provides rhythmic contrast with off-beats and
downward scales in the first violins and first oboe with the second violin and second
oboes a third lower. The horns, violas and basses contrast the syncopation with a sturdy
accompaniment that emphasizes beats one and three.
The C theme displays a rare four-voice texture with a prominent bass line and
answering horn calls played in thirds while the violins play repeated sixteenth notes,
reminiscent of the old “Trommel bass,” under sustained oboes. The staccato D motive is
played forte by the entire orchestra and echoed piano by the violins, and restated forte
again by the orchestra. The rising E theme is given to the oboes, played in sixths, and
resembles melodies found in the first movement of Hertel’s “Concerto à Cinque” for
Trumpet, two oboes, and two bassoons. The F theme features dialogue starting with the
horns, violas, and cellos in a triadic outline and answered by the violins in a downward
scale with a long appoggiatura. Finally, the driving closing melody is most prominent in
the viola and cello line with an arpeggiated bass pattern outlining I-IV-V-I. A strong
two-bar cadence followed by a complete break announces the end of thematic
presentation and the entrance of the soloist (Example 9).
42
Four Voice Texture
Theme B
Theme C
Example 9: Hertel, Concerto in E-flat, movement 1, m. 4-25.
43
Theme D
Theme E
Example 9 Continued.
44
Theme F
Violin answer
Theme F
Example 9 Continued.
45
Closing Theme
Extension
Example 9 Continued.
46
The bassoon enters S1 with a new melody not seen in the orchestra. It is also
used to define the other important solo sections, S2 and S4, referred to in this treatise as
the primary bassoon theme. The theme is lyrical and demonstrates the bassoon’s
beautiful tenor range (Example 10).
Example 10: Hertel, Concerto in E-flat, movement 1, m. 26-27.
The secondary theme is also new, consisting of a simple two-bar melody with
stepwise-motion and wide leaps which displays the versatility of the bassoon. The third
bassoon theme is a variation of the opening theme and shows the composer’s maturity in
his avoidance of metric displacement. In order for the soloist to breathe, the variation of
the A theme from R-1 cannot begin with a pick-up note after beat four. However, if the
rhythm is played exactly, beginning after beat one, it will create accents on the beats two
and four. To avoid the problem, Hertel adds two additional eighth notes on the third beat
and creates an inverted variation of the melody (Example 11).
Example 11: Hertel, Concerto in E-flat, movement 1, m. 38-39
After the bassoon’s third phrase, the orchestra interrupts with one bar of the A
melody, similar to the interruption technique of the Concerto in A minor, but in this
instance it may be viewed as a false entrance of R2. In the A minor concerto, the bassoon
would continue despite the interruption. Instead, the bassoon answers the orchestra and
continues with technical flourishes and modulates to the dominant. The second ritornello
47
restates all of the themes in the dominant and provides an anchor to the overall structure
of the movement.
S2 begins with the bassoon theme. The orchestra interrupts numerous times in a
variety of keys and is answered by the bassoon briefly but continues with a development
of the theme and a modulation to the relative minor.
R3 follows, but, as in the Concerto in B-flat, primary themes A and B are
withheld to lessen the importance of R3. The third solo is a very short five bars long, and
functions as a retransition back to the tonic key of E-flat major. In a very clever move,
Hertel creates a false return by establishing the tonic key and beginning the primary
theme. The bassoon interrupts, however, with continued technical development for an
additional four bars. The orchestra introduces the primary theme again, but it is clearly
not the return because the key is G minor. The bassoon answers a final time and, after a
transition back to E-flat, plays the true return.
The bassoon enters S4 with the primary bassoon theme and continues with scalar
flourishes. Amid interruptions by the orchestra, the bassoon answers with the inverted
and off-set version of the A theme. By adding the off-set theme a second time within the
movement, symmetry is achieved instead of the perception of random melodic insertions.
In Classical concerti, a cadenza would be placed at the end of S4, and it is a bit surprising
that such a late concerto does not contain a cadenza. After a dominant trill, however, the
bassoon section closes and the final ritornello ends the movement.
