A Critical Edition of Gustave Vogt's 4eme Solo de Concert

Transcription

1 UNLV Theses, Dissertations, Proessional Paers, and Castones A Critical Edition o Gustave Vogt's 4eme Solo de Concert Mark Runkles University o Nevada, Las Vegas, mark.runkles@gmail.com Follow this and additional works at: htt://digitalscholarshi.unlv.edu/thesesdissertations Part o the Music Perormance Commons, and the Music Practice Commons Reository Citation Runkles, Mark, "A Critical Edition o Gustave Vogt's 4eme Solo de Concert" (2012). UNLV Theses, Dissertations, Proessional Paers, and Castones htt://digitalscholarshi.unlv.edu/thesesdissertations/1772 This Dissertation is brought to you or ree and oen access by Digital Scholarshi@UNLV. It has been acceted or inclusion in UNLV Theses, Dissertations, Proessional Paers, and Castones by an authorized administrator o Digital Scholarshi@UNLV. For more inormation, lease contact digitalscholarshi@unlv.edu.

2 A CRITICAL EDITION OF GUSTAVE VOGT S 4 ÈME SOLO DE CONCERT By Mark Andrew Runkles Bachelor o Arts in Music St. Mary s College o Maryland May 2004 Master o Arts in Music University o Iowa May 2007 Master o Fine Arts in Music University o Iowa August 2008 A dissertation submitted in artial ulillment o the requirements or the Doctor o Musical Arts Deartment o Music College o Fine Arts The Graduate College University o Nevada, Las Vegas December 2012

3 THE GRADUATE COLLEGE We recommend the dissertation reared under our suervision by Mark Andrew Runkles entitled A Critical Edition o Gustave Vogt s 4 ÈME Sole De Concert be acceted in artial ulillment o the requirements or the degree o Doctor o Musical Arts Deartment o Music Stehen Calan, D.M.A., Committee Chair Anthony Barone, Ph.D., Committee Member Taras Krysa, M.M., Committee Member Michael Tylo, M.F.A., Graduate College Reresentative Tom Piechota, Ph.D., Interim Vice President or Research & Dean o the Graduate College December 2012 ii

4 Abstract As oboe roesseur titulaire at the Paris Conservatory rom 181 5, Gustave Vogt established his imortance as a edagogue by teaching many leading nineteenthcentury Euroean oboists, and his inluence can be traced to numerous living oboists. Additionally, Vogt layed a seminal role in develoing a virtuosic Romantic oboe style that aralleled the virtuosic styles develoed or the more revalent Romantic solo instruments, the iano and violin. His music is rarely layed today, and Vogt remains a largely unknown igure even within the oboe community. The urose o this study is to develo a critical edition o Gustave Vogt s 4 ème Solo de Concert suitable or erormance by oboe and iano. This critical edition is based on an examination o nine sources, including our manuscrit sources rom the Bibliothèque nationale in Paris. In the rocess o discussing this edition, I will examine Romantic wind erormance ractices on which there is little written inormation. These erormance ractices include ornamentation and articulation. iii

5 Contents Abstract iii Introduction 1 Gustave Vogt 1 Antoine-Auguste Bruyant 5 The Editing Process or Gustave Vogt s 4 ème Solo de Concert A Stemma or Gustave Vogt s 4 ème Solo de Concert Figure 1: Stemma, Gustave Vogt s 4 ème Solo de Concert 7 The Sources 8 Source 1: Premier Concerto our Hautbois Comosé et Dedié à Monsieur Sallentin Par son Élève Gustave Vogt, Premier Hautbois de la Musique articuliere du 1 er Consul, Oeuvre 1 er. Biblioteca Conservatorio di Musica in Milano, A Source 2: Concerto Pour le hautbois ar G. Vogt. Bibliothèque nationale de France, Ms Source : Ancien 1er Concerto our le Hautbois devenu 4 ème Solo de Concert ar G. Vogt. Bibliothèque nationale de France, Vma.ms Source 4: Partition du 4 ème Solo de Concert ar Gustave Vogt. Bibliothèque nationale de France, Ms Source 5: 1 er Concerto devenir 4 ème Solo de Concert. Bibliothèque nationale de France, Ms Sources and 7: 4 ème Solo de Concert our Hautbois Avec Accom t. de Piano Par G. Vogt. British Library, h.25(1.) 15 Sources 8 and 9: 4 ème Solo de Concert our Hautbois 1 A Formal Analysis o Gustave Vogt s 4 ème Solo de Concert 18 iv

6 Table 1: Movement I, Sonata-Allegro Form 24 Table 2: Movement III, Sonata-Allegro Form 27 Editorial Decisions 28 Articulation in Vogt s 4 ème Solo de Concert 1 Ornamentation in Vogt s 4 ème Solo de Concert 4 Conclusions 7 4 ème Solo de Concert by Gustave Vogt, Piano 40 4 ème Solo de Concert by Gustave Vogt, Oboe 7 Comarison o Sources: Movement 1 87 Comarison o Sources: Movement 2 99 Comarison o Sources: Movement 102 Critical Notes 120 Movement 1: Allegro non troo 120 Movement 2: Adagio 15 Movement : Rondo Montagnard, Allegretto 178 Aendix 1: Table o Sources or Gustave Vogt's 4 ème Solo de Concert 202 Aendix 2: Ornament Examles 20 Aendix : Vogt s Ornamentation o Movement, Theme Aendix 4: An Analysis o Vogt s Ornamentation o Movement 1, Theme Aendix 5: Table o Discreancies between Sources 8 and 9 21 Manuscrit and Printed Parts and Scores 219 Bibliograhy 219 Curriculum Vitae 22 v

7 Introduction The urose o this study is to develo a critical edition o Gustave Vogt s 4 ème Solo de Concert suitable or erormance by oboe and iano. In the rocess o discussing this edition, I will examine Romantic wind erormance ractices on which there is little written inormation. These erormance ractices include ornamentation, articulation, and dynamics. This critical edition is based on an examination o nine sources. Four o the sources are manuscrits rom the Bibliothèque nationale in Paris. The other ive sources are ublished editions, one by Pleyel rom the Conservatorio di Musica in Milan, two by Richault rom the British Library, and two by Editions Costallat rom the University o Iowa. I have consulted coies o the Editions Costallat score but have relied on images o the other sources rovided by each library. Gustave Vogt As roesseur adjoint ( ) and roesseur titulaire (181 5) o oboe at the Paris Conservatory, Gustave Vogt ( ) established his imortance as a edagogue by teaching many imortant nineteenth-century Euroean oboists. 1 His inluence can be traced to numerous currently living oboists. Vogt s students included the ollowing distinguished erormers and edagogues: Henri Brod, Louis-Auguste Vény, A. M. R. Barret, Louis-Charles Triébert, Stanislas Verroust, Antoine-Joseh 1 Georey Burgess, The Premier Oboist o Euroe: A Portrait o Gustave Vogt (Lanham, Maryland: Scarecrow Press, 200), 2. 1

8 Lavigne, and Charles-Joseh Colin. 2 Colin, who was the oboe roessor at the Paris Conservatory rom , taught Georges Gillet ( ). 4 Gillet taught, among others, Marcel Tabuteau ( ), who became the rincial oboe with the Philadelhia Orchestra under Leoold Stokowski and taught many o the leading American oboists o the early and middle twentieth-century. 5 Gustave Vogt descended directly rom the Italian Baroque tradition o virtuosic oboe laying. He was taught by Antoine Sallantin ( ), the irst oboe roessor at the Paris Conservatory whom Vogt would succeed in 181. Sallantin traveled to London in the early 1790s to study with Johann Christian Fischer ( ), 7 who, along with Carlo Besozzi, was one o the leading oboe soloists o his era. 8 Fischer is urorted to have studied with the leading oboist in Germany and ather o Carlo, Antonio Besozzi ( ). 9 Antonio Besozzi was the nehew o the amous Alessandro Besozzi ( ), who toured throughout Euroe, including Paris, to high 2 Burgess, Ibid., Georey Burgess, Gillet Georges(-Vital-Victor), Grove Music Online, htt:// sic/45247?q=gillet%2c+george&search=quick&os=1&_start=1#irsthit (accessed October 22, 2012). 5 Georey Burgess and Bruce Haynes, The Oboe (New Haven: Yale University Press, 2004), 199. Ibid., Ibid. 8 Ibid., T. Herman Keahey, Fischer, Johann Christian, Grove Music Online, htt:// sic/09727?q=fischer&search=quick&os=11&_start=1#irsthit (accessed October 22, 2012). 2

9 critical acclaim. Alessandro came out o the early eighteenth-century culture o Italian dominance in virtuoso oboe laying and comosing. 10 In addition to his edagogical imortance, Vogt erormed roliically in Paris and throughout Euroe. His two major erorming aointments were as rincial oboe o the Paris Oéra rom and rincial oboe o the Royal or Imerial Chael rom its reinstatement by Naoleon in 1802 until its dissolution in 180. Vogt was also the rincial oboist with two major Paris concert societies, the Société des Concerts du Conservatoire and Société académique des enants d Aollon. It was or erormances with these two concert societies as well as his involvement with another Parisian concert society, the Exercices des Élèves du Conservatoire, that Vogt needed to write his own solo oboe music. 11 Vogt s comositional outut includes sixteen concertos, at least nineteen antasies or theme and variations, and works or various chamber ensembles. At the Paris Conservatory, he studied comosition with Jean-Batiste Rey and Antonin Reicha. 12 Vogt layed a seminal role in develoing a virtuosic Romantic oboe style, which reached its height in the works o Lalliet and Pasculli among others. This style aralleled the virtuosic styles develoed by Paganini, Liszt, and Choin or the more revalent Romantic solo instruments, the violin and iano. However, unlike the music o Paganini, Choin, and Liszt, Vogt s music is rarely layed today, and Vogt remains a largely unknown igure even within the oboe community. His music is rarely layed today or two main reasons. First, Vogt did not maintain a widesread ublic reutation beyond 10 Burgess and Haynes, Burgess, A Portrait o Gustave Vogt, Ibid., 0.

10 his death because o the oboe s relative neglect as a solo instrument in comarison to the iano and violin. Second, much o Vogt s music is not currently in rint and available to erormers. Vogt s career sanned two imortant transitions. The irst is Classicism to Romanticism. With the shit rom the Classical to the Romantic, comositions included more detail. This makes the erormer less o a collaborator in the comositional rocess and more o an interreter. Where beore the comosers let details such as articulation and ornamentation to the erormer, they now began to meticulously write out everything. To go along with erormance becoming interretive, virtuoso soloists were becoming interreters o others work rather than comosers o their own solo reertoire. The second imortant transition that occurred during Vogt s career was the transition rom the non-keyed to the keyed oboe. Prior to Vogt, oboes generally contained no more than two keys, the C 1 /C-shar 1 key and the E-lat key. Vogt was in act one o the earliest to roduce a ingering chart or an oboe using more than two keys in an unublished method that he wrote between 181 and Whereas oboists were rarely required to lay in keys with more than three shars or three lats rior to the Romantic era, they increasingly needed to be able to lay in all keys as the Romantic era rogressed. To acilitate laying in comlex keys, keywork was added to the oboe. The oboes o revious eras were made o boxwood, which is a light wood that is easy to blow; however, boxwood was too light to suort the key mechanism needed or the advancing times. It wared requently, which caused the mechanism to all out o adjustment and the oboe to not lay roerly. Oboe makers eventually switched to grenadilla wood, 1 Burgess and Haynes,

11 which is the redominant wood in use today. Though the grenadilla wood could suort the new mechanism, the downside was that it was harder to blow, and long hrases that would have been easier to execute on a boxwood oboe became much more diicult to lay. This would later have a signiicant bearing on my research as the later versions o Vogt s solo were shorter and added more rests or the soloist. Antoine-Auguste Bruyant Antoine-Auguste Bruyant ( ) studied with Vogt at the Paris Conservatory rom While not articularly imortant as an oboist, Bruyant layed a crucial role in reserving Vogt s music. Vogt donated his music collection and instruments to Bruyant, and once they were in his ossession, he acted as his teacher s sel-aointed musical editor and ublicist. U to Vogt s death, Bruyant sought his teacher s aroval o his arrangements and editions. 15 Bruyant was known to erorm Vogt s comositions and attemted to ublish many o them. Burgess adds that Bruyant was careul to rint only the versions o each work which best reresented his master s intentions. 1 Bruyant is a key igure in creating an edition o Vogt s 4 ème Solo de Concert because he rovided a ull orchestral score in his own hand, a commentary note on the orchestral score in Vogt s hand, a iano reduction, and quite robably edited our o the ive ublished sources. 14 Burgess, A Portrait o Gustave Vogt, Ibid., Ibid., 25. 5

12 The Editing Process or Gustave Vogt s 4 ème Solo de Concert The nine available sources resent the iece in various stages o revision; thus, there are numerous discreancies between the sources. Editing Vogt s 4 ème Solo de Concert resents the challenge o determining the authority o one version over other equally viable versions when resolving each individual discreancy. The most common tye o discreancy is in articulation. Each articulation discreancy by itsel would have a minimal imact on the overall eect o the iece; however, the sheer number o these discreancies makes sorting through the articulations a major task. Other discreancies are in movement titles, cuts, melodic content including ornamentation, dynamics, and minor temo changes such as the resence o a rallentando or ritardando and the subsequent return to the original temo. Decisions had to be made on these discreancies to coalesce the inormation within the nine sources into one critical edition. A Stemma or Gustave Vogt s 4 ème Solo de Concert As a tool to aid in the editing rocess, I have created a stemma or Gustave Vogt s 4 ème Solo de Concert. See Figure 1. Understanding the iliation o the texts assists in rioritizing the sources when solving a seciic editorial issue by roviding insight into the origins and urose o the element in question as well as its lace within the history o the iece. There are seven available texts, labeled A through G, or the work. The ollowing is a list o titles. A Premier Concerto our Hautbois (Source 1) B Concerto our le Hautbois (Source 2)

13 C Ancien 1 er Concerto our le hautbois devenu 4 ème Solo de Concert (Source ) D 1 er Concerto devenir 4 ème Solo de Concert (Source 5) E Partition du 4 ème Solo de Concert our hautbois (Source 4) F 4 ème Solo de Concert our hautbois avec accomagnement de iano, Richault (Sources and 7) G 4 ème Solo de Concert our hautbois, Editions Costallat (Sources 8 and 9) There are likely at least our manuscrit scores o the iece that are no longer extant. The number is based on the assumtion that the arts and iano reduction were coied rom a score. The missing scores have been labeled X1 4. Three o them are scores rom which the arts labeled A, B, and D would have been coied. X4 is the score rom which Bruyant would have made the iano reduction that is F. Figure 1: Stemma, Gustave Vogt s 4 ème Solo de Concert There are our versions o the iece. 17 The earliest version comrises X1 and A. This version, Version 1, consisted o two movements. Version 2, which is X2, B, and C, 17 Charles-David Lehrer, The Nineteenth Century Parisian Concerto, (PhD diss., University o Caliornia at Los Angeles, 1990),

14 underwent several drastic changes rom Version 1. A third movement was added. This movement aears in all subsequent versions o the iece. The adagio section rom the second was exanded to orm a new second movement. The remainder o the irst version s second movement was discarded. The ornamentation o themes and iguration o transitions were changed. Much o the develoment section in the irst movement was rewritten, and the oening tutti was reduced rom 9 to 4 measures. Version consists o X, D, and E. Several changes were made between Versions 2 and. Signiicant ortions are cut in the irst and third movements. The cut in the irst movement and a reworked ending or the second movement turn these movements into ragments. More comlex ornamentation has been added, esecially to theme 2 in the irst movement and theme 1 in the third movement. There are instances in each movement where an extra measure o rest has been added to the solo art. The transition, theme 2, and the coda o the third movement were revised. Version 4 consists o X4, F, and G. With a dierent cut in the irst movement, Version 4 retains more o the develoment than Version. The themes in Version 4 are less ornamented than the themes in Version. Version 4 combines the melodic elements o Versions 2 and. The Sources Several questions related to issues o historical context must be considered beore beginning the critical examination o each source. What is the role o the comoser? Who is the intended erormer? Who is the scribe or editor? What is his relationshi to 8