Movement Two: Con affetto
The second movement is scored for strings with violins con sordini, and two
flutes. It is a long middle movement, one hundred sixty-seven bars, compared to the
middle movement of Hertel’s Symphony in G (forty-six bars) and Symphony in D (fortyeight bars) and is almost twice as long as typical slow movements by Hertel.
The form is a four-ritornelli plan with solo restatement (Figure 10). Shelley G.
Davis comments, “This overall format was oftened [sic] used during the second half of
the eighteenth century, and it was favoured especially among Mannheim composers.”62
62
Davis, “C.P.E. Bach,” 70.
48
Examples may be seen in the keyboard concerti of the Graun brothers, Nichelmann, and
the “Turkish” violin concerti of Mozart in 1775. However, the form usually occurs in
outer, fast movements of a concerto. Occasionally the form is used in a slow movement,
specifically by Georg Benda in the Keyboard Concerto in F major, and by his brother
Franz in the Violin Concerto in E major, dated by Douglas Lee to have been written
before 1764.63
Statements of I & V
Modulation
Return
R1
S2
S3 Cadenza
S1
R2
R3
R4
__________________________________________________________
m.1
37
61
68
93
c:
c--g
g
g--Eb Eb----c
100
138
139
c
c
c
Figure 10: Hertel, Concerto in E-flat, movement 2,
Four-Ritornelli / Soloist Return
The movement is in the relative minor, C. The most common choice of a middle
movement key was the subdominant, as in the Concerto in B-flat. The submediant and
relative minor were also acceptable choices.64
The first ritornello, typically the longest, is constructed with each successive
melody more complex than the last. It begins the primary melody with unison violins
and doubled violas and basses. The flutes support the violin melody with a
countermelody in thirds, creating a galant three-part texture (Example 12). After one bar,
the violins divide. The first flute and first violins are doubled and the second flute and
second violins are doubled. It is a very inventive change in scoring and shows Hertel's
compositional creativity. The B melody continues in the flute and violin pairing and is
imitated a bar later by the second violins and second flute. The C melody initiates onebar imitations of the winds and strings but include a brief imitation by the violas over a
separate bass line, creating a short but rare four-voice texture. Continuing in thematic
63
Davis, “C.P.E. Bach,” 71.
64
Lee, “Christopher Nichelmann,” 646.
49
complexity, the D melody features a one-bar imitation of the first and second violins
while the first and second flutes are in imitation with a separate melody, supported by a
“Trommel bass” line that creates a five-part texture that lasts for nine bars.
Example 12: Hertel, Concerto in E-flat, movement 2, m. 16-19
The E melody is not as complex as the D melody, but it is equally interesting.
The first flutes and first violins are paired against the second flutes and second violins.
The first flute doubles the first violin an octave higher, and the second flute is an octave
higher than the second violin. The melody is the same in all four voices, which creates
clarity, but the wide range expands the timbre and texture. The complexity and tension
of the closing melody continues to lessen with a typical three-voice texture. The final
two bars of the closing melody are marked pianissimo, a rare occurrence of dynamic
markings.
The first bassoon solo section begins with a statement of the A melody
accompanied only by the basses in simple counterpoint. The B melody adds the violins
in brief imitation. Continuing to add instruments, the C melody features the bassoon
50
imitated by the first violins, followed by the second violins. To keep the texture light
while the bassoon is playing, the violins play their imitation bars only and drop out. The
complexity of the D melody is avoided and the ritornello skips to the E melody in a
dialogue between the bassoon and strings in thirds, doubled by the flutes. The bassoon
continues the second half of the melody against a descending bass line. The strings omit
the final three bars and allow the bassoon to conclude in G minor.
The orchestra enters forte with a presentation of melodies A and B in the minor
dominant, and is continued by the bassoon, S2, with the C melody followed by D and E.
The D melody, once again, is the most complex melody within the section. The flutes are
holding a unison F while the bassoon ascends in dotted quarter notes (A, B-flat and C),
adding tension with every note. The strings pass the descending melody, now pizzicato,
from first violin to second violin to viola with the basses resolving the line. The C
melody is played again a fourth higher and cadences in the key of E-flat, followed by the
E melody. The bassoon concludes the second solo section with the closing melody,
accompanied by basses, and cadences in E-flat major.
The importance of R3 is once again minimized by the lack of primary melodies.
However, the D melody is used in sequence, and retransitions back to the tonic from the
furthest harmonic point--in this case, the major submediant. The bassoon announces the
return. The orchestra joins with a statement of the C melody in the fourth ritornello, in
dialogue with the bassoon. Sequencing and development continue and culminate in a
cadenza over a fully diminished seventh chord. Differing from the slow movements of
the B-flat and A minor concerti, Hertel does not include his own cadenzas.
Movement Three: Allegro
The third movement demonstrates Hertel’s ability to construct a ritornello using
only two melodies in comparison to the seven melodies of the first movement. Once
again, it is a long movement, of two-hundred ninety-eight bars. The form is five
ritornellos interspersed with four solos and an orchestral return (Figure 11). The
51
movement is in 3/4 with a minuet feel that anticipates the “Tempo di Minuetto” in
Mozart’s Bassoon Concerto, K.191.65
Statements of I & V
Modulation
R1
S2
S1
R2
R3
Return
S3
R4
S4
R5
__________________________________________________________
m.1
43
92
Eb:
Eb---- Bb
134
180
Bb--F F
195
223
F--Eb Eb
231
280
Eb
Eb
Figure 11: Hertel, Concerto in E-flat, movement 3,
Five-Ritornelli / Orchestra return
The primary melody is an eight-bar phrase containing antecedent and consequent
periods. The antecedent period outlines the tonic triad with the oboes and violins for two
bars and is answered by the basses and violas in the third and fourth bar. The consequent
period is separated from the antecedent by a rest, creating a clear structure.
The B melody, also constructed antecedent/consequent, is in the supertonic key of
F minor, and begins with the second violins repeating three quarter-note B-flats. The
violas and first violins answer, and form a fully-diminished seventh chord resolving to F
minor. Normally another melody is presented. Instead, a duplicate of the B melody, B2,
is played down a step in the tonic key of E-flat.
The final phrase before the closing melody is a variation of A, referred to as A2.
It appears in its complete form in the fourth phrase of the second ritornello, R2, and is
used in R3 and R5. The harmonic rhythm is very slow, only changing every two bars,
and progressing from IV-I-V-I. The way Hertel uses the melody is very clever. Since it
is a sequence, the melody is very useful for key modulations, interruptions, and
fragmentation during the middle sections. The closing melody is made of dotted rhythms
65
Peire, preface to Johann Wilhelm Hertel Concerti, Eufoda 1231.
52
with a loud-soft-loud echo and clearly cadences in the tonic E-flat in preparation for the
soloist.
The bassoon enters S1 with a new melody, C, and outlines an E-flat dominant
seventh chord and resolves downward by step, with appoggiaturas. The second half of the
C melody is the consequent portion and outlines a B-flat dominant seventh chord. The
orchestra loudly interrupts, which the bassoon ignores and instead begins the B melody.
The antecedent/consequent construction of the B melody is very useful for
dialogue between the orchestra and soloist. The bassoon begins the melody and the
orchestra answers in the consequent period. B2 continues the conversation between the
two groups a step down as in the opening ritornello.
The bassoon presents three new melodies which are designed to exhibit the
soloist’s technical capabilities. The D melody is a legato quarter-note melody filled with
long and short appoggiaturas which begins the modulation to the dominant B-flat. The E
melody is a set of sequential trills that become faster over the eight bars and segue
directly into the F melody. The F melody, seven bars in length, is made from a writtenout turn followed by descending thirds, concluding with three bars of descending
sixteenth notes that cadence in B-flat major.