15 the comoser, and what is his agenda in creating the text? What is the urose o the text itsel? The answers to these questions can rovide ossible answers as to why certain melodic, articulation, and dynamic elements are resent in one source and not another. The iece began as an oboe concerto written or Vogt s teacher, Antoine Sallantin. It was later used as a concours iece or Vogt s students at the Paris Conservatory where it acquired the title 4 ème Solo de Concert. The sources have been numbered in their aroximate chronological order. Source 1: Premier Concerto our Hautbois Comosé et Dedié à Monsieur Sallentin Par son Élève Gustave Vogt, Premier Hautbois de la Musique articuliere du 1 er Consul, Oeuvre 1 er. Biblioteca Conservatorio di Musica in Milano, A. 2 2 Source 1 is an oboe art without a corresonding orchestral or iano accomaniment and is the oldest version o the iece. It contains ten ages, two o which are blank. It is titled as ollows: Premier Concerto our Hautbois Comosé et Dedié à Monsieur Sallentin Par son Élève Gustave Vogt, Premier Hautbois de la Musique articuliere du 1 er Consul, Oeuvre 1 er. Also included on the title age is the insignia o Ignaz Pleyel and a rice o Unlike the rest o the sources, Source 1 contains only two movements. The irst is titled Allegro Maestoso, and the second is titled Thema con Variazione: Allegretto. In The Premier Oboist o Euroe, A Portrait o Gustave Vogt, Georey Burgess gives the date or Source 1 as c This is the year that the French consulate was dissolved and Naoleon crowned himsel emeror. 19 Vogt joined 18 Burgess, A Portrait o Gustave Vogt, Angus Konstam, Historical Atlas o the Naoleonic Era (London: Mercury Books, 200), 5. 9

16 the Musique articuliere when it was instituted by Naoleon in 1802; 20 thereore, his title would lace the date o ublication between 1802 and Source 2: Concerto Pour le hautbois ar G. Vogt. Bibliothèque nationale de France, Ms 180 Source 2 is an oboe art without a corresonding orchestral or iano accomaniment. This manuscrit was robably roduced between 180 and 1812 because it is titled Concerto Pour le hautbois ar G. Vogt et coie ar lui-même. The title, Concerto our le hautbois, aears in concerts or the Exercises des Élèves du Conservatoire during this time eriod. 21 The title was written on a square o blank aer and laid over a sheet o sta aer with the title Hautbois Princial. This oboe art was written by Vogt because the title sheet states that the iece was comosed and then coied by Vogt. Source 2 contains sixteen ages. Several ages o Source 2 contain music that has been crossed out and what aears to be sketches o music. Source 2 is the least edited o the nine sources. It has been reared in ortrait, and the music is notated on the recto and verso o each lea. The binding still aears to be intact. Source 2 is written in the hand o the comoser, and the comoser and erormer are one and the same. This coy o the work was intended or Vogt s ersonal erormance with Parisian concert societies. It was intended to showcase Vogt s technical acility and lyricism to the uer and middle class members that would have attended these concerts. The work takes on a more serious nature because it is a concerto rather than a antasy or theme and variations based on oular melodies; thereore, it is 20 Burgess, A Portrait o Gustave Vogt, Ibid.,

17 likely that Vogt meant to dislay his comositional technique in handling orm and style. This text was intended or ersonal use, as oosed to other layers use, because several sections are crossed out and rewritten. There are three sketches within the text that are not meant to be erormed. One o these sketches aears to be o another iece entirely, ossibly his Morceau à remière vue Pour le hautbois, concours de 1827, 180, 1841, 187. The other two sketches are incomlete. One is a dierent ioritura or art o the second theme in the exosition o the irst movement; the other aears to be an attemt at an alternate and exanded retransition to the second theme in the recaitulation o the irst movement. Because o these sketches, Source 2 seems to be a working document in addition to being used or erormance. Source : Ancien 1er Concerto our le Hautbois devenu 4 ème Solo de Concert ar G. Vogt. Bibliothèque nationale de France, Vma.ms.442 Source, titled Ancien 1er Concerto our le Hautbois devenu 4 ème Solo de Concert ar G. Vogt, 22 is a ull orchestral score with the ollowing instrumentation: solo oboe, one lute, two clarinets, two horns, two trumets, two bassoons, violin 1, violin 2, viola, and cello and double bass. The bottom let o the title age contains Pour le Conservatoire, and underneath this aear to be Auguste Bruyant s initials. The score is written in Bruyant s hand. The call number Vma.ms.442 is written at the bottom o the age. Source contains eighty-six ages that are hand-numbered in the to outer corner. Inserted in the score ater age 44 are two ages o short score. Unlike the rest o 22 Burgess, Burgess, A Portrait o Gustave Vogt, 15. The orm o the verb devenir is unclear in the image. It could be either devenir or devenu. Devenu is its ast tense orm and should be accomanied by an auxiliary verb. Because it is unclear, the title has been taken rom Burgess. 11

18 the score that is written in ortrait, these inserts have been written in landscae. Unlike the rest o the score, these ages were written by Vogt. The instrumentation in the short score ages is as ollows: oboe, violin 1, violin 2, viola, and cello and double bass. The irst age is titled Adagio and contains the irst sixteen measures o the second movement. Written at the to o the age are the notes incomlet (incomlete), Adagio du 1 er Concerto (Adagio o the 1 st Concerto), and lus modern que la etite artition (a more modern short score). The second age shows a cut in the irst movement that will link it to the second movement. The ollowing is written at the to o the age: (comris?) our enchainer l Adagio (included or linking the Adagio). This is the same cut ound in Sources 9. Beneath the cut is what aears to be an alternate version o the transition to theme 2 in the exosition o the irst movement. Source 4: Partition du 4 ème Solo de Concert ar GustaveVogt. Bibliothèque nationale de France, Ms 180 Source 4, titled Partition du 4 ème Solo de Concert ar Gustave Vogt, is a ull orchestral score with the ollowing instrumentation: three trombones, two trumets, two horns, two B-lat clarinets, one lute, two bassoons, the solo oboe, violin 1, violin 2, viola, cello, and double bass. Placed on to o the title age is a note by Auguste Bruyant that does not aear to be art o the original title age. The call number, Ms 180, and N o 8 as well as (Non?) Comlet aear darker in the image than the title and the note and may have been written later. The score contains seventy-one ages that are hand-numbered in the to outer corner. Several ages lacking age numbers have been added to the third movement. 12

19 Some o the ages in the third movement are out o order and aear to be alternate versions o various assages. One o the unnumbered leaves has a section cut out o it. Emty wind staves in several ages o the third movement were used to notate sketches or arts o the irst and second movement. The ages were not numbered to the end o the third movement, and the correct music does not ollow on all o the successively numbered ages. I have not determined how and when these ages were inserted into the score and how and when the ages were numbered. Several questions arise rom the order o ages in the third movement. Some o the added ages seem to be rom other sources because o the writing in the margins. I they were rom other sources, rom what other sources did they come? When were they added and why? To determine the correct order o ages, I used the solo oboe and irst violin arts rom Source 5. These arts bring u other issues because each art is titled 1 er Concerto. Because o their titles, these arts robably re-date Source 1, or else why did Bruyant not udate the title to 4 ème Solo de Concert? Was this text ultimately meant or students at the Conservatory or Bruyant s own erormance? This score is in Vogt s hand according to Burgess. 2 The score was reared in landscae with the music notated on recto and verso o each lea. The manuscrit was reviously bound, but the binding aears to have allen aart. Currently, the score aears to be held together by one stitch in the uer let-hand corner; however, rom the coies I ossess, I cannot determine whether or not this stitch was art o the original binding. 2 Georey Burgess, message to author, June 27,

20 Bruyant s note on the score is dated January 189, when Vogt was eighty-seven. It is unlikely this text was reared or Vogt s own erormance at one year rior to his death. Indeed, Vogt s last recorded ublic erormance occurred in Aril, In his note, Bruyant writes that this iece is as Vogt desired it (Ce morçeau est tel que M r [V]ogt le désirait). 25 As it aears, this text seems to be a drat. Source 5: 1 er Concerto devenir 4 ème Solo de Concert. Bibliothèque nationale de France, Ms 180 Source 5 is an incomlete set o orchestra arts. It contains the ollowing arts in order: solo oboe, irst violin, second violin, viola, irst trombone, second trombone, third trombone, clarinets in B-lat (2), bassoons (2), horns in F (2), and trumets in F (2). I the orchestration o Source 5 is consistent with the orchestration o Source 4, then this set is missing cello, double bass, and lute arts. The oboe art is titled 1 er Concerto devenir 4 ème Solo de Concert. 2 Written in darker ink is the art title, hautbois solo. The oboe art in Source 5 contains eight ages. It has been reared in ortrait with the music notated on recto and verso o each lea. According to Burgess, it was written by Vogt. 27 The oboe art rom Source 5 largely ollows the oboe art in Source 4; however, some o the ornaments and articulations are slightly dierent. Source 5 also contains the most seciic dynamic indications o the nine sources. Source 5 aears to be a comleted version o the text as there are no revisions ound within it. It is ossible that the oboe art in Source 5 was originally titled 1 er 24 Burgess, A Portrait o Gustave Vogt, Burgess, A Portrait o Gustave Vogt, 142. The image o the note is illegible. 2 Ibid., 142. See note Georey Burgess, message to author, June 27,

21 Concerto, and that devenir 4 ème Solo de Concert was added later. The other orchestra arts are only titled 1 er Concerto. It is ossible that the oboe art reresents a dierent version o the iece rom the orchestra arts because I have ound a section at the end o the coda o the third movement in which the number o measures in the oboe art does not match the number o measures in the irst violin art. The title 4 ème Solo de Concert suggests that the iece was intended or study at the Paris Conservatory. The transormation likely took lace between 184 and 189. Burgess suggests that the ème Solo de Concert was used or the concours in 1845 or later. 28 It ollows that the 4 ème Solo de Concert would have been used the ollowing year. 189 is the year o Bruyant s note on the title age o Source 4. It seems he was aware that the bass, and lute arts were missing because he adds at the bottom o the note that the bass and lute arts are to be coied ( Les arties à Basse et lûte sont à coier ). Sources and 7: 4 ème Solo de Concert our Hautbois Avec Accom t. de Piano Par G. Vogt. British Library, h.25(1.) Sources and 7 are titled 4 ème Solo de Concert our Hautbois Avec Accom t. de Piano Par G. Vogt, O. Posthume. La Partie de Piano ar A. Bruyant, Membre de la Société des Concerts du Conservatoire. The insignia o Simon Richault is in the bottom right corner o the title age. Sources and 7 are bound together or a combined thirty ages. Burgess gives the date as 1884, 29 and the British Library gives it as Even 28 Burgess, A Portrait o Gustave Vogt, Ibid., British Library, Gustave Vogt, htt://exlore.bl.uk/rimo_library/libweb/action/search.do?dscnt=1&tab=local_tab&dstm 15

22 though the oboe art is irst in the score, it has been designated as Source 7, and the iano art has been designated as Source. They have been numbered this way to be consistent with the numbering o Sources 8 and 9. Sources 8 and 9: 4 ème Solo de Concert our Hautbois Source 8 is a score reduction or oboe and iano. Source 9 corresonds to the oboe art within the iano score. Source 8 and Source 9 were ublished osthumously by Editions Costallat. This edition is a rerint o the edition ublished by Richault that are Sources and 7. Sources 8 and 9 are titled 4 ème Solo de Concert our Hautbois. The iano reduction was made by Auguste Bruyant. Source 8 has nineteen ages, and Source 9 has seven ages. They both ollow Sources 2 and more closely than they ollow Sources 1, 4, or 5. The documents in hand or Sources 8 and 9 are not original, only coies. Editions Costallat was a French ublisher located in Paris. Prior to 1929, the irm was known as Costallat et Cie. The name changed to Editions Costallat in 1929, which is the name on Sources 8 and 9. Lucien de Lacour, the editor, died in 1950; thereore, the name o the irm and the resence o de Lacour as the editor lace the date o ublication between 1929 and Editions Costallat acquired the rights to this version when they took = &vl(reeText0)=Gustave+Vogt&n=search&vid=BLVU1&mode=Basi c&romlogin=true (accessed October 22, 2012). 1 Cecil Hokinson, A Dictionary o Parisian Music Publishers: (New York: Da Cao Press, 1979), 1. 1

23 over Richault, the original ublisher o the iece, in Why was this edition created, and what text was used to create it? One ossible reason or creating this edition is that the work was revived as a concours iece or the Paris Conservatory. Aside rom that, it is doubtul that Vogt s works would have generated much o an audience in the early and middle twentieth-century. The text or texts used to create these sources would derive rom Sources 2 and. The ornamentation more closely ollows Sources 2 and than Sources 1, 4, or 5. (See Aendices, 7, and 8 or a comarison o the sources.) Even though they are suosed to corresond to one another, there are numerous discreancies between Source 8 and Source 9. Many o these discreancies involve articulation, but they also include dynamic instructions and ornaments. See Aendix 9 or a list o discreancies. How did the discreancies between Sources 8 and 9 occur? This question raises others on the sources used or the rearation o the edition. What sources were consulted or the rearation o these two texts? Was only one source used, or were multile sources used? Are the discreancies a result o scribal error or multile viable readings? I editorial error is to blame, where did it originate? Was it in these texts, the text used to create Sources 8 and 9, or other older texts? It is likely Bruyant had a hand in editing these sources as he was known to edit Vogt s works in rearation or osthumous ublication. Bruyant robably used a text or texts that are no longer extant based on three things. First, the cut or the irst movement used in Sources 9 is only ound as an insert 2 Richard Macnutt, Richault, Grove Music Online, htt:// sic/294?q=richault&search=quick&os=1&_start=1#irsthit (accessed October 22, 2012). Burgess, A Portrait o Gustave Vogt,

24 to Source. Second, the second movement is in 4/4 time rather than 2/4, and Bruyant mentions in his note to Source 4 that the second movement is in 2/4 so the accomaniment will not rush (L adagio est écrit à ce tems, arce que les accomagnateurs tendait à resser). 4 This suggests that another version contained the second movement in 4/4 time. Third, some o the melodic content and ornamentation is dierent enough rom the extant manuscrit sources that it likely came rom another source. While discreancies could have come rom using multile sources, it is also ossible that they cret into the text by careless editing. A Formal Analysis o Gustave Vogt s 4 ème Solo de Concert Beore a critical edition can be created, it is necessary to understand the ormal construction o the iece. Identiication o the arts within the comlete orm o each movement will give the editor an understanding o which arts are missing, added, or relaced in the other texts. The ollowing is an analysis o my edition (See Aendix 1), which restores the cuts rom the later versions and contains the comlete orm or all three movements. Understanding the orm will also ossibly give the editor enough inormation to recreate missing sections in the available accomaniment. By comaring igures that occur in both the exosition and recaitulation in sonata-allegro orm, it may be easier to reconcile certain discreancies or ambiguities in one section or the other. Sources 2 through 9 all contain three movements. The irst and third movements are in sonata-allegro orm. The second movement is through-comosed, ossibly 4 Ibid.,

25 because o its origins as a section in the larger rondo orm. It begins with a our-bar iano introduction in B-lat major, the key o the movement, beore the oboe enters. The introduction sets u a comositional technique that Vogt uses throughout the movement. Instead o resolving to B-lat major on beat one o m. 4, Vogt delays that resolution to a weaker beat, beat three, in the measure. The irst strong cadence in the movement does not occur until mm. and 4 and is in B-lat major. A case could be made or viewing the orm as binary. The A section would end in m. 2 even though there is no strong cadence. The oboe inishes on an F, a note that Vogt thought should be reserved or secial occasions, mostly at the end o a iece. 5 This is one o only ive aearances o F in this iece. One aearance is at the end o the irst movement, and the other two are in the inal movement, one at the end o the exosition and two at the end o the movement. The harmonic rogression in m. 22 and 2 is also unusual. It moves rom a G hal-diminished chord on beat three o m. 22 to a German augmented sixth chord on beat three to an F major chord on beat one o m. 2. It seems like there should be a resolution to B-lat major in m. 24 or later in m. 2; however, B-lat major does not aear until the middle o the next hrase in m. 25. In Sources 2 and, the movement ends in B-lat major; however, in Sources 4 through 9, the movement ends on a hal cadence in F major, the key o the inal movement. As with the second movement, the irst movement in Sources 4 through 9 concludes on a hal cadence in the key o the ollowing movement. It inishes on an F 7 since the second movement is in B-lat major. The overall structure o the irst 5 Burgess, A Portrait o Gustave Vogt,

26 movement is in sonata-allegro orm; however, it combines this orm with the Baroque ritornello orm. Lehrer actually labels the orm as Ritornello-Sonata Form. See Table 1 or the ormal divisions o this movement. The oening tutti is used as a ritornello section between eisodes in the solo oboe. As irst seen in m. 1, the hal-note ollowed by a dotted quarter-note trill and two 1 th notes is a rhythmic moti that reoccurs in the accomaniment throughout the irst movement. It will be reerred to as the accomaniment moti. Theme 1 enters in m. 17 in the oboe art. It is sixteen measures in length and is divided into our our-bar hrases with the last hrase resolving on the downbeat o the ith measure and eliding with the accomaniment moti. The irst our bar hrase moves rom I to V. The second hrase moves rom V back to I. The third hrase moves decetively rom I to vi, and the inal hrase moves rom V 7 /IV to I and ends on a erect authentic cadence. Already evident in theme 1 is Vogt s use o large leas, leas o one octave or more. To oen the irst our-bar hrase in m. 17, Vogt leas down one octave. The music leas down a erect twelth to begin the second our-bar hrase in m. 21. Measures 29 and 0 each contain a lea a erect iteenth. Most oboe melodies u until this oint were either scalar or areggiated. The large leas in this iece are unusual because the oboe generally does not lend itsel to making these large leas, which occur mostly in the irst movement. Large intervals were diicult to lay on the oboe artly because the octave key had not yet been incororated into the oboe s design. As the uer range o the oboe s tessitura was required with more requency during the Romantic era, instrument builders exerimented Lehrer,

27 with narrower bores, changes in tone-hole dimensions and lacement, and octave or seaker keys to hel acilitate the higher register. The melodic writing in the second and third movements is much more tyically idiomatic o the oboe. Ater a shortened version o the oening ritornello is heard to reinorce the tonic key o F major, the oboe begins the transition in m. 7. The transition is in three arts. Part 1 is a our-bar hrase tonicizing C major, the key o the ucoming second theme. Part 2 is a ourteen-bar hrase. The German augmented sixth chord in m. 54 resolves to a G major triad in m. 55 to create a hal cadence in C major. This cadence is very similar to the one ound in mm. 22 o the second movement. The transition concludes with a seven-bar hrase in the accomaniment that resolves in a erect authentic cadence in C major in mm. 1 and 2. The accomaniment moti aears in an altered orm in mm. 55 and 57. Beginning in m. 2, theme 2 elides with the end o the transition and is thirty-two measures. It consists o our eight-bar hrases. The irst eight-bar hrase ends in an imerect authentic cadence in the new tonic o C major, which is the dominant o the tonic F major. The second eight-bar hrase ends on a hal cadence. The third hrase o theme 2 is a reeat o its irst hrase with the accomaniment laying the irst our measures. The ourth eight-bar hrase is a reeat o theme 2 s second hrase; however, instead o moving to the dominant, it concludes with a erect authentic cadence in C major. The closing section o the exosition is twenty-our bars long. It is in two arts and concludes with a erect authentic cadence in C major. Containing the irst cadential trill o the iece, this cadence signals the conclusion o the exosition. Part 1 o the 21

28 closing section is an eight-bar hrase that consists o a our-bar hrase, layed orte, and its reeat layed iano. Part 1 is elided into art 2, which is a longer ourteen-bar hrase ending with the cadential trill. Several large intervals, including diminished ourteenths and diminished thirteenths, are incororated into the melodic line. The resolution o the exosition is elided with the develoment, which oens with the accomaniment moti rom the beginning o the iece. It then roceeds with a variation on the oening material. This section lasts or sixteen measures as it does in the beginning. The oboe then reenters in m. 14 with a variation on theme 1. While it is not melodically the same, mm ollow the same harmonic rogression as the our our-bar hrases o theme 1 rom the exosition. Eisode IV ends with a erect authentic cadence in C major and the second cadential trill in the movement. The accomaniment moti then returns. It corresonds to the same our bars in the exosition and serves to reinorce the key, this time in C major. The retransition begins in m. 155 and ends in m The irst eleven measures, , modulate u a minor third to a erect authentic cadence in E-lat major in mm. 14 and 15. The accomaniment reinorces E-lat major or one bar beore the oboe reenters with a variation on the irst our measures o theme 2 beginning in m. 1. E-lat major is shortlived beore the music shits back to C major in m. 170 or a reeat o the irst our measures o theme 2 in the new key. Instead o resolving in C major the resolution o this hrase begins a modulation to D minor in m The next art o the develoment remains in D minor, the relative minor to F major. The hrase beginning with the three 8 th note ickus to m. 191 modulates back to F major or the recaitulation. The dominant edal, C begins in m

29 Measure 198 begins the recaitulation with the entrance o theme 2 in F major. It is unusual that theme 1 is never heard in the recaitulation, even in the earliest version o the iece. Vogt may have omitted it or length reasons. The movement is rather long by oboe standards. Vogt later wrote two dierent cuts or this movement because o its length. Sources 4 and 5 ollow the same cut, which deletes slightly more o the develoment than the cut ound in Sources through 9. Both versions cut art o the develoment and all o the recaitulation. Another ossibility or omitting theme 1 is that the beginning o the develoment is similar to the oening o the iece; thereore, Vogt may not have elt the need to restate theme 1 here. Theme 2 is resented in a shortened version in the recaitulation, sixteen bars as oosed to thirty-two in the exosition. The coda begins in m. 214 and is twenty-our measures like the closing section o the recaitulation. The melodic material in the coda closely ollows that o the closing section. Vogt has reworked the material to it in the tonic key o F major and has shortened the oboe melody slightly. The last our measures o the movement is a tutti section that rovides a inal return o the accomaniment moti. The last our bars are similar to the oening our measures. They have only been rewritten to accommodate the inal erect authentic cadence in F major or the end o the movement. 2

30 Table 1: Movement I, Sonata-Allegro Form Section Measures Tonality Exosition F major C major Ritornello I 1 1 F major Eisode I 17 F major Theme 1 17 F major Ritornello II F major Transition 7 1 F major C major Eisode II 7 55 F major C major Ritornello III 55 1 C minor C major Eisode III C major Theme C major Closing Section C major Develoment C major, E-lat major, D minor Ritornello IV C major Eisode IV C major Ritornello V C major Eisode V C major, E-lat major, D minor Retransition C major, E-lat major, D minor Recaitulation F major Theme F major Coda F major Ritornello VI F major Although titled Rondo Pastorale or Rondo montagnard, the third movement is not a rondo. The third movement is in sonata-allegro orm because theme 1 does not return a third time and because o the melodic arallels between transitions in the exosition and recaitulation as well as the closing section and coda. Lehrer labels it as a rondo in his dissertation but does not oer an analysis o this movement. It is ossible that this movement was titled rondo because the last movement o a concerto was exected to be a rondo at that time. Themes 1 and 2 are also both rondo-like in character. 24

31 Theme 1 lasts rom mm. 1 5 and is constructed in ternary orm, aba 1. The irst art o theme 1 clearly cadences in the dominant key o C major on the downbeat o m. 2. The next ten measures, b, serve as a transition back to F major or the return o the oening theme, a 1, which remains in F major. A 1 juxtaoses the oening horn call with the oening oboe melody. The orchestra reairms the key o F major beore the oboe enters to begin the transition to C major or theme 2. Theme 2 is in two arts and begins in m. 91. The irst art o theme 2 contains two our-bar hrases and one seven-bar hrase. It ends in m The second art begins with the same our-bar hrase as the irst art; however, the second hrase is extended to six measures and briely tonicizes A-lat major beore returning to C major. Another our-bar hrase ends with a cadence in C major and elides with the beginning o the closing section, which is in one art. This movement does not contain a traditional develoment section in the sense that it does not develo any themes. The melodic material o the develoment and retransition are unrelated to anything reviously heard in the iece. A dominant edal that sets u the return to F major is heard throughout much o these two sections. The develoment cadences in C major in m The oboe entrance in the icku to m. 151 begins the retransition back to F major or the recaitulation. Unlike the irst movement, the recaitulation o this movement begins with the return o theme 1 in m. 14. Theme 1 returns in shortened orm and ends in m Instead o hearing the ull ternary orm o theme 1 rom the exosition, only the a section is heard; however, it was rewritten to end in F major rather than C major. The retransition begins in D minor beore modulating to B-lat major by m. 20. The 25

32 retransition is in six arts. Part 1 is a our-measure hrase that cadences in D minor in m The other arts contain six, eight, eight, our, eight, and our measures. The sixth art o the retransition is a tutti section that cadences in B-lat major in m. 20 or the beginning o theme 2. The recaitulation o theme 2 is unusual because it begins in B-lat major, the subdominant, instead o the tonic F major. An E-natural occurs on beat our o m. 21, which suggests that theme 2 is beginning to modulate to the exected key o F major in its irst measure. As in the exosition, the recaitulation o theme 2 is in two arts. The second art begins in m. 242 and tonicizes D-lat major, which carries the same major third relationshi to F major as C and A-lat major rom the exosition. The end o theme 2 elides with the beginning o the coda in m The coda is in ive arts. Part 1 modulates to F minor in m. 29. The second art is a our-bar hrase in F minor. The melodic material comes rom mm. 22. Part modulates back to F major with a erect authentic cadence in m. 28. The inal two arts reinorce the tonic key. 2

33 Table 2: Movement III, Sonata-Allegro Form Section Measures Tonality Exosition 1 18 F major C major Theme F major C major F major Transition 90 F major C major Theme C major (A-lat major) Closing Section C major Develoment C major F major Retransition C major F major Recaitulation F major Theme F major Transition D minor B-lat major (D-lat major) Theme B-lat major F major Coda F major According to Lehrer, Vogt s style moves rom the Classical Style Tye I to the French Romantic Style through the various versions o this iece. 7 These styles have more to do with the movement structure o the iece than Vogt s actual comositional style. The Classical Style Tye I reers to a concerto in three searate movements in the tyical ast slow ast order, 8 and the French Romantic Style reers to a concerto in three ast slow ast movements in which all three movements are linked. 9 While this is useul or dierentiating between the various versions o the overall orm o the iece, these designations do not rovide much insight into Vogt s comositional style or the iece. 7 Lehrer, Ibid., Ibid., 9. 27

34 Vogt s comositional style in his 4 ème Solo de Concert exhibits a coule o unusual tendencies or the time eriod. The irst is his odd treatment o orm. The irst movement is a combination o ritornello and sonata-allegro orm with the irst theme omitted rom the recaitulation. It is unusual or the second movement to be throughcomosed. The third movement would normally be a rondo. It is in sonata-allegro orm instead, and the orm does not contain a tyical develoment section. The orm o the second movement o Source 1 is a combination o rondo and theme and variations with a slow section in lace o the exected return o the B section. A second unusual tendency is his tonicization o distantly related keys in all three movements. They tend to be related by thirds. While he does modulate to the more tyical closely related keys or the major ormal sections, Vogt seems to use the distant tonicizations to add variety and an unexected element to longer sections. A comositional technique that Vogt uses that is atyical o oboe writing is the use o large leas, which are ound esecially in the irst movement. Another characteristic o Vogt s comositional style is his use o delayed hrase resolutions. He also oten reeats one, two, or our-measure assages. Editorial Decisions My irst major decision was the title o the iece. The urose o a concerto is dierent rom the urose o a solo de concert. The concerto was a showiece or a master oboist, and the solo de concert was a teaching tool or students. The concerto needs less detail or the master, who can create his own articulations, ornamentations and 28

35 dynamics while the solo de concert needs more detail or the student who is learning how to do these things; thereore, the solo de concert rovides more insight into the actual erormance ractices o the time related to articulation, dynamics, and ornamentation. The second major decision I had to make was on the issue o cuts. In his note or Source 4, Auguste Bruyant states that he has cut arts o the inale because it is too long and tiring ( tro atiguant et un eu long ). He also makes reerence to using an old ( ancien ) inale, but it is not clear to what version he is reerring. Because I wanted to reserve what Vogt would have layed, I decided to restore the cuts to the irst and third movements ound in Sources 4 9. The irst and third movements are in sonata-allegro orm, which means they both have an exosition, develoment, and recaitulation. The irst thing the cuts do in Sources 4 9 is turn the irst movement, as well as the second movement, into ragments, which is a Romantic ideal. Movements one and two end on the dominant o the next movement, so the irst movement ends on an F dominant seventh chord and the second movement ends on a C dominant seventh chord. These movements no longer have a clear ending on the tonic chord, and we can see the transition rom Classicism to Romanticism. In the irst movement, the entire recaitulation is cut. In the third movement, the transition, second theme, and closing section rom the exosition, the develoment, and the irst theme rom the recaitulation are cut. Third, I needed to create a iano reduction that corresonded to the comlete orms o the outer movements. In the margins o Source 4, Vogt mentions the iano reduction, which suggests he intended or an oboe and iano version to exist in addition to the orchestral version. Bruyant s note on the cover o Source 4 also mentions a iano 29

36 reduction that he claims was aroved by Vogt ( L acc t de Piano que j ai tiré de la artition a été arouvé ar mon maître ). 40 I mostly used the reduction rom Sources and 8. I used the uncut orchestral score, Source, to make my own iano reduction or the sections that were cut rom Sources and 8. Finally, I made decisions regarding articulation, dynamics, and ornamentation. The irst thing to take into account when making individual editorial decisions is the erormance ractice o the time; however, there is little inormation regarding seciic wind articulation and ornamentation issues. I the erormance ractice cannot be determined, the next ste is to ind a majority in the nine sources. While a majority does not necessarily make that version authoritative, it rovides a starting oint or determining authority. A version aearing in a majority o sources is more likely to signiy authority than a deviant. While this is certainly not always the case, I used the version o majority when resolving discreancies containing two or more viable versions. I there is no clear majority or the issue is determined to be oen to interretation based on erormance ractice, the sources must then be rioritized. In general the manuscrit sources, 2 5, have been given a higher riority than the ublished sources, 1 and 9. O the manuscrit sources, Sources 2 and are generally given riority over Sources 4 and 5 because o the decision to resent this iece in its uncut version; however, Sources 4 and 5, and in some cases the ublished sources, are given recedence i they contain a seciic iece o inormation, such as dynamics, not ound in the other sources. Inormed judgment based on erormance arameters becomes a deciding actor in the cases or which there is no clear solution. 40 Burgess, A Portrait o Gustave Vogt,

37 Articulation in Vogt s 4 ème Solo de Concert According to Barret, articulation is to music what accent is to seech; it renders the laying clear and intelligible, and it is by articulation that music is made to exress subject and assion, without which it can never be understood. 41 In Classical and Romantic Perormance Practice: , Clive Brown restates Barret s statement on articulation. The imortance that comosers attached to dierentiated articulation, or the intended exression o their ideas, is indicated by the early introduction and adotion o slurs and, somewhat later, articulation marks in instrumental music, where they sulied the unction that was naturally rovided by the words in vocal music. 42 The Harvard Dictionary o Music deines articulation as the characteristics o attack and decay o single tones or grous o tones and the means by which these characteristics are roduced. 4 The sound o the oboe is roduced by the vibration o its double reed. This is achieved by utting the reed in the mouth and blowing through it. The tongue acts as a valve to start and sto the air lowing through the reed. When the tongue is laced on the ti o the reed, it stos the reed s vibration. When the tongue is removed rom the reed, it allows air to low through the reed so that the reed may vibrate. 41 A. M. R. Barret, A Comlete Method or the Oboe Comrising All the New Fingerings, New Tables o Shakes, Scales, Exercises, and with an Exlicit Method o Reed Making (New York: Boosey and Hawkes, 1900), Clive Brown, Classical and Romantic Perorming Practice: (New York: Oxord University Press, 1999), Don Michael Randel, The Harvard Dictionary o Music, 4 th ed. (Cambridge, MA: Belkna Press, 200) 0. 1