S1 is filled with wonderfully creative new melodies, but the last eighteen bars of
the section do not contain a designated place for the bassoonist to breathe. The fast
technique makes it difficult to sneak a breath and it becomes problematic to find a
suitable place to break. Hertel is usually very conscientious in his phrase construction for
wind players. There is a similar problem in the third movement of the Concerto in A
minor when the bassoon has to play nineteen bars of continuous sixteenth notes on a
single breath.
The second ritornello, R2, emphasizes the sense of clarity and balance by
restating the opening material exactly in the dominant key. The middle, modulatory, and
developmental solo section, S2, begins in a straight-forward manner with the presentation
of the C melody outlining a B-flat dominant seventh chord. However, after two bars the
melody is no longer C but has become the D melody. The bassoon further develops the
melody with dotted rhythms that are similar to the E melody. After an orchestral
interruption, the bassoon continues with the B melody followed by the B2 melody. The
53
next twenty-four bars are filled with various two-bar sequences displaying the bassoon’s
flexible character with wide leaps and two-and-a-half octave range before cadencing in F
minor. The importance of the third ritornello is minimized by only reiterating the A2 and
closing melodies still in the key of F minor.
The third solo continues with melodic development of the C melody. The melody
is varied but it is able to retain its identity by the opening dominant seventh triad. After a
brief interruption by the orchestra, the bassoon restates the C melody a step lower in the
manner of the B2 melody. The orchestra attempts to shift the tonal center to G major by
interrupting again, but the bassoon begins technical figuration and eventually
retransitions back to the home key of E-flat major. Unfortunately, it is a very weak
retransition on Hertel’s part. The harmonic progression is ii-V6/5-I-IV6/5-viio resolving to
tonic at the return. It is surprising that Hertel writes such a weak cadence at such an
important structural point.
The return of opening material in the tonic key is presented by a statement of A in
the orchestra followed by the bassoon, S4, and orchestra in dialogue with the B1 and B2
melodies. The bassoon restates the D melody and an even further technical elaboration
of the E melody. The orchestra extends the E melody another six bars while the bassoon
holds long notes. The harmony has the hint of cadenza preparation, and in the first
movement of a Classical concerti, a cadenza would be inserted into the final soloist
statement of R4/S4. The orchestra finishes the extension with two bars from the closing
melody, and the bassoon begins the F melody in its exact form. In the original statement
of the F melody within S1, the final three bars of downward sixteenth notes seem rather
odd, almost more of an afterthought. However, when it is played in S4 without
accompaniment, the F melody becomes a quasi-cadenza. It is also as close to a cadenza
as Hertel would write in the fast movement of an instrumental concerto. The orchestra
ends the concerto with the final ritornello and the secondary and closing melodies.
54
CONCLUSION
Johann Wilhelm Hertel was a galant composer during the transition from the
Baroque to Classical period, but is typically mislabeled as a Baroque composer through
lack of understanding of the style. The majority of his compositions were probably
composed between 1748 and 1774 during his Schwerin residency. Although it is
impossible to date Hertel’s music precisely, comparison with other composers and local
trends offer an approximation of the dates of his compositions.
The Concerto in B-flat is the least demanding and probably the earliest of the
three concerti. The transitions between themes are minimal and awkward creating short
and fragmented sections. There is also an insertion in the second movement of unrelated
transition material that indicates that Hertel was unsure how to resolve the orchestral
return. The structure of the movements is consistent with contemporary trends, but the
concerto has almost a formulaic approach. The piece is nevertheless important because it
clearly shows the galant style, including mannered cadences, clear phrases, ritornello
structure, and three-part texture.
The influence of C.P.E. Bach is most apparent in the Concerto in A minor. An
examination of C.P.E. Bach’s Concerto in D minor for harpsichord, Wq. 23, composed in
1748, suggests that Hertel was exposed to Bach’s concerto while writing the Concerto in
A minor. The surprise gesture of distantly related keys, extreme chromaticism, angry
orchestral interruptions, and false returns of the primary material are trademarks of C.P.E.