38 There are three arts to the articulation o any note. The irst art is the beginning o the note as the tongue is removed rom the reed. The second art is the end o the note as the tongue is relaced on the ti o the reed. The third art is the sace between the end o the note and the beginning o the next note. Treatises on woodwind laying rom the Baroque era deal with articulation syllables rather than articulation atterns. According to the French woodwind layer Jacques Hotteterre, dierent syllables were used to make laying more leasant, and to avoid too much uniormity in tonguing... For examle, two main tongue strokes are used: tu and ru. 44 The syllable tu would create a harder and more distinct beginning to the note that would be used or laying a brilliant staccato assage. The syllable ru would create a soter and less distinct beginning to the note that would be used in a slow movement where a more legato sound is needed. According to Quantz, the tongue is the means by which we give animation to the execution o the notes uon the lute. It is indisensable or musical articulation, and serves the same urose as the bow-stroke uon the violin. 45 Quantz uses the syllables ti and di in lace o Hotteterre s tu and ru. The French would have used Hotteterre s syllables. By Vogt s time, the use o syllables to exress the degrees o articulation had allen out o avor. In act Vogt only used the syllable tu; however, he does note that, as each note must start sotly, the tongue stroke has to be less orceul than when beginning orte. 4 In his method, Vogt exlains that 44 Jacques-Martin Hotteterre, Princiles o the Flute, Recorder, and Oboe, trans. Paul Marshall Douglas (New York: Dover Publications, 198),. 45 Johann Joachim Quantz, On Playing the Flute, 2 nd ed., trans. Edward R. Reilly (New York: Schirmer Books, 1985), Burgess, A Portrait o Gustave Vogt, 8. 2

39 there are only three tyes o articulation: 1) legato, 2) staccato or detached, and ) detached with a slur above... The mixture o these three styles roduces much variety and can save a iece o music rom monotony. For examle, a assage which is reeated several times can be articulated dierently to give it a new shae each time it is heard. 47 There are a number o reeated assages throughout Vogt s 4 ème Solo de Concert. Within each individual source, the articulation is rarely changed on the reeat o a assage. Vogt more oten varies a reeated assage with dierent ornamentation or dynamics. Unortunately, Vogt s method does not show how he would have mixed the three tyes o articulation because the late that would have shown these examles is not extant. 48 Music notation gradually became more seciic as ublication became more eicient and demand among amateur musicians increased. Comosers started including more seciic instructions that were geared to amateurs; roessional musicians would have known the conventions regarding things like articulation, while amateur musicians may not have known these conventions. Still, many comosers and coyists were evidently casual about indicating slurs in laces where they elt them to be obvious; in the case o very ast notes, esecially, they seem oten to have marked them only hahazardly or omitted them altogether. 49 In cases where assages were let unmarked, the erormer still had the reedom to tailor the music to his individual tastes. In some cases it is clear that, according to more or less well-understood conventions, unmarked notes were actually to be either slurred or staccato at the will o the erormer. In solo arts it was oten taken or 47 Burgess, A Portrait o Gustave Vogt, Ibid., Brown, 179.

40 granted (esecially in the eighteenth century and early nineteenth century) that the erormer should decide how the music was to be hrased and articulated. 50 This is seen in several assages, usually in transitions, in Sources 1 and 2. See the Critical Notes section or a detailed discussion o the articulation issues throughout the iece. Ornamentation in Vogt s 4 ème Solo de Concert Beore discussing ornamentation in Vogt s 4 ème Solo de Concert, background inormation on terminology must be rovided. According to Frederick Neumann, in music, as well as in the visual arts, an ornament is generally conceived as an addition to structure, in the sense that structure embodies what is o the artistic or... o the exressive essence. An ornament serves to set o the structural elements to greater aesthetic advantage, most tyically by imarting to them more grace, elegance, smoothness, or greater variety. 51 Notes that are art o the structure o a melody give that melody its character, and notes that are not art o the melody s structure serve to clariy and enhance the character. A melody s underlying harmony serves as the rimary guide to searate the ornamental notes rom the notes essential to the melody s structure. In ractice, however, the two elements will oten combine into mixtures that dey searation, as is the case when lorid designs that could be ure decoration become, to varying degrees, art 50 Brown, Frederick Neumann, Ornamentation in Baroque and Post-Baroque Music (Princeton: Princeton University Press, 198),. 4

41 o the exressive essence. 52 Searating the chord tones rom the non-chord tones then becomes a starting oint in determining how Vogt emloys ornamentation. While some ornaments involve areggiation and many include chord tones, the structural notes are generally chord tones, and the ornamental notes are generally nonchord tones. The ollowing are the basic tyes o melodic non-chord tones: assing tones, neighbor tones, aoggiaturas, escae tones, susensions, retardations, and anticiations. A assing tone connects by ste two dierent chord tones. The melodic line o the two chord tones can either ascend or descend. A neighbor tone connects by ste two chord tones that are the same. Neighbor tones can either be above (uer neighbor) or below (lower neighbor) the chord tone. An aoggiatura connects two chord tones by leaving the irst chord tone by lea and resolving to the second chord tone by ste. An escae tone connects two chord tones by leaving the irst chord tone by ste and resolving to the second chord tone by lea. Susensions, retardations, and anticiations are closely related to the harmonic changes underneath the melody. Susensions and retardations are chord tones rom the revious harmony that are held into the new harmony in which they are now non-chord tones. Susensions resolve down by ste, and retardations resolve u by ste to a chord tone in the new harmony. Anticiations, as the name imlies, anticiate a change in harmony by moving to a chord tone o the next chord rior to the harmonic change. The note that is anticiated is oten reeated to reinorce the occurring harmonic change. See Aendix 2 or examles o these non-chord tones. 52 Neumann,. 5

42 Several questions on the ornamentation o a text arise. Did the ractice o ree ornamentation continue through Vogt s time? I so, how was the ornamentation imlemented? Did they use ixed ornaments, ree ornaments, or a combination o both? Where did the ornaments occur? According to Brown, the ractice o ornamentation continued throughout the nineteenth-century. In act, during the irst hal o the eriod [rom 1750 to 1900] the embellishment and elaboration o all kinds o music by erormers was endemic and, in many resects, undamental to the aesthetic exerience o comoser, erormer, and listener alike. 5 The later manuscrit sources are much more seciic than the earlier manuscrits in terms o articulation, dynamics, and the addition o both ree and ixed ornaments. Some general tendencies Vogt shows in his ornamentation ractice include the ollowing: Vogt oten inds ways with his ornamentation to delay the arrival o chord tones to weaker beats or a weaker art o the beat. Vogt uses various non chord tones, ixed ornaments, and areggios to ornament his melodies. Vogt likes to use chromaticism when aroaching a chord tone rom below. Chromaticism occurs less requently when aroaching rom above. See Aendixes and 4 or a detailed discussion o Vogt s ornamentation o theme 1 rom the third movement. 5 Brown, 415.

43 Conclusions During the nineteenth-century, a wide variety o articulation atterns are ound. 54 Vogt rarely emloys the two legatos two staccatos articulation that is thought o as the dominating articulation attern o Classical era wind laying, which suggests that Vogt was moving away rom Classical conventions and toward deining a Romantic style o wind articulation. Vogt s articulations seem to ollow the contour o the melodic line rather than any set articulation atterns. As a very general guideline, Vogt slurs stewise motion and tongues leas. The only attern that recurs with some requency in scalar assages is the reverse slur, in which the second and ourth 1 th notes are tongued and the irst and third 1 th notes are slurred. See beats three and our o the irst movement s m. 27 or an examle o this articulation. Where does the erormer have otions in articulation? In sections o assagework, long strings o 1 th notes or trilets, Vogt oten omits articulation markings in the earlier versions o the work. Passagework sections are usually scalar or areggiated igures idiomatic to the seciic solo instrument, and they usually occur in the transitions between themes. To a lesser extent, soloists have control over the articulation o themes as well; however, any articulation changes must not destroy the intended character o the assage. For dynamics, Source 5 rovides the most detail in the nuances o hrasing. As a general rule, Vogt s crescendos ollow the line as it goes u, and his decrescendos ollow the line as it goes down. Although it is not always written in the oboe art, Vogt usually 54 Frederick Neumann, Perormance Practices o the Seventeenth and Eighteenth Centuries (New York: Schirmer Books, 199),

44 lays reeated igures with an echo eect. The irst time the igure is heard it is layed orte, and then it is layed iano on its immediate reeat. The ractice o ree ornamentation is oten viewed today as disaearing ater the Baroque era. However, a quote rom Berlioz about the irst oboist in Dresden suggests that ornamentation ractices continued at least through the early to middle art o the 19 th century. The irst oboe has a ine tone, but an old-ashioned style, and an irritating mania or inserting trills and grace-notes which outraged my deeest convictions. He indulged in some articularly disgusting embellishments at the beginning o the Scène aux chams. Berlioz roceeded to say that the oboist romised not to do it again ater Berlioz chastised him about it in rehearsal. But at the concert he was back to his old tricks. 55 Ensemble laying allows a erormer much less reedom than solo laying because everyone adding their own ree ornaments would destroy the unity o the ensemble. The reedom that the Dresden oboist alied to ensemble laying imlies that musicians still thought comosition as a collaborative rocess between the comoser and the erormer. I erormers were taking liberties in a symhony, it is likely that they would add even more ornamentation to a solo concerto such as Vogt s 4 ème Solo de Concert. The laces where ornamentation may be added are in the oosite laces o where articulations may be changed. Themes, esecially on a reeat, are the rimary laces to add ree ornaments. Other laces are at cadences and hrase endings. To a lesser extent, ixed ornaments can be added in sections o assagework. The assagework sections are oten comlicated enough without the need to add even more notes. Seeing how Vogt 55 Burgess and Haynes, 12 8

45 would have ornamented, articulated, and incororated dynamics into the later, more detailed versions o his 4 ème Solo de Concert rovides the erormer with a model o how these ractices can be alied to other solo ieces o the Classical and Romantic eras. The quote, No edition is deinitive, and, erhas more imortant, the truth is simly not ascertainable, 5 means that as erormers, we need to evaluate the music we lay. As soloists we are not restricted by the black dots on the age, and we can make historically inormed choices to hel us better exress ourselves and the intent o the comoser. 5 James Grier, The Critical Editing o Music: History, Method, and Practice (Cambridge: Cambridge University Press, 199),

46 4 ème Solo de Concert Gustave Vogt Allegro non troo 11 1 m 40

47 2 22 sz 27 m 41

48 5 9 cresc

49 cresc rall. Dolce 4

50

51 cresc. rall. un oco suivez 95 Temo 1 Temo 1 45

52 m 104 [cresc...] sz m 107 4

53 [cresc.] [] cresc

54 Maestoso

55 m 150 cresc. 15 un oco rall. 12 rall. suivez 49

56 m

57 [cresc.] 197 [dim.] [rall.] Dolce 51

58 cresc. rall. un oco Temo 1 suivez Temo

59 m 224 [cresc...] [] m 228 5

60 15 21 [] [cresc.] cresc. 24 [] 54

61 Adagio amoroso 10 oco rit. suivez A Temo 12 55

62 [] 27 5

63 1 4 [] 8 57

64 4 40 smorz ritard 58

65 7 Rondo Montagnard Allegretto rit

66 rit. Temo 1 suivez Temo cresc... cresc... 0

67 50 [cresc.] 54 [] 0 [energico] 1

68

69

70 [] [cresc...] cresc. 4

71 7 12 [] [] [cresc.] cresc. 17 []

72 rit []

73 energico 7

74 dolce assai rall. rall. 8

75 m 9

76 sz 22 [] 70

77 1 2 suivez 271 Temo 1 [un oco rall] Temo

78 [cresc] 290 [] 29 [cresc.] [] 72

79 Oboe Allegro non troo 20 4 ème Solo de Concert Gustave Vogt

80 cresc Dolce cresc... Oboe

81 87 Oboe cresc rall. un oco 100 Temo [cresc...] 115 [cresc.] [] V.S. 75

82 Maestoso Oboe un oco rall rall. 7

83 Oboe Dolce [cresc.] [dim.] [rall.] Temo 1 cresc. rall. un oco V.S. 77

84 222 Oboe 225 [] [cresc...] [] [cresc.] [] 78

85 Oboe Adagio amoroso 7 10 A Temo 12 oco rit [] V.S. 79

86 2 [] 7 Oboe 9 40 smorz ritard 80

87 Oboe 8 Allegretto Rondo Montagnard rit. Temo 1 cresc... V.S. 81

88 2 5 7 [cresc.] [] 71 Oboe [energico]

89 11 Oboe [] [] 15 [] [] [cresc...] [cresc.]

90 [] Oboe energico dolce assai rall. 84

91 21 Oboe [] Temo 1 27 [un oco rall] V.S. 85

92 279 Oboe [cresc] [cresc.] [] [] 8

93 Source 1 Source 2 Source Source 4 Source 5 Source Source 7 Source 8 Source 9 Allegro Maestoso Allegro non troo Allegro non troo Allegro non troo Allegro non troo Allegro non troo Allegro non troo Allegro non troo Allegro non troo Comarison o Sources: Movement 1 m m m

94

95 cresc cresc Dolce Dolce Dolce Dolce dolce a oco rallentando rallentando un oco dolce a oco rallentando rallentando un oco sz 7 8 sz 9 89

96 sz sz cresc cresc 90

97 A Temo rall. un oco rall. un oco A Temo rall. un oco rall. un oco A Temo A Temo

98 cresc... cresc... cresc... cresc

99 maestoso Marcato maestoso Marcato ressez. ressez. ressez. ressez. 9

100 a iacere a iacere un oco rall. un oco rall. un oco rall. un oco rall ralent. ralent. iu adagio iu adagio rall. rall. rall. rall. 94

101 un oco ritard un oco ritard un oco rall un oco rall 95

102 Dolce Dolce

103

104

105 Source 1 Source 2 Source Source 4 Source 5 Source Source 7 Source 8 Source 9 Comarison o Sources: Movement 2 Adagio Adagio Adagio Adagio Adagio Molto Adagio: Largo amoroso Adagio: Largo e amoroso Adagio: Largo amoroso Adagio: Largo e amoroso oco rit. 1st Temo oco rit. oco rit. 1st Temo 1st Temo oco rit. 1st Temo 99

106 sz sz sz sz sz sz sz sz sz 100

107 ad libitum smorz rall ritard oco a oco ritard smorz ritard smorz ritard smorz ritard smorz ritard 101

108 Comarison o Sources: Movement Source 2 Source Source 4 Source 5 Source Source 7 Source 8 Source 9 Rondo Pastorale: Allegretto Rondo Pastorale: Allegretto Rondo Montagnard Rondo Montagnard: Allegretto Rondo Montagnard: Allegro Rondo Montagnard: Final Rondo Montagnard: Allegro Rondo Montagnard: Final

109

110 ralent. rall rall ritard ritard Temo 1 sz Temo 1 ritard Temo 1 sz Temo 1 sz sz sz sz cresc... sz cresc

111

112

113

114 sz sz sz sz

115

116

117 energico energico energico energico Dolce assai Dolce assai 111

118 ralent. ralent rall Temo Temo 1 rall rall Temo Temo 1 rall sz rall rall sz rall rall 112

119

120 sz 114

121 sz sz sz

122 15 2 2a 2a sz sz 2a

123 1 2a un oco rall un oco rall un oco rall un oco rall Temo 1 sz sz Temo 1 Temo 1 Temo 1 2a sz 117

124 17 2a

125

126 Critical Notes What ollows is a measure-by-measure discussion o the editorial decisions or the oboe art in Vogt s 4 ème Solo de Concert. Seciic issues will be addressed within this discussion. The blank measures within a source indicate that those measures do not exist within that source. The measure numbers relect the measure numbers in the comarison scores. The ull tuttis are not taken into account in the measure numbering o the comarison score. The oboe s lowest C, middle C, is reerred to as C 1. Movement 1: Allegro non troo Sources 2 9 title this movement Allegro non troo. Source 1, titled Allegro Maestoso, is the only deviant. The title o the majority will be used. Measure 2 An 8 th note icku as in all our manuscrit sources, 2 5, will be used instead o the 1 th note icku ound in Sources 9. Source 1 does not include a icku. Forte will be used as the oening dynamic in the oboe art. Only Source 2 has a dierent dynamic, iano. Playing theme 1 orte gives it a contrasting character to the dolce o theme

127 Measure Source 1 rovides a more lorid ornament or this measure; however, the conclusion o the Source 1 s ornament in m. 4 is awkward to lay. All other sources are in agreement or the ornamentation o this measure; thereore, the majority will be used. The entire melodic gesture in beats three and our will be slurred as in the majority, Sources 4 9. Measure 4 Seven o the nine sources ornament the hal-note A 2 on beat three with a trill. Only Sources 1 and 2 do not include the trill. Several questions about trills arise over the course o the iece. Do trills begin on the main note or the uer auxiliary? According to Clive Brown, during the nineteenth century an increasing number o musicians, including comosers o imortance such as Hummel and Sohr, stated that trills would normally begin with the main note and that comosers who required an alternative beginning should indicate this. 57 There are various trills throughout the iece that begin on the uer auxiliary, which is indicated by an uer auxiliary grace-note directly receding the trilled note. The trill in this measure may rovide insight into Vogt s exectations on beginning trills. Brown later continues by quoting another nineteenth-century musician, the ianist Franklin Taylor, [who] noted in the irst edition o Grove s Dictionary that the trill beginning on the main note was the manner most shakes in modern music are 57 Brown,

128 executed. 58 Taylor suggests looking at how a comoser notates trills with a reix starting below the main note to determine how that comoser begins trills without a reix. The main note o the trill in this measure is A 2. Its reix contains three notes that are G-shar, A, and B-lat. According to Taylor, having the uer note B-lat as art o the reix means that the comoser generally begins trills on the main note unless otherwise notated. A two-note reix G-shar and A would have suggested that the comoser generally begins a trill on the uer auxiliary because a reetition o the main note would have broken the legato o the ornament. Brown s later comments turn this issue into somewhat o a moot oint. He states that whatever may have been the views and ractices o individual comosers, it seems certain that the majority o the erormers emloyed trills beginning rom the note above, the main note, or the note below, as it suited their musical urose. 59 This statement indicates that the erormer holds the inal authority on how to begin trills; however, this edition will adhere as closely to Vogt s intentions as ossible. Other questions involve the end o the trill. What was the erormance ractice regarding the trill ending? Should a Nachschlag be included even where none is indicated? According to Brown, many musicians seem to have avoured the amiliar turned ending as a rule: Reichardt, or instance, remarked: The trill oten has a turn [Nachschlag], which in orchestral arts is normally written out, but sometimes omitted. In this case one should see that at least every trill on a long note has a turn. 0 Brown oints out that violinist Joachim also irmly believed that in the vast majority o cases 58 Ibid., Brown, Ibid.,

129 trills should have a turn o some kind, whether it was indicated or not. 1 In this movement, the accomaniment has a reoccurring igure that includes a trill. In every case, the standard turn Nachschlag is written out as two 1 th notes. Because it seems that the erormance ractice was to add the standard turn Nachschlag to the end o long-note trills, they will be notated in the oboe art. I have elected to notate them as grace-notes because they are consistently written as such when included in the oboe arts o the sources. Measure 5 Sources 4 and 5 use a dierent melodic line rom the other sources. The majority will be used. The articulation or this measure will be taken rom Source. Slurring the last three 8 th notes hels carry the line into beat one o the next measure, which is the musical goal o this hrase. The accents rom Sources 1, 7, and 9 and the decrescendo rom Source 5 will be omitted because they would hinder the motion to the downbeat o the next measure. Measure Sources 2,, and 9 agree on articulation, including the accents on the irst 1 th note o beats one and two. The majority will be used. 1 Ibid.,

130 Measure 7 There is no need to add another orte in this measure as in Sources 9. It can be inerred rom the orte in m. 2. Aside rom Sources 1 and 2, all o the sources slur the interval rom G 2 to C 1, which is a erect 12 th. This slur is doable and will be ket; however, the slur may be omitted i the erormer is having diiculty executing it. In his method, Vogt imarts that there are some intervals which are imossible to slur on the oboe without risking accidents (see likewise Plate N o ). 2 Unortunately, the late is no longer extant. Vogt continues on to resent a method or tonguing these intervals lightly to imitate legato or cantabile hrases. Measure 7 is not art o a cantabile hrase, and the C 1 can be tongued without destroying the character o the melody. Measure 8 be omitted. The accent on beat our is not in any o the manuscrits in Vogt s hand and will Measure 9 I do not agree with either decrescendo ound in Sources 4 and 5. Similar to the irst our-bar hrase o the iece, this our-bar hrase oints to beat one o m. 10, its ourth measure. I reer the articulation rom Source 2, which will be used. The slur has been moved rom the B-lat trilet on beat three to the B-lat quarter-note on beat our. The shit o the slur achieves the same articulation as Source 2 but is slightly easier to 2 Burgess, A Portrait o Gustave Vogt,

131 read. All o the articulations ound in this measure are viable as none o them will destroy the character o the hrase. Measure 10 The version rom Sources 4 and 5 will be used or this measure. They are ossibly a written out version o the grace notes rom Sources 9 and are in Vogt s hand. The iano on the 8 th note icku is also in Vogt s hand. It gives the third hrase o theme 1 a sot dynamic in contrast to the other three hrases. Measure 11 In Sources and 4, the same articulation is ound in both the hands o Vogt and Bruyant. The same articulation is also ound in Sources 9; thereore, the majority will be used. Measure 12 The articulation rom Source will be used or this measure along with the turn over the 8 th note on the second hal o beat two rom Sources 7 and 9. The majority o the sources do not slur rom E 2 to D 2. The staccato articulation rom Source gives the trilets a light and cris eel and hels create contrast with the cantabile nature o theme 2. A trill on an 8 th note at the temo o this movement would be layed as a turn, so the turn symbol will be used. 125

132 Measure 14 The three-note Nachschlag comes rom a manuscrit source, Source 5, in Vogt s hand in addition to aearing in Sources 7 and 9; thereore, it will be ket. According to Brown, it seems unlikely that exerienced executants would have been greatly inhibited by the comoser s notation in varying the endings as they saw it, nor that comosers, at least until the second hal o the nineteenth century, would always have taken excetion to this ractice. This three-note Nachschlag is one examle o how the ending o a trill can be varied rom the standard turn ending. This measure also raises the question o whether the resolution o the trill should be tongued or slurred. In several instances mostly in the manuscrit sources, trills are written ollowed by their Nachschläge as grace-note without any articulation indication. See Source 5 in this measure. According to Neumann, a one-note grace that recedes its arent note will be called by the German generic term Vorschlag a grace which ollows its arent will be called Nachschlag; one that connects two equal arent notes will be called Zwischenschlag. The nature o the Nachschlag s connection to the revious note suggests that it should be slurred to the trill. The sources are inconsistent in the oboe art about slurring the resolution. In all o the cases in the accomaniment where a slur is ollowed by its Nachschläge written as 1 th notes, the resolution is articulated; thereore, the resolutions o slurs should be articulated unless otherwise noted. In this instance, the majority o the sources slur this resolution. The resolution in this measure is also similar to the one in m. 10, which was slurred; thereore, this resolution will be slurred. Neumann, Ornamentation,

133 Measure 15 The 1 th notes in Sources 9 are written out versions o how the grace notes rom Sources 1 and 2 should be erormed. They will be written out as in Sources 9 to give the erormer a clearer indication o how this ornament should be layed. The majority o the sources with 1 th notes only slur the irst two notes o the measure. Either articulation will work, and doing one or the other would not have a signiicant musical or technical imact. This edition will ollow the majority, which is ound in one o the manuscrit sources, Source. Measure 1 The articulation rom the majority, Sources and 9, will be used in this measure. The 1 th note igure on beats three and our is the same one ound on beats one and two in m.. The same articulation rom m. will be used here. Measure 17 This measure is only resent in Sources 4 (crossed out) and 5 and will be omitted. Measure 18 The melodic content o this measure will come rom the majority, Sources 2,, and 9. The articulation rom Source will be used. The accent on beat our in Source 2 brings u a coule o questions about accents. What eect did Vogt intend to achieve with accent symbols, and did he intend the same eect every time the symbol is used? The revious accents have been on notes that are tongued, which goes along with the 127

134 standard interretation that an accent is layed by giving the note a sharer than normal attack. According to Brown, some comosers indicated accents with the sorzando symbol. The sorzando occurs rarely in any o the sources or the oboe art; however, it does aear on occasion. It more commonly occurs in the accomaniment. That he makes use o the sorzando suggests that Vogt views the accent and sorzando as achieving two dierent eects, although it is ossible that he used the two symbols interchangeably. Brown reers to two tyes o accent, agogic and ercussive. The ercussive accent is the standard interretation o a sharer attack. The agogic accent consists artly in a certain emhatic lingering, whereby it aears as i one remains a moment longer on such an accented note than its seciic duration requires. 4 In this instance both o the accents in Source 2 are more likely to be agogic accents than ercussive accents. The accent on beat our will be omitted because having two agogic accents in this igure would disrut the low o the melodic line too much. It would be ossible to omit the accent on beat three instead, but it makes more musical sense to stress the stronger metrical beat o the two, which is beat three. Measure 19 The melody rom Source 2 will be used or this measure. The ending in Source 1 eels too abrut and signiicantly deviates rom the other sources. The sextulet in Sources 9 is a lashier ornament o the 1 th note line in Source 2. With the indicated rhythms, Source 2 also does a better job o leading to the downbeat o m. 20, which is the 4 Brown,

135 culmination o theme 1. The dotted 1 th note within the sextulet makes the rhythm awkward to lay as written; however, because this ornament aears seven o the nine sources, it will be included in an ossia measure. The articulation in Source 2 is ambiguous. The irst two beats o this measure contain the same melodic material in Sources 2 9. Vogt likely intends to have beats one and two slurred together because all o these sources slur the two beats; thereore, they will be slurred. Measure 21 The orte will be ket to create a dynamic contrast with the iano in m. 22. The orte is ound in three o the manuscrit sources as well as Sources 9. For some reason, Vogt did not eel the need to mark the articulation or beats one and two in Source 2. In a discussion on articulation in the 18 th century, Brown states that many comosers and coyists were evidently casual about indicating slurs in laces where they elt them to be obvious; in the case o very ast notes, esecially, they seem oten to have marked them only very hahazardly or omitted them altogether. 5 He continues to say that in the nineteenth century, while German comosers generally became much more meticulous in such matters, there were still some whose ractice was casual enough to rovoke doubts about the literalness o their notation. While it is ossible that the lack o articulation indicates that Vogt tongued all o the notes, it is more likely that Vogt viewed the articulation o this assage as unimortant to the overall eect o the music and could be executed at the whim o the erormer because all o the other sources contain seciic articulations. There are a 5 Brown, 179. Ibid.,

136 number o other laces where Vogt does not rovide a seciic articulation. These laces are only ound in Sources 1 and 2, the earliest versions o the iece. They generally occur in sections o ast assagework in the transitions. In this case, the articulation in Vogt s hand rom Sources 4 and 5 will be used. Rhythmically, beat our should be a dotted 8 th note ollowed by a 1 th note. Playing this igure with a 1 th notes rest as in Sources 9 halts the direction o this hrase rom continuing to its target on the downbeat o the next measure. The C will be used or this 1 th note since seven o the sources use it against two sources that have a D. Measure 22 The accent on beat one in Source 5 shows the direction o this hrase. The diminuendo to the resolution in Source 4 will hel set u the iano on the second hal o beat three. Sources 4 and 5 could be indicating the same thing. In seaking o the accent symbol, Brown states that among the most diicult to determine is the extent to which, in articular instances, it might be urely accentual, where it denotes merely diminuendo, or where it signiies a combination o both these things. 7 Measure 2 The sextulet ollowed by our 1 th notes in beats three and our o Sources 9 is a more elegant version o the ornaments ound in Sources 5. The 1 th notes on beat our are a comression o the 8 th notes, including the attached grace note, ound beginning on the second hal o beat three. The sextulet is a written out version o the 7 Brown,

137 turn. All o the articulations in Sources 4 9 are essentially the same because the G 2 on beat two must be rearticulated. There is no indication that it should be tied with the revious G even though the slur encomasses the entire measure in Sources 4 and 5. Measures The resolution, F 2 to E 2 in beat one, will be slurred as in mm. 14 and 22. Unlike Sources and 9, none o Vogt s manuscrits indicate a slur between these measures rom the G 2 on beat our o m. 24 to the C on beat one o m. 25. Thereore, the slur will not be used to ollow Vogt s manuscrits. The crescendo in Sources 5, 7, and 9 shows the direction o this igure to the G-shar on the downbeat o measure 2. This hrase will eventually have to crescendo to reach the orte in m. 28. All o the sources excet or Source 1, which shows no articulation markings, indicate that the trilets on beats and 4 o m. 25 are to be articulated using the articulated legato. Measure 2 All sources excet or Source 1, which contains no articulation markings in the entire measure, agree on the articulation o beats 1 and 2. All but Source 2 articulate the lea down a minor th rom A 2 to C-shar 2 on the irst and second thirds o beat three. The origin o the articulations in Sources 7 and 9 is unclear. The articulation rom Sources,, and 8 will be used. It goes with the majority o sources tonguing the lea and closely ollows Source 2. I agree with the crescendo at the end o the m.2 in Source 4 that leads to the orte in m. 28; however, it will be omitted in avor o a longer crescendo, indicated by cresc, beginning on beat three o m

138 Measure 27 By accenting the Gs on beats one and our in Sources 2 and, it seems Vogt is trying to highlight the dominant to tonic harmonic movement rom the G in this measure to the C in the next measure. These accents also line u with the accomaniment igure. This measure is in the middle o the transition section rom F major to C major or theme 2. To clearly accent the G on beat our, it must be tongued. The articulation or the trilets on beat our is ambiguous in Source 2; thereore, all three trilets will be slurred together as in Sources,, and 8. Measure 28 The accent rom Source on the third beat, C, will be retained. It could be layed as an agogic accent. It should not be erormed as a decrescendo because this hrase should stay at loud volume to create dynamic contrast when it reeats at iano beginning in m. 1. When erorming this iece, I continue the crescendo ast the orte at the beginning o the bar u the C major areggio to the C on beat three. According to the Barret method, unless dierently marked, it is a general rule that in ascending assages we should increase the tone, and decrease it in descending assages. 8 It seems likely that Barret would have learned this rule rom his teacher at the Paris Conservatory, Vogt, and Vogt s dynamic nuances usually ollow this rule. My dynamic interretation will not be included in this edition because it does not ollow any o the sources and because it makes musical sense to ut the orte at the beginning o the bar to set u the reeated echo. 8 Barret, 7. 12

139 The articulation rom Sources 2 and, tongue one and slur two, will be used or both grous o trilets on beats one and two. This articulation hels highlight the root o the areggio. I slur together both sets o trilets ound on beats three and our as in Sources, 4, 5,, and 8. The lack o articulation in Sources 1 and 2 indicates that the articulation o beats three and our can be let to the discretion o the erormer because o the added articulation markings in the later versions. Measure 29 The melodic material rom Source 1 will not be used. Excet or Source 1, the rest o the sources contain the same melodic material. The articulation rom the our manuscrit sources will be used. The manuscrit sources articulate the E 2 on the second third o beat three, while Sources through 9 slur rom the second third o beat two to the end o the bar. Measure 0 Because the trill ound in Sources 9 is included, the entire trilet comrising o beat 1 should be slurred. This articulation, minus the trill, is also ound in Bruyant s manuscrit, Source. The rhythm or articulations on beat our ound in Sources and through 9 will not be used. The articulation or beats two and three is unusual in that it creates a hemiola. Since all o the sources excet Source 1, which contains a dierent melody, are consistent in creating a hemiola eect, this eect must have been Vogt s intention, and the articulation will be used. 1