Bach along with the structural experimentation of the third movement. The key of A
minor is a rare occurrence in Hertel’s music, and the work is filled with energy and
emotion throughout. It is also the most chromatic of the three bassoon concerti and other
works examined by the author. The chromaticism, however, does not distort the melody,
as it does in the late Baroque, but is contained within the harmony. The phrase structure
55
is very clear with transitional material smoothly connecting the sections, allowing the
melodies to flow into one another with few breaks. The movements are also related by
the keys A, C, D, and F, and are even anticipated within other movements. All of the
elements of Sturm und Drang of the 1770’s are present within the Concerto in A minor.
It does not include wind accompaniment and resembles C.P.E. Bach’s Concerto in D
minor for harpsichord too closely to have been written any later than the early 1750’s. It
is also one of the “more difficult” concerti Hertel listed in his autobiography.
The Concerto in E-flat is the most Classical of all Hertel instrumental concerti
examined within this treatise. The length is substantial, comparable to an early Mozart
Symphony rather than an instrumental concerto. Each movement is longer than even the
Symphonies in G and D by Hertel. The melodies are more complex than those in the Bflat or A minor concerti, showing the skill and experience of a mature composer. Winds
are used in pairs and given solo prominence in addition to providing changes in dynamics
and texture. The piece is very idiomatic to the instrument and makes for enjoyable
listening.
Hertel employs the same structures throughout all of his concerti, the lack of
innovation perhaps due to his conservative employer, Frederick the Pious. By using an
established plan of tutti-ritornello that outlines the harmonic and thematic material, Hertel
is thereby free to include some inventive surprises, in spite of the restrictions, such as the
diversion to D-flat in the second movement of the Concerto in B-flat, the false
recapitulations in the Concerto in A minor, and the contrapuntal melodies of the Concerto
in E-flat.
In the 1960’s Hertel’s “Concerto à Cinque” was published by Walter Sallagar.
During the next forty years, three bassoon concerti, three trumpet concerti, a concerto for
trumpet and oboe à 6, an oboe concerto, two piano concerti, a concerto for violin, and a
study of two symphonies had all been published in modern editions. Today, the majority
of Hertel’s works remain in manuscript in Brussels, Belgium and Schwerin, Germany.
Johann Wilhelm Hertel’s music is an important example of music around the time
of 1748-1775. The form, style and structure of Hertel’s concerti coincide with other
North German composers such as C.P.E. Bach, Christoph Nichelmann, Carl Graun and
Franz Benda. The concerti are valuable tools with which to discuss the development of
56
galant style, ritornello form, and changes in orchestral instrumentation that began in the
second half of the eighteenth century and progressed toward the Classical period. In
addition, Hertel’s bassoon concerti provide technical and musical challenges and are
worthy of study for both younger and more advanced players. It is hoped that this
modest rediscovery of Hertel’s music will serve to introduce his works to current
generations.
57
APPENDIX
58
COPYRIGHT PERMISSlON FORM
Vivian Rehman
Brcitkopf & Haertel
Dept Rights and Permissions
P.O. Box 1707
65()07 Wiesbaden
Germany
Dear Ms. Rehman:
I am completing a treatise at Florida State University entitled "The Bassoon
Concertos of Johann Wilhelm Hertel:" I would like your permission to reprint in
treatise exceJ:pts from the following;
my
Hertel, Johann Wilhelm. Bassoon Cancerro in B.flat for Bassoon and Piano (Reduction).
London: Musica Rara, 197B. M ovement 1, m.4, 24-38, Movcment 2, m .l -15
The requested pennission extends to any future revisions ami editions of my
treatise. These rights will i n no way restrict republication of the material in any otJJer
fonn by you or by others authoriZI:ld by you. This authorization is extended to Univen;ity
Microfilms International. Ann Arbor, Michigan, for the purpose of ·reproducing and
diStributing copies of
dissertation. Your signing of this letter will also confum that
you own (or your company owns} the copyright to the above described material.
this
rr these arrangements meet with your approval, please sign this letter wher-e
indicated below and return to roe. Thank you very much.