140 Measure 1 The 8 th notes on beat one in Sources 2 9 create a contrast to the long string o trilets that began in m. 2. This bar begins what is essentially a reeat o the revious our measures; thereore, the sot dynamic is one way to create contrast. The sextulets, a comressing o the C major areggio into one beat instead o two, ound in Sources 4 through 9 rovide rhythmic contrast or the reeated material. Short reeated igures such as mm are ound throughout this iece. One o its challenges is to lay the reeat o these igures in enough o a dierent and interesting way to kee the listener s attention. On beat two, the 8 th note ollowed by an 8 th rest rom Source 5 will be used instead o the quarter note ound in the other sources. This 8 th rest gives the erormer a chance to breath beore laying the next hrase. The iano rom Source and 9 will be used instead o the ianissimo in Sources 4 and 5. Measure 2 This measure is a reeat o m. 28. Sources 1 through kee the trilet igure, and the remaining sources change the two-beat rhythm into a quarter note ollowed by a sextulet areggio with the quarter note tied to the irst note in the grou o sextulets. Measure The later versions are consistent melodically. Source 1 is the only deviant and will not be used. The our manuscrits agree that the F 2 on the downbeat o the measure should be tongued. Melodically, this measure is the same as m. 29. For trilets on beats three and our, ive o the sources, numbers 2 and through 9, have dierent articulations 14

141 in this reeated measure; however, three o the our manuscrit sources do not have dierent articulations. In light o Vogt s comments on varying articulations in a reeat, a dierent articulation, ound in Source 2, will be used or this measure. Measure 4 Measure 4 matches m. 0. The only dierence between the two measures occurs on beat our. Each source consistently uses the same articulation and rhythm in both measures; thereore, this edition will be consistent, too. See m. 0. Measure 5 The articulation and breathing or this measure are the same as or m. 1. I disagree with the crescendos ound in Sources through 9. These crescendos are not ound in any o the manuscrit sources, which brings their validity into some question. It is more eective musically to save the crescendo until a coule o measures later. The sextulet igure in beat our is descending, so any crescendo here goes against the general dynamic rule. Measures 7 The accents on the C s are unnecessary. These notes are going to stick out without accents because they are in a higher register than the lower art o the melody. All o the sources agree on slurring together each air o low notes that ollows a C. I reer to begin the crescendo in m. 7 so I do not become too loud too soon; however, m. should build in intensity i not volume. Is this what Vogt was trying to indicate in 15

142 Source 5 by writing cresc in m. and indicating a crescendo with the symbol lines in m. 7? Measure 8 9 I reer to arrive at orte in this measure. The diminished harmony (the actual harmony is an A-lat German augmented sixth chord) outlined in the melody is unexected here. The tutti that ollows is in C minor instead o the exected C major. Source 1 and all o the manuscrit sources lace the trill and its resolution one octave higher (F-shar 2 and G 2 versus F-shar 1 and G 1 ) than the editions by Richault and Costallat. There is nothing in known existence written in the hand o either Vogt or Bruyant that indicates these two notes and their ornaments should be layed down an octave. By writing them u an octave, the oboe stays above the tessitura o the accomaniment (both iano and orchestral); thereore they will remain in the register o the manuscrit sources. The F-shar will be slurred into rom the F-natural in the revious measure to continue the idea o slurring the two lower notes together ound in mm. and 7. The melodic igure in Sources 4 and 5 outlines more o the harmony than the igures ound in the other sources. It also has a more interesting melodic shae and will be used. Measure 40 All o the sources excet or Source 1 are consistent in slurring the entire measure. It is not clear what Vogt means by rallentando un oco in Sources 9. This measure, the beginning o theme 2, is not a lace that a erormer would normally 1

143 rallentando. There is no rallentando indication in the manuscrit sources or Source 1. Perhas these instructions where meant to tell the erormer to lay this hrase with rubato or to lay it a bit slower than the revious material. Dolce, sweet, will be the only instruction used. It imlies iano and gives more indication as to what Vogt exected or the character o this hrase. Measure 41 The 1 th notes ound in Sources 9 are a written out version grace-note ornaments ound in Sources 2 5. Without the ornaments this measure would be the same melodically as the revious measure. The crescendo ound in Sources 1 and 5 will be omitted. This hrase should not remain static; however, i I were to include this crescendo, I would also want to include a decrescendo on the irst two beats o the measure. The same dynamics would also be added to the revious and next measures; however, these dynamic markings would have no concrete basis within the texts and will be omitted. Like in the revious measure, this measure will be slurred as eight o the nine sources indicate. Measure 42 The 1 th notes are again a written out version o the grace-notes. Again, eight o the nine sources indicate that this entire measure is to be slurred. The majority will be used. I do not agree with the diminuendo in Source 5. This hrase is moving toward the downbeat o the next measure, so this diminuendo will be omitted. 17

144 Measure 4 This measure will be written out as a quarter-note C-shar slurred to a quarternote D ollowed by a hal rest. This is the rhythm indicated by the hal-note and its grace-note in Sources 2 5. Sources 9 contain a hal-note C-shar with an accent resolving to a quarter-note D. Shortening the aoggiatura allows or a longer rest and more time to breathe. The accent over the C-shar shows the direction o the hrase; however, it will be omitted because there is no accent in any source in m. 47, which contains a similar resolution. All similar measures will be notated in this manner. Measure 45 Slurring the whole measure as in Sources 2 and or tonguing the C on the second 1 th note o beat two as in all other sources will not signiicantly eect the character o the hrase; however, slurring the entire measure would it a bit better with the dolce character o theme 2. There is no reason to set the C aart rom the other notes by articulating it. The trill on the third 1 th note o beat three adds an extra ornament to the line and will be ket. I like the crescendo in Sources and 8. It starts as the line begins its ascent and continues to the eak o that ascent in the next measure. The crescendo in Sources 7 and 9 begins beore the hrase begins to ascend. Measure 4 Sources 2 and are essentially the same. Source 2 has a hal-note on beats two and three while Source has a quarter-note on beat two tied to a quarter-note on beat three. The syncoation and accents ound in Sources 4 and 5 do not it the dolce 18

145 character o this theme. The hal-note rom Source 2 will be used. All o the sources excet Source 2 have a D-shar on the last 1 th note o beat our. Source 2 has a D- natural. The D-natural is a chord tone in the G7 harmony underneath the oboe. The D- shar anticiates the chromatic lower neighbor that delays the resolution to E-natural, the third o C major, in the next measure. The D-shar will be used because the majority o the sources agree and because Vogt wrote it in himsel in his later manuscrit versions. Measure 47 The quarter-notes on beats one and two in Sources 9 are a written out version o the hal-note and its grace-note in Sources 2 5. The quarter-notes will be used in this measure or consistency with similar measures. The majority o the sources slur to the downbeat o the next measure. The majority will be used. The C-shar on the second hal o beat three is only ound in Source 1. The rest have a C-natural, which will be used. Measures The majority o the sources slur through the downbeat o m. 48. I do not like the ornamentation ound in Sources 4 and 5 because the C tied through the downbeat o m. 49 sounds awkward and out o lace. The later editions by Richault and Costallat return to the original melody ound in the irst three sources. The accent on beat two ound in Sources 9 are out o character unless they are alied with extreme care and taste. The simlest orm o this melody will be used here since this is the irst time it is heard. The quarter-note on beat two will be slurred to the quarter-note on beat three in m. 48 to 19

146 enhance the cantabile quality o this hrase. The sorzando on the E-lat on the downbeat o m. 49 ound Sources and 8 and accent ound on the same E-lat in Sources 7 and 9 are also out o character. These markings are not ound in the manuscrit sources. Selling this note as E-lat rather than the D-shar ound in Source 1 its the A haldiminished harmony. Measure 50 The ornamentation in Source 5 is rhythmically awkward. This measure is the same melodically as m. 48 excet it is transosed u a third. Because it is not an exact reeat o m. 48 and I do not like the melodic ornamentation in Sources 4 and 5 or the rhythmic ornamentation in Sources 9, the simlest orm o this melody will be retained. See the comments on m. 48 or the articulation o this measure. Measures I do not like slurring over the entirety o these two measures i a breath is needed in the heat o erormance between the dotted hal-note F 2 and quarter-note E 2 in m. 52. The breath causes the quarter-note to act as a icku to m. 5. I this hrase can be layed to its conclusion in m. 55, I reer to slur the E 2 on beat our. The diminuendo in m. 52 ound in Sources 4, 7, and 9 hels make the breath sound more natural within the hrase. The crescendo in m. 51 gives the whole-note direction. The later manuscrit sources and the Richault and Costallat editions all have the F-shar in m. 51 slurred to the F-natural in m. 52. The majority will be ollowed. The melodic ornament, descending trilets, in Source 1 is interestingly laced here. When these two measures return on the 140

147 reeat o the second theme in mm. 4 and 5, Source 1 is the only version that is unornamented. Measures 5 54 These measures in Source 1 are dierent melodically rom the remainder o the sources because their unction is slightly dierent. Source 1 sets u the reeat o theme 2 one measure earlier than the other sources, and it uts the reeat in the oboe art rather than in the accomaniment. Source 1 will not be used because the other sources agree melodically and there is no accomaniment in existence or it. The crescendo in m. 5 o Sources 4 and 9 ollows the ascending line, and the decrescendo in m. 54 o Sources 9 ollows the descending line. These dynamics will be used. Tonguing the D on the downbeat o m. 54 hels highlight that note as the aex o this hrase. The majority o the sources slur each measure in its entirety. Measures Sources 2 9 agree on m. 55. Source 1 has the oboe reeating theme 2, and the remainder o the sources reeat theme 2 in the accomaniment to give the oboist a rare and valuable chance to rest. Measure 59 This measure begins the second hrase o theme 2. The manuscrit sources have the accomaniment lay the irst two hrases o theme 2, and the Richault and Costallat editions have the oboe reentering on the second hrase. In this edition, the oboe will 141

148 reenter on the second hrase o theme 2. The iano reduction is already available, and I reer the ornamentation o the Richault and Costallat editions. To be consistent with m. 44, this entire measure will be slurred. Measures 0 2 The ornamentation or these two measures is similar to a sketch ound in the margins o Source 2. Even though Source 2 has the oboe resting during these measures, I have included the sketch in the Source 2 sta. These measures corresond to mm The sketch shares more melodic similarities with mm. 0 2 than with mm There is no accent on beat one o m. 47; thereore, there should be no accent here. The melody ound in Sources 9 is more interesting than the sketch in Source 2. It eels natural to slur through the downbeat o m. 1 as in Sources 7, 9, and the Source 2 sketch. In m. 0, the dynamics in Sources and 8 do not match the dynamics in Sources 7 and 9. They will be omitted. Measures 5 See mm The ornamentation in Sources 4 and 5 is slightly dierent in mm. and 5 than the ornaments in mm. 48 and 50. Measures 49 and 4 both contain the same ornamentation. 142

149 Measures 7 These measures corresond to mm with the addition o trills to the two whole-notes. Sources 9 add a three-note Nachschlag, which will be used in this edition as an examle o how Vogt might have ended his trills. Measures 8 9 Measure 9 can be layed either with or without the rall. un oco. I do not agree with any o the diminuendos in these measures. These measures are moving toward the end o the second theme and the beginning o the closing section in m. 70. In all versions, the closing section begins with a dynamic o at least orte; thereore, it makes sense to crescendo through these two measures as in Sources 7 and 9. I reer the ornamentation rom Sources 9, which will be used. Measure 70 Sources 1 do not have a measure o rest; however, sace is needed here or the oboist to breathe. This is the irst instance where the heavier wood o the new keyed oboes comes into lay. The next section would be almost imossible to lay on a modern oboe without the inserted measure o rest unless it is circular breathed. The measure o rest will be ket to allow or an easier erormance o the next section. Although the A Temo robably belongs with the accomaniment igure in m. 70 as in Sources and 8, it will be laced on the oboe entrance in the next measure to give the soloist a little extra recovery sace. The majority o the sources have a quarter-note on beat one instead o a hal-note. The majority will be used to again rovide the oboist with extra rest. 14

150 Measure 71 For the next section, Source 1 diers rom the others melodically. Because no accomaniment exists or Source 1, it will not be used. Excet or Source 2, which contains no articulation markings, all o the remaining sources agree that the 1 th notes in this measure should all be slurred. The majority will be ollowed. Measure 72 I reer the articulation in Sources 2,,, and 8. The accents rom the manuscrit sources, 2 and, will be ket. The multitude o accents in Sources 9 seem overdone and will not be used. The accented notes in these sources will be clearly audible because they will be tongued. The diminuendos in Source 5 make no sense. This our-bar hrase should be layed orte to contrast with its reeat at iano beginning in m. 75. Measure 7 Some o the slurs in the manuscrit sources are ambiguous throughout this section. I reer the articulation in Sources 7 and 9. It eels natural to slur through the stewise motion to the 1 th note D 2 on the third beat and tongue next 1 th note, which is a lea down to A 1. Sources 2 and 5 may agree with this interretation because it cannot be determined where the slurs end. The crescendo in Source 5 will be omitted. Its lacement is odd because it is over a descending melodic gesture, and it is unnecessary because the decrescendos in the revious measure have been omitted. I have always layed the C 2 that is the second 1 th note o beat our as a C- natural. Dmin7 is the harmony or this entire measure. The C-shar earlier in the 144

151 measure is a chromatic lower neighbor. As a C-shar in beat our, it would become a double assing tone that is chromatic. C-natural would be a chord tone. Although the melody is dierent in Source 1, the C-shar becomes a C-natural on beat our when it is art o a scalar assage. Measure 74 This measure is similar to m. 71. I reer the all slurred versions in Sources 4, 5, 7, and 9. It is ossible to tongue the G 1 on beat three as in Sources,, and 8. Whether the whole measure is slurred or beat three is tongued will not make a signiicant imact on this hrase. I do not agree with the accent on beat one in Sources 9; however, it might make more sense i the accent symbol indicated an agogic accent. Measure 75 The iano should be on beat 2. Source has it crossed out over beat one and rewritten over beat 2. Beat one is the conclusion o the revious hrase, and beat two begins its reeat at a sot dynamic. The articulation in Sources and 9 will be used. This measure corresonds to m. 71, and the articulation used will rovide variety on the reeat. Measure 7 See m

152 Measure 77 See m. 7. Measure 78 The majority o the sources tongue the G 1 on beat three. The staccato markings at the end o the bar give this measure variety as it corresonds to m. 74. The crescendo should begin as the music ascends and continue to the orte downbeat o the next measure as in Source 5. Measures The articulation in Source highlights the dual voices in this measure. I reer the added trill in Sources 5, 7, and 9; however, adding the trill can make the articulation rom Source awkward. Even though it is not indicated in any o the sources, this edition will tongue the A on beat two o both measures and slur this grou o our 1 th notes. This is similar to the other articulations, and there are no articulation markings in Source 2, which suggests that the articulation or these measures is at the erormer s discretion. The orte in m. 79 is omitted in Sources 7 and 9. This measure should be layed orte because o the iano when this measure reeats in m. 80. Measures 81 The irst two beats o m. 81 contain the same melodic igure as the irst two beats o mm. 79 and 80; thereore, they will be articulated the same way. The dynamics in Source 5, decresendoing to orte in m. 82, make no sense and will be omitted. The 14

153 majority o the sources agree on the articulation, two slurred and the rest o the notes staccato, in m. 82. The majority will be ollowed. Unlike Sources 5 9, I do not begin the crescendo until the melodic line begins its ascent in m. 82. Because I have moved the crescendo slightly, it will be laced in arentheses. I do not lay the F-shar 8 th note on the downbeat o m. 8. This note seems to be more a art o the accomaniment than the oboe line that ollows, and not laying it allows the erormer more sace to breathe. All o the sources excet Source 1, which contains a dierent melody, agree on the articulation o m. 8. Measures Slurring down rom E-lat to F-shar 1 does not make much technical sense. In his method, Vogt mentions that there are intervals that cannot be smoothly slurred. Unortunately, the late showing these intervals is not extant. The articulation, tonguing the F-shar and slurring u the to the D, in Sources 4 and 5 makes more sense because it is easier to slur u a large interval than down on the oboe. A trill is added to the F-shar in Sources 9. It is ossible that Vogt would have layed the grace-notes receding the trill in m. 85 as in Sources 9. Since the manuscrit sources were or his own use, he may not have elt the need to include every small detail o what he would have layed. The standard Nachschlag has been added to this trill s resolution into m. 8. Measures 8 9 I usually take a breath between beats two and three in m. 8. Seven o the nine sources have the same articulation or the 8 th note trilets on beats three and our. The 147

154 irst two trilets are slurred together, and the last our are layed staccato. Source 1 has each grou o trilets slurred together. Source 2 contains no articulation markings. This suggests that Vogt either did not need to write them down or that the articulation or these trilets was u to the whim o the erormer. I reer the articulation in Sources 2 and 4 or mm I agree with the manuscrit sources in m. 87. The C-shar 1 should be tongued to allow it seak more easily. It is then slurred to the D 1 on the downbeat o m. 88. I inhale between beats two and three o m. 88. Because I breathe here, the slur between the D 1 and A 2 in Sources 1,, and 9 is not ossible. I reer tonguing the F- shar on the downbeat o m. 90 to allow it to seak more easily. As in three o the our manuscrit sources, I tongue the E-lat on beat three. The trill on the E-lat ound in Sources 4 9 will be used. Measure 90 All o the sources agree excet or Source 1, which contains a dierent melody. Sources 2 9 are an ornamentation o Source 1 s melody. Measure 91 This measure does not exist in Source 1. The accent on the second hal o beat one in Sources and 8 is not needed because it will be tongued. The majority o the sources slur the entire measure rom that note until the downbeat o m. 92. Source also tongues the irst 1 th note o beat two. Source 2 does not include any articulation or this measure aside rom slurring to the downbeat rom the revious measure s trilet igure. The articulation rom the majority will be ollowed. 148

155 Measure 92 I reer the version in Sources 9. It is a more comlicated ornamentation o the version in Sources 4 and 5. Measure 9 5 Six o the nine sources, including two o the manuscrit sources, begin the trill in m. 9 on the uer auxiliary. The irst grace-note in the run should be a C-shar as in Sources 9. C-shar acts as a chromatic lower neighbor to D and does not give away the resolution to C in m. 95. The majority o the sources write the Nachschlag in m. 94 as two 8 th notes. The 8 th notes are a written out version o the grace-notes in Source 2 and will be used. The dynamics rom the accomaniment will be added in brackets. Measure 97 Source 1 uses a dierent melody rom the rest o the sources or most o the next section. Source 1 will not be used since it is the lone major deviant and its accomaniment is not extant. All sources but the irst agree that the two hal-notes should be slurred. Forte makes the most sense dynamically. All o the accomaniments end the revious tutti at orte. The accomaniment then rests during this measure. This section is very similar to theme 1, which was also orte. Source 5 is the only source marked iano. Sources 1 and 2 have no dynamic markings. The maestoso in Sources and 8 makes more sense than the marcato in Sources 7 and 9 because the multile slurs within this hrase to not lend themselves to marcato. The slurs do not necessarily lend themselves to maestoso; however, this hrase can still be layed 149

156 majestically. I agree with the crescendo toward C in the next measure ound in Source 5. Measure 98 The sources disagree on the articulation o the 1 th notes on beats three and our. Only Sources 1 and 2 do not have accents on the irst 1 th note o each o these beats. Since this igure is similar the igure in m., it will be articulated in the same way with an accent on the irst 1 th note o each beat and slurring each grou o our 1 th notes. The decrescendo rom Source 5 as the line descends will be included. Measure 99 I agree with the crescendo in Source 5. The slur in Source 5 is ambiguous as to whether it begins on irst or second 8 th note o beat three. Three o the our manuscrit sources begin the slur on the second 8 th note, E 2, o beat three; thereore, the majority o the manuscrits will be ollowed. Measure 100 Sources 9 agree on the notes, rhythm, and articulation o this measure. This measure extends the range o the iece down to B 0. The irst two sources were robably written beore Vogt obtained an oboe that could lay B 0. When the iece was converted rom the 1 er Concerto to the 4 ème Solo de Concert, this assage would have extended the range o the iece or Vogt s students. The majority will be used. 150

157 Measure 101 Melodically, the hrase beginning in m. 101 is similar to the third our-bar hrase o theme 1. The iano only aears in the oboe arts o both the Richault and Costallat editions. It does not aear within the iano score o either edition and will be omitted. The articulation in Sources 2 and will be used. The staccato trilets it the maestoso character better than the articulated legato o the other sources. I disagree with the crescendo in Source 5. It will be omitted. Measure 102 The manuscrit sources are all in agreement. The manuscrit version will be used rather than the one ound in the Richault and Costallat editions. Measure 10 The slur over the second and third 1 th notes in beat our o Source 2 is ambiguous. It may also indicate that the inal three 1 th notes are to be slurred together as in Sources and 9. I reer to slur the last three 1 th notes o this beat. The last note o the measure is a D-natural in Source 2; it is a D-shar in Sources 9. Source 1 contains a dierent melody. The D-shar will be used since it is in the majority o the sources. The 1 th notes, starting a hal-ste below the main note, on beat one o Sources 9 are a written out version o the turn ound in Sources 4 and 5. I reer the regular turn o Sources 4 and 5; however, a shar will be added under the turn to relect the F- shar ound on beat one in Sources 9. Sources 9 all slur rom the G 1 on beat one to the D on beat two, so that articulation will be used. The crescendo in Sources 9 151

158 ollows the line u to the aex o this hrase. I reer to hold the decrescendo until later in the bar as in Source 5 to make it more eective. Measure 104 I disagree with the slurs in Sources and 4 rom the dotted hal-note to the quarter-note. The dotted hal-note is the resolution o the revious hrase, and the quarter-note is the icku to the next hrase. It makes no musical sense to slur them together. The quarter-notes on beats one and two in Sources 9 are a written out orm o the quarter-note grace note and dotted hal-note or hal-note rom the manuscrit sources. I reer Sources 7 and 9 with the accent on the dissonance and the quarter-rest to allow breathing sace beore the next hrase. Measure 105 The ianissimo in Source 5 should go below the quarter-note icku on beat our o the revious measure. This hrase corresonds to the third hrase o theme 1; thereore, the ianissimo rom Sources 5 9 will be used. I do not like the crescendos ound in Sources 9. They are not in any o the manuscrit sources and will be omitted. Measure In Sources 5 9, the trill contains a Nachschlag, which Vogt robably would have exected. The long slur in Sources 5,, and 8 is robably a hrase marking to show the cantabile character o this hrase. Five o the sources slur the two 8 th notes on beat our 152

159 o m Two o these, and 8, have a searate slur or these notes underneath o a longer slur. The articulation in Source 4 will be used in these measures. Measure 108 The ornamentation ound in Sources 9 is the same. The rhythm in Sources 9 indicates how the slur to G on the irst 1 th note o beat three should be layed. However, turning the G rom a 1 th note to a 2 nd note would cause it to be layed too short. Because o the cantabile nature o this hrase, the version rom Sources and 4 will be used. Measure 109 The orte rom the next measure belongs with the icku to the next hrase on beat our o this measure. Measure 110 The instruction ressez rom Sources 9 imlies rushing or hurrying. I reer using the crescendo rom Source 5 to give this igure a sense o urgency rather than ressez. I also reer to tongue the inal 2 nd note in this measure as in Sources 2, and 9 to make the execution o the interval rom B-lat 2 to C-shar 2 cleaner. Measure 111 Only Source 5 deviates in the articulation o this measure. The majority will be ollowed. In Sources 7 and 9, the accent mark on the irst 1 th note o beat three gives a 15

160 slight stress to the aex o the ascending igure in this measure, which makes musical sense; thereore, it will be ket. Measure 112 The melody in Source 1 is viable; however, it is the only melodic deviant as the remainder o the sources agree on the melody. Any o the three dierent articulations will work. The majority slurs the irst our 1 th notes and rearticulates the irst 1 th note o beat 2, which begins the slurring o the remainder o the measure. It makes sense to articulate the lea rom E 2 to C as Sources and 9 do. Sources 7 and 9 have a dierent rhythm on the last hal o the ourth beat with a dotted 1 th note ollowed by a 2 nd note instead o the two 1 th notes ound in the rest o the sources. The majority will be used. Measures There are two issues in m. 11. Does the trill begin on the uer auxiliary as in Source 5 or the main note as in all other sources? The trill will start on the main note because Source 5 is the only deviant and the note receding the trill in the revious measure would be the uer auxiliary. The second issue is with the Nachschlag. Should the three-note Nachschlag rom Sources 5 9 be used, or should the standard turn ending inerred by a lack o Nachschlag in the other sources be used? The three-note Nachschlag will be used because it is in one o the manuscrit sources in Vogt s hand as well as in the Richault and Costallat editions. Even though there is no slur in Source 5, the Nachschlag would have at least been slurred with the trill; thereore, the articulation 154

161 rom Sources 9, which slurs rom the trill through the downbeat o m. 114 will be used. Three o the our manuscrit sources have the note on beat one o m. 114 as a quarternote. Sources 1 and 5 are the only ones that have a hal-note. The quarter-note matches the quarter-note in the low strings in Sources and 4. Measure The a iacere rom Sources and 8 will be omitted. The un oco rall. in Sources 9 is a much clearer instruction. I reer its lacement in m. 11 as in Sources 7 and 9. Starting the rallentando on the sextulet in m. 115 would slow down the music too much by the time the accomaniment reenters in m I reer to start the decrescendo in rallentando on the second hal o m. 11. The majority o the sources tongue the irst 8 th note o m. 11. Only Sources 7 and 9 slur through that 8 th note. I reer to see all o the 8 th notes written out as in Sources 9 rather than the short-hand o Sources 1 5. Measure Only Sources 1 and 2 do not have the ianissimo at the beginning o m The melody in Sources 4 and 5 is slightly dierent rom the others because o the aroaching end o the movement in these versions. I a cut is to be made, I reer to do it later as in Sources 9. The cut in Sources 9 is authentic because there is a age with this cut written by Vogt inserted into the score o Source. Aside rom Sources 4 and 5, the other sources agree on the melody until last beat o m The version in the manuscrit sources, 2 and, will be used. The 8 th notes will be slurred in keeing with the cantabile nature o this hrase. In m. 121, the 8 th notes on beat our o Sources and 155

162 9 are a written out version o the quarter-note and its attached 8 th note grace in Sources 1 and 2. Source 2 is the only one that does not contain a turn over the dotted hal-note F in m Perhas Vogt did not eel the need to include the turn in the art because he was writing it or himsel and would remember it. For articulating the remainder o this assage, Source version will be used. Measures 12 5 The rallentando in m. 124 makes sense in the Sources 9 because they contain a cut. The rallentando hels signiy the return o theme 2 as art o the develoment in m. 12. This is the only time any o the exosition material returns in the second cut version. I reer this cut because it is ater the return o some o the exosition material. I do not agree with the crescendo in m. 124 in Sources 9 because the line is descending. The articulation in Source will be ollowed or these three measures. Source 1 contains dierent melodic material or the section beginning with the ickus to m. 12 and cannot be used because no accomaniment or this section currently exists. Measures The grace note ornament between beats one and two o m. 128 in Sources and 9 will be used. The version o m. 129 in Sources 9 will be used. This version is a written out orm o the hal-note and grace-note ound in Sources 2 and. 15

163 Measure 12 Source 2 leaves out the turn. The turn and the articulation rom Source, which matches the articulation rom Source 2, will be used. Measure 14 and. The accent will be let o o the irst grace-note in the measure as in Sources 2 Measure 1 Both slurs in Source 2 are ambiguous. The irst slur begins on the 8 th note A 2 on the downbeat. It looks like the slur ends on the quarter-note D 2 on beat two; however none o the other sources slur to this note, they end the slur on the second 8 th note o beat one. The D 2 on beat two must be articulated in any case because it is receded by another D 2. The second slur in Source 2 ends on the last 1 th note o the measure. The beginning is either on the irst 1 th note o the third beat or the second 1 th note o the third beat. The rhythm or the last two beats o this measure will be eight 1 th notes as in Sources 2,,, and 8. The 2 nd note ollowed by a 2 nd note rest on the irst art o beat three that is ound in Sources 7 and 9 will not be used. However, the crescendo rom Sources 9 will be used to set u the orte in the next measure. Measure 17 The articulation rom Source will be used in this measure. Source 2 may match the articulation rom Source ; however, its irst two slurs are ambiguous. When this 157

164 measure reeats at iano in m. 19, the articulation in Source 2 clearly matches the articulation rom Source in this measure. Measure 18 The decrescendo in Source ollows the descending line to the in the next measure. The staccato symbol on the irst trilet o beat one in Source is absent when this measure reeats in m. 140 at iano. No other source has this staccato. Also in Source, there is a slur within the slur that goes rom the second trilet o beat two to the end the measure. The slur within goes rom the second trilet o beat two through the irst trilet o beat three. Only the longer slur, which is also ound in Source 2, will be used. Measure 19 Vogt s articulation rom Source 2 will be alied. The staccato on the irst trilet o beat three in Source is not resent when this igure was irst layed at orte two bars earlier. The change in dynamics rovides enough o a variation to kee the articulation the same. This staccato does not aear in any o the other sources. Both o the manuscrit sources articulate the downbeat; thereore, the manuscrit versions will be ollowed rather than the Richault and Costallat versions, which slur the downbeat. Measures For these measures, the articulation rom Source 2 will be used excet or the accent on beat our o m The accent does not aear in any other source, and there 158

165 is no aarent reason to secially accent this note. I like the crescendo in m. 141 in Sources and 8. The crescendo in Sources 7 9 begins in m. 140, which is too early and during a descending igure. The decrescendo in m. 142 in Sources 9 is in oosition to the ascending melodic line. I anything the crescendo rom the revious measure should begin in m. 142; however, it will be laced as indicated in Sources and 8. Measures 14 4 The accent on beat one o m. 144 in Source is omitted in the rest o the sources; thereore, it will be omitted rom this edition. Source 1 does not contain any articulation markings or these measures. The remainder o the sources agree that that dotted halnote should be slurred to the quarter-note in each measure. I oten breathe between beats three and our in m. 14, thereby breaking the marked slur. These notes should be slurred i no breath is needed. Measure 145 Sources 2 and do not have a slur between the hal-note on beats two and three and the quarter-note on beat our, while Sources 9 slur these two notes. Whether or not beat our is tongued will not signiicantly imact this iece; thereore, beat our will be articulated as in the manuscrit versions. Measure 14 Sources and 9 are a urther ornamentation o Source 2 s dotted hal-note and its quarter-note grace-note. The grace-note and dotted hal-note will be written out as 159

166 two quarter-notes as in similar instances. A quarter-note rest will be added on beat three to give the oboist an oortunity to breathe. The three-note grace rom Sources and 9 will be added to the quarter-note on beat one. The orte on beat our in Sources 9 would allow the two bar hrase that ollows to be reeated at iano on the icku to m It will be excluded rom this edition because it would lessen the eect o the ianissimo ound in m. 151 in the two manuscrit sources. Measure 147 The A 2 on beat three must be rearticulated because it is receded by another A 2 ; thereore, the articulation ound in Sources and 9 will be used. Measure The articulation in Sources 9 matches the articulation in Source 2 in m The articulation in Vogt s hand will be ollowed instead o the articulation in Bruyant s hand. The same articulation will be used or this measure as in m The iano rom Sources 7 and 9 and the ianissimo rom Sources and 8 will be omitted. See m. 14. The un oco ritard is in Sources 8 because o the imending end o the movement in their version. The same is true or the un oco rall in Sources 7 and 9 in m Both will be omitted. Measures The melodic content in Sources 9 is or the ucoming conclusion o the movement in their version and will not be used. The ianissimo in Sources 2 and 10