Sincerely,
Ashley Heintzen
PER:M:lSSION GRANTED FOR THE
USE REQUESTED ABOVE:
Breitkopf & Hartel
Vivian Rehman
Date:
Dc--rcJ .Jl-,
2.D.9c;
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Telelo n 06l114S008·0
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COPYRIGIIT PERMISSION FORM
Rachel Ms.lloch
Phylloscopus Publications
92, Aldcliffe Road
Lancaster. LAl 5B'E
Unite_d Kmgdom
Dear Rachel Malloch:
I am oompleting a treatille at Florida Slate University entitled "The Bassoon
Concertos of Johann Wilhelm Hertel." I WO\dd like your P<mnission to reprint in roy
treatise excerpts from the following:
Hertel, Johann Wilhelm. Concerto in B j/aJfor bassoon and string,s. Movement 1,
measure l-2.
- -:--o-::·
Concerto in E flat for bassoon with 2 obces, 2 horns in Eb, strings and
conlinuo. Movement 1, ｭｾｵｲ･＠
l--4. 38-39; Movement ＲＬ ｭ･｡ｳｾＮ＠
16-19.
The requested permission exteo4s to any future revisions and editions of my
treatise, including non-exclusi'le world rights in all languages. These rights wm in no
way restrict republication of the material in any other form by you or by others
authorized by you. This authorizatioo is extended to University Microfilms International,
Ann Arl>or, Michigan. for tbe purpose of reproducing and distributing copies of this
dissertation. Your signing of this letter will also coofirm that you own [or your company
owns) the copyright to tbe above dc::scribro material.
If these arrangements meet with your approval, please sign Ibis letter where
indicated below and return to me in the enclosed return envelope. Thaok. you very much.
PERMISSION GRANTED FOR 1liE
USE REQUESTED ABOVE:
IW:hel Malloch
Date;
ｾ＠
· ]
tJ..
2.--00
ｾ＠
60
COPYRIGHT PERMISSION FORM
Rachel Malloch
Phylloscopus Publications
92, Aldcliffc Road
Lancaster, J,A l 5BE
Uni ted Kiuguvm
Dear Rachel Malloch:
I am completing a treatise at Florida Stale University entitled "The Bassoon
Concertos of Johann Wilhelm Hertel." r would like your permission to reprint in my
treatise excerpts from the following:
Hertel, Johann Wtlbelm. Concerto in F: JU:t for bassoon wilh 2 oboes, 2 horns in Eb.
strings and continuo. Movement I, measure 4-27.
The requested permission extends to any future revisions and editions of my
treatise, including oon-exclusive world rights in all languages. These rights will in no
way restrict republication of the material in any other fonn by you ot by others
authorized by you. This authorization is extended to University Microfilms International,
Ann Arbor, Michigan, for the purpose of reproducing and distributing copies of this
dissertation. Your signing of this letter v.ill also c6nfirm that you own [or your company
owns} the copyright to the above described material.
If the.-;e arrangements meet with your approval, please sign this letter where
indicated below and return to me. Thank you very much.
Sincerely,
Ashley Heiutzen
PERMISSION GkANTED FOR. TilE
USE REQUESTED ABOVE:
Rachel Malloch
Date:
ｦＭｬｾ＠
l Ｈ｡ｾ＠
.UJ(J
£·
61
62
BIBLIOGRAPHY
Books:
Bach, Carl Philipp Emanuel. Essay on the True Art of Playing Keyboard Instruments.
Translated and edited by William J. Mitchell. New York: W.W. Norton & Co.,
1949.
Blume, Friedrich. Classic and Romantic Music, A Comprehensive Survey. Translated by
M.D. Herter Norton. New York: W.W. Norton & Co., 1970.
Burkhardt, Charles. Anthology for Musical Analysis. 6th ed. Belmont: Schirmer, 2004.
Clark, Stephen L. C.P.E. Bach Studies. New York: Oxford University Press, 1988.
Green, Douglas M. Form in Tonal Music, An Introduction. 2nd ed. New York: Holt,
Rinehart and Winston, 1979.