167 should go under the 8 th note ickus in m. 150 as they are the beginning o the next hrase. I reer the written out 8 th notes as in Source. Measures I like the decrescendo down the chromatic scale or the start o the recaitulation o theme 2 in m A crescendo should be added in m. 15 to allow room or the decrescendo in m. 157 in Source. I would also add a slight ritardando going into m Measure 157 is a quasi cadenza as the accomaniment is tacet or the last two beats o this measure. These three instructions will be added in brackets as they do not aear in any o the sources. Measures The grace-note ornaments will be written out as 1 th notes as with the corresonding measures, 41 2, in the exosition. Measures 1 See m. 48 or the articulation. There will be no slur to the downbeat o m. 15 because the downbeat was not slurred to in the corresonding measure o the exosition. These measures resent the ossibility o the erormer adding ree ornamentation. Measures 17 8 The whole-note trills in these measures will be slurred together as they were in the exosition. The dynamics and the Nachschlag rom the exosition have been added here. These measures could also be a lace o urther ornamentation. 11

168 Measures I have ornamented these measures to more closely match their corresonding measures in the exosition. See mm The rall. un oco and crescendo rom the exosition have both been added. Measure 171 As with the beginning o the closing theme, I have added a measure in the accomaniment to allow the soloist to breathe. The 1 th notes will all be slurred as in m. 71. This measure will be layed orte to allow or the echo at iano in m Measure 172 The descending 1 th notes rom the second hal o beat one through beat two will be slurred as in the long slur in Sources 2 and. Measure 175 Because a quarter-note was used on beat one the corresonding measure, 75, o the exosition, a quarter-note will be used here instead o the 8 th note ollowed by in 8 th rest in Sources 2 and. The articulation will also match m. 75. Measure 17 The 8 th note C on beat one was not slurred to the 1 th note on the second hal o beat one in m. 171; thereore, these notes will not be slurred here. The accent on the irst 1 th note in beat three will be ket because it matches the accent in m. 172; however, the 12

169 accent rom Source 2 on the third 1 th note o beat our will be omitted because it does not match m Measure 178 As in the exosition, there should be a crescendo over the ascending line in the last two beats o this measure. The articulation rom Source, minus the long slur over beats three and our, will be used because it is more recise. The ascending line would have been erormed with some sort o articulation attern, so the one rovided in Source will be used. Measure Measure 179 should be layed orte to allow m. 180 to be layed iano. These dynamics will match the dynamics o a similar igure in mm. 79 and 80 in the exosition. Again, the articulation attern rom Source will be used or beats three and our o both measures or the reason stated or m Measure 181 This measure will be articulated as in Source. Measure 18 4 The articulation rom Source will be used in these measures; however, it may be necessary to exhale ater the dotted quarter note in m. 18. This breath would break the slur. An inhalation could then be taken between beats two and three in m The trill 1

170 rom Source in m. 184 will be used, and the standard turn Nachschlag will be added. A orte will be added in m. 184 to coincide with the aex o the movement. Measure 185 The articulation rom Source 2 will be used on the irst two beats, and the articulation rom Source will be used or the inal two beats o the measure. Doing so will kee the articulation attern o slurring the stes and tonguing the leas. The dynamics rom Source will be emloyed. Measures 18 8 The articulation and dynamics rom Source will be used in these measures. The orte in m. 187 will be laced in brackets and moved to m. 188 to allow or a crescendo u the ascending line in m Putting the orte on the downbeat o m. 188 also uts it on the aex o the line. Measures I have added an ornament similar to the one ound at the end o the exosition in m. 9. Vogt would robably not lay u to a G, which would be required i the m. 9 ornament was transosed exactly. In this instance, I have rewritten it to return back to the G 2. See m. 22 in my edition. The dynamics rom the accomaniment have been added in brackets. 14

171 Movement 2: Adagio Sources 9 are written in 4/4 time; however, they were rewritten in the comarison score in 2/4 time or easier examination. Bruyant mentions in his note on Source 4 that the Adagio has been written in the 2/4 time signature because the accomaniment tends to rush ( L adagio est écrit à ce tems, arce que les accomagnateurs tendait à resser ). 9 The 4/4 time signature has been chosen or this edition instead o 2/4. The 2/4 is likely to have been counted by 8 th notes, meaning it would have been counted in our. The 4/4 time signature is much easier to read than the 2/4. Sources 1 4 use the title Adagio. Source 5 uses Adagio Molto. Sources and 8 title the movement Adagio but indicate the temo as Largo. Sources 7 and 9 also title the movement Adagio and indicate the temo as Largo, but they add e amoroso ater Largo. This movement will be titled Adagio as in the majority o the manuscrit sources. In Source 1, this is a section o a larger second movement that is a seven-art rondo. The rest o Source 1 s second movement is not included in the comarison score because its material is not ound in any o the other sources excet or this adagio section. 9 Burgess, A Portrait o Gustave Vogt,

172 Measure 1 Two o the our manuscrit sources, Sources 4 and 5, use iano or the oening dynamic. Source 2 uses ianissimo, and Source has no dynamic indication. Sources 9 use iano. The oening dynamic will be iano as in the majority o the sources. Measure 2 The amoroso instruction in Sources 9 will be used because it indicates the character o the movement. The rhythm in Sources 1 is unclear. To make what is written it within the measure, the 2 nd notes were turned into a sextulet; however, there is no indication in any o these sources that this igure should be layed as a sextulet. It aears that the correct rhythm or this igure is ound in Sources 9 by tying the quarter-note to a 1 th note. The added 2 nd notes in Sources 4 and 5 are an embellishment uon the simler melody ound in the remainder o the sources. This embellishment will not be used here because the igure returns in m. 5. The embellishment will be used uon the igure s return. The crescendo in Sources 9 will be used because it shows the direction o the line toward the downbeat in the next measure. Sources 4 and 5 also indicate a crescendo as the line ascends. The articulation rom Sources 7 and 9 will be used. I reer to slur all o the 2 nd notes together because this aids in creating the amoroso and cantabile character o this movement. The long slur shows the overall hrasing o this measure, and the shorter slur over the 2 nd notes shows that the A 1 can be tongued lightly i needed. Achieving a smooth legato rom F 2 to A 1 can sometimes be diicult. The A 1 is indicated to be tongued in Sources 1. 1

173 Measure The 2 nd notes on the irst hal o beat one are an ornamentation o the resolution rom F to E-lat in Sources 1. Source 1 delays the resolution to E-lat until beat two. The remaining sources have a three 1 th note icku to m. 4. Sources 2 and have the 8 th note on the second hal o beat one tied to a 1 th note on beat two. Sources 4 9 have a 1 th note rest in lace o the tie. The rest hels show the division in hrases and gives the oboist a chance to breathe. The ornament in Source 1 could be comressed to it the resolution o the other sources; however, I reer the chromaticism o the ornament ound in the majority o the sources. The two manuscrit sources, 4 and 5, that contain the chromatic 2 nd note ornament slur through the resolution to E-lat. Sources and 8 also slur through the resolution; however, Sources 7 and 9 tongue the E-lat. In other instances o similar resolutions that are unornamented within this movement, the aoggiatura is slurred to its resolution; thereore, this one will be slurred as well. The diminuendo in Sources 4 9 will be used to show the resolution rom dissonance to consonance. Measures 4 5 The harmonic rogression in Sources 4 and 5 diers rom the other sources in these two measures. The harmonic rogression in Sources 4 and 5 or measures our and ive is as ollows (each chord receives one beat): vi, ii ; I /4, V. The harmonic rogression or these two measures in the remainder o the sources moves rom I in m. 4 to V in m. 5. This harmony will be used because it is in the majority o the sources, including two o the manuscrit sources. Because the ornament on beat two o m. 4 and 17

174 beat one o m. 5 is or a dierent harmonic rogression, it cannot be used; however, the ornament ound in beat one o Sources 4 and 5 will work as it is also ound in Sources 9. O the six sources that use this ornament, only Source 5 does not slur rom the dissonance, E-lat, to its resolution, D. These two notes will be slurred as in the majority. For beat two o m. 4, the melody rom Sources 2,, and 9 will be used. The two manuscrit sources with this melody tongue the B-lat 2 that is the second 2 nd note o beat two; thereore, it will be tongued. Although Source 1 has a dierent melodic line, its rhythm is the same, and it also tongues the second 2 nd note o beat two. The diminuendo and crescendo in m. 4 ound in Sources 9 will be used. Even though the line is descending during the crescendo, its goal is the F on beat one o m. 5. This hrase is constructed in a similar ashion to the one in mm. 2 and. In m. 5, the rhythm, articulation, and dynamics rom Sources 9 will be used. The 1 th note rest ollowed by a 1 th note icku on the second hal o beat two allows the oboist to take a needed breath or the next hrase. O the sources that use the same melodic igure rom m. 5, only Source does not slur through the 8 th note on beat two. The F 2 on the downbeat o the measure is the goal o this hrase; thereore, the decrescendo in Sources 9 backs away rom the musical goal and ollows the line as it continues descending. Measure This measure is a reeat o m. 2; thereore, the more comlex version o this measure ound in Sources 4 9 will be used. Source 4 articulates the irst 2 nd note E-lat on the second hal o beat one. The remainder o the sources using this material slurs the 18

175 entire measure, which adds to the cantabile quality o the line. As in m. 2, the crescendo that ollows the ascending line rom Sources 9 will be used. Measure 7 In Source 4, it aears that the next two measures have been asted over because the staves do not exactly match. Sources 4 and 5 have comressed the next ortion o this hrase and added a measure o rest or the soloist. By doing so, the soloist can make it to the end o the hrase more easily in one breath and has a ull measure o rest in which to recuerate or the only time in the movement. This movement is layable without the extra measure o rest; however its execution is much easier with the rest. One otion would be to insert the extra tutti ater the longer version o this hrase. Sources 9 will be used or this measure. The extra 1 th note D in Sources 9 is a slight rhythmic variation on Sources 2 and. Reeating the D makes a breath, i needed, between the two notes less obvious. The ornament on beat two o Source 1 would work harmonically and melodically in this edition; however, it is too lashy or the current construction o this movement. Measure 8 The 8 th notes on beat one in Sources 9 are a written out version o the quarternote with its grace-note in Sources 2 and. These grace notes will be written out here or consistency. I oten inhale, ater exhaling in the revious measure, during the tied note; thereore, the second 2 nd note o beat two will be articulated as in Sources 2 and. The more comlex ornamentation on beat two o Source 1 would work in this edition; 19

176 however, it is again too lashy within the context o this iece. Vogt decided to simliy the ornamentation in later versions. The version in Sources 7 and 9 will be used or the last ourth o beat two. The trilet and grace-notes in this version are a written out version o the trill in Sources 2 and. The iano in Sources 7 and 9 gives the erormer a dynamic target or the diminuendo rom the revious measure and will be included. The oco rit. in Sources 9 gives the soloist sace to graceully lay the turn within the trilet. Measure 9 Source with the addition o an a temo instruction will be used or this measure. The two manuscrit sources agree to tongue the second 2 nd note o beat two. The lea down makes a more interesting melodic line than the simle descending scale and will be used; however, I add a small ornament in the next measure that works better with the stewise motion in this measure. Either otion is viable. The crescendo and decrescendo in Sources 9 ollow the line as it ascends and descends and will be included. Measure 11 As in other similar instances, the version in Sources 9 is a written out orm o the quarter-note and its grace-note in Sources 2 and. Continuity in notating these resolutions will be maintained by using the version in Sources 9. The measure o rest ound earlier in Sources 4 and 5 will be inserted here. See m. 7. Sources 7 and 9 are the only ones not to begin the next hrase at ianissimo. This hrase will begin at ianissimo as with the majority o sources, and the dynamic will be laced underneath the icku. 170

177 Because o the extra measure o rest, this icku will now be an 8 th note, as indicated in Sources 4 and 5, instead o a 1 th note to create a arallel with the irst solo oboe entrance. Measure 12 The next several bars are not in Source 1; it goes straight rom the icku in the revious measure to m. 19. This rhythm, as in m. 2, is written incorrectly in Sources 2 and. I reer the version with the more comlex ornamentation in Sources 4 and 5. I agree with the crescendo in Source 5 but would move it to begin where the line begins its ascent on the third 2 nd note o beat two. Measures 1 4 The majority o the sources use an areggio down the A-lat dominant seventh chord rather than the lea down rom A-lat 2 to C 2 in Sources 2 and. I reer slurring down to the C as in Sources 2,, and 9. The end o the slur in Source 4 is ambiguous. I agree with the decrescendo in Source 5 that ollows the areggio down. The decrescendo will be included because decreasing in volume makes slurring to the C more sensible as this is a less obtrusive way to lay the note. I reer the crescendo in Sources and 8 and the written out turn in Sources 7 and 9. Sources 4 and 5 also contain a written out turn beore the second 1 th note o beat two. The version in Sources 7 and 9 with the turn written out between the second and third 1 th notes o beat two is more comortable to lay and rhythmically more clear; thereore, this version will be used. The crescendo and decrescendo in Sources and 8 ollow the overall ascent and descent 171

178 o the melody and will be included. Tonguing the C on beat two hels emhasize the aex o the crescendo. Measure 1 will be articulated as in Source. The 4 th notes on the last art o beat two are ound in a majority o sources, including two o the manuscrit sources, 4 and 5. Measure 1 I reer the slightly more ornamented version in Source 4 9 and the articulation in Sources 9, which is essentially the same as the articulation in Sources 2 and. Measure 17 Only Sources 9 have the accent on the downbeat, and only Sources 4 and 5 tie the last 8 th note in the measure to the irst 8 th note in the next measure. The tie and accent will be omitted. Measures 18 9 I reer the more comlex ornamentation o the version ound in Sources 4 9. A crescendo u the ascending line is ound in all versions. Even though there is no dynamic indicated or the F in any source, a orte will be inserted here in brackets since this is the highest note in the iece. It also serves as the halway oint o the iece. Adding a orte here makes urther sense i a iano is inserted at the beginning o m. 20 as in Sources 9. Playing the F as an 8 th note as in Sources 4 9 gives the oboist more o a break than the quarter-note ound in Sources 2 and. The 8 th note also works better with the accomaniment rom Sources 4,, and 8 that will be used in this edition. I reer the 172

179 articulation in Source 4, although any o the versions are viable. The articulation in Source 4 is the most similar o any version to the articulation in Sources 2 and when taking into account the dierence in rhythm. Measures 20 1 I reer the version in Sources 9 or these two measures. The iano is needed ater inserting the orte or the F. The trilet in m. 21 is a written out orm o the grace note and is a clearer reresentation o how that igure should be layed. I do not agree with the dynamics, esecially the decrescendo, in Source 5. They will be omitted Measures 22 I reer the articulation in Source or m. 22. Source 2 is the only source that slurs across the bar line into m. 22. This is robably a mistake since it is the only source with this articulation and the reeated E-lat would need to be tongued or tied. The slur in Source 2 does not indicate a tie. Source 4 contains a slightly dierent melody. The highest note is C instead o the E-lat in all other sources. Source 1 is an unornamented orm o the other versions. The crescendo and decrescendo rom Sources 5 9 will be used. Even though the line is descending, it makes sense to crescendo to the highest note and then decrescendo away rom it as the line descends. For m. 2, the articulation ound in Sources 2 and 9 will be used. Measures 22 and 2 resolve rom V to I; however, the quarter-note E-lat is a susension rom the dominate chord in m. 22 that resolves to the third o the tonic triad on beat two. The inal 8 th note o the measure acts as a icku to the next measure. The susension will be 17

180 slurred to its resolution, and the icku to the next hrase will be tongued to searate the two hrases. Measure 24 5 For the Nachschlag o the trill on beat two o m. 24, either D-natural as in Source 4 or the D-shar as in Sources and 9 will work. The D-shar will be used because that note is in the majority o the sources containing a Nachschlag. I do not agree with the dynamics in Sources 5,, and 8 or m. 2. These are the only sources with a sorzando on beat two o m. 24. Source 5 also has a sorzando on beat two o m. 24. None o the szorzandi will be used. The decrescendo in Source 5 in m. 24 ollows the line down and gives the soloist room to crescendo u the line in the next measure. It will be included. Measure 24 should crescendo slightly throughout its entirety to ollow the general shae o the line u to the C on beat one o m. 25. The grace-notes between beats one and two in both measures o Sources 9 are an ornamentation o the basic melody rom Sources 1 and 2. They