Köenigsbeck, Bodo. Bassoon Bibliography. Monteux, France: Musica Rara, 1994.
Gallagher, Charles C. and E. Eugene Helm. “Introduction” In The Symphony 1720-1840,
ed. Barry S. Brook. Ser. C, Germany: Mannheim, South Germany, North
Germany, 8: xi-xx. New York: Garland, 1983.
Grout, Donald J & Claude Palisca. A History of Western Music. 4th ed. New York:
W.W. Norton & Co. 1988.
Heartz, Daniel. Music in European Capitals, The Galant Style, 1720-1780. New York:
W.W. Norton & Co., 2003.
Hill, Ralph, ed. The Concerto. Baltimore, Maryland: Penguin Books Ltd, 1956.
Hutchings, Arthur. The Baroque Concerto. New York: W.W. Norton & Co., 1965.
Mozart, Leopold. A Treatise on the Fundamental Principles of Violin Playing. Translated
by Editha Knocker. 2nd ed. London: Oxford University Press, 1959.
Neumann, Fredrick. New Essays on Performance Practice. Ann Arbor, Michigan: UMI
Research Press, 1989.
63
Neumann, Fredrick. Performance Practices of the Seventeenth and Eighteenth Centuries.
New York: Schirmer Books, 1993.
Ottenberg, Hans-Günter-Hans. Carl Philipp Emanuel Bach. Translated by Philip J.
Whitmore. New York: Oxford University Press, 1987.
Pusey, Marcel. A Critical Edition of Two Symphonies by Johann Wilhelm Hertel (17271789). MA. Thesis Musicology, Brigham Young University, 1994.
Pauly, Reinhard G. Music in the Classic Period. 3rd ed. Englewood Cliffs, New Jersey:
Prentice Hall, 1988.
Rosen, Charles. The Classical Style, Haydn, Mozart, Beethoven. New York: W.W.
Norton & Co., 1972.
Sadie, Stanley, ed. New Grove Dictionary of Music and Musicians. London: MacMillian
Publishers Ltd., 1980. S.v. “Johann Christian Hertel.” by Deiter Härtwig.
Sadie, Stanley, ed. New Grove Dictionary of Music and Musicians. London: MacMillian
Publishers Ltd., 1980. S.v. “Johann Wilhelm Hertel.” by Deiter Härtwig.
Schulenberg, David. Music of the Baroque. New York: Oxford University Press, 2001.
Scholes, Percy A. ed. An Eighteenth-Century Musical Tour in Central Europe and the
Netherlands: Dr. Burney’s Musical Tours in Europe. Vol. II. London: Oxford
University Press, 1959.
Seaton, Douglass. Ideas and Styles in the Western Musical Tradition. Mountainview,
California: Mayfield Publishing Co., 1991.
Stolba, K. Marie. The Development of Western Music, A History. 2nd ed. Madison,
Wisconsin: Brown & Benchmark, 1994.
Veinus, Abraham. The Concerto. New York: Dover Publications, 1964.
Weimer, Eric. Opera Seria and the Evolution of Classical Style 1755-1772. Ann Arbor,
Michigan: UMI Research Press, 1984.
Periodicals
Diekow, Reinhard. “Studien über das Musikschaffen Johann Christian und Johann
Wilhelm Hertels.” Ph.D. diss., Wilhelm Pieck University, Rostock, 1977.
Edler, Arnfried. “Telemann und Johann Wilhelm Hertel: Eine Musikerfreundschaft,”
Telemann und seine Freunde: Magdeburg 1984, 87-94.
64
Hertel, Mary Romana. “Johann Wilhelm Hertel (1727-1789): A 250th Birthday Tribute.”
College Music Symposium 18 (1978): 120-30.
________. “The Keyboard Concertos of Johann Wilhelm Hertel (1727-1789).” Ph.D.
diss., Catholic University of America, 1964.
Lee, Douglas A. “Christoph Nichelmann and the Early Clavier Concerto in Berlin.”
Musical Quarterly Vol.VII, No. 4 (1971): 636-655.
Scores
Bach, Carl Philipp Emanuel. Harpsichord Concerto, BWV. 1052a. with an Introduction
by Werner Breig. Kassel: Barenreiter, 2000.
__________. Harpsicord Concerto in D minor, Wq 23. Wiesbaden: Breitkopf &Haertel,
1956.
Hertel, Johann Wilhelm. Bassoon Concerto in B-flat. ed. with an Introduction by
R. Block and H. Voxman. London: Musica Rara, 1978.
__________. Concerto in B-flat for bassoon with strings and continuo. ed. with an
Introduction by Rachel Malloch. Lancaster, UK: Phylloscopus Publications,
1997.
__________. Bassoon Concerto in A minor. ed. with an Introduction by Walter Sallager.
Wilhelmshaven: Otto Heinrich Verlag, 1963.
__________. Concerto in E-flat for bassoon with 2 oboes, 2 horns in E-flat, strings
and continuo (2 flutes, strings and continuo in movement II). ed. with an
Introduction by Rachel Malloch. Lancaster, UK: Phylloscopus Publications,
1997.
__________. Bassoon Concerto in E-flat. ed. with an Introduction by Rachel Malloch.
Lancaster, UK: Phylloscopus Publications, 1997.
__________. Keyboard Concertos in E-flat and F minor. ed. with an
Introduction by Mary Romana Hertel. Madison, WI: A-R Editions, 1988.
__________. Concerto for Oboe in G, ed. with an Introduction by Günther Joppig,
Vienna: Universal Edition, 1984.
__________. Concerto for Trumpet in E-flat (No.1), ed. with an Introduction by
Irmtraud Krüger. Musikverlag: McNaughtan, 1998.
__________. Concerto for Trumpet in E-flat (No.2), ed. with an Introduction by
Edward Tarr. Monteux, France: Musica Rara, 1972.
65
__________. Concerto for Trumpet in D (No.3), ed. with an Introduction by
Edward Tarr. Musikverlag: McNaughtan, 1992.
__________. Concerto a 6. ed. with an Introduction by Günther Joppig. Monteux,
France: Musica Rara, 1972.
__________. Concerto a cinque. ed. with an Introduction by Walter H. Sallager.
Wilhelmshaven: Otto Heinrich Noetzel Verlag, 1959.
Discography
Johann Wilhelm Hertel Concerti. with a foreword by Patrick Peire. Collegium
Instrumental Brugenese. CD Eufoda 1231. Brussels, 1996.
Johann Wilhelm Hertel. with a foreword by B. Delvaille. Record MHS 869. New York,
1968.
5 Bassoon Concertos. with a foreword by Paul Riley. CD Q56177 London, 1996.
Johann Wilhelm Hertel. with a foreword by Douglas Townsend. Record MHS 1040. New
York, 1971.
66
BIOGRAPHICAL SKETCH
Ashley Heintzen currently teaches bassoon at Stetson University in DeLand,
Florida. She received her High School Diploma from the North Carolina School of the
Arts in 1986, where she studied with Mark Popkin; the Bachelor of Music degree in
Performance from Indiana University in 1990, where she studied with Sidney Rosenberg;
and the Master of Music in Performance from Baylor University in 1993 where she
studied with Jennifer Speck. In 1993 she began her studies at FSU, where she pursued a
DM in Bassoon with an expected completion in 2006. Heintzen has been the second
bassoonist with the Brevard Symphony since 1996 and principal bassoonist with the Bach
Festival Orchestra of Winter Park since 1995, and substitutes with orchestras throughout
central Florida. She is an active recitalist and in January, 2005 presented a lecture recital
of selected Hertel concerti including the Bassoon Concerti in B-flat, A minor and the
Concerto à Cinque for trumpet, two oboes and two bassoons. She is co-director of the
Stetson University Double Reed Workshop and recently transcribed the first movement
of Hertel’s Concerto à Cinque for Double Reed ensemble in honor of the Workshop’s
2005 season.
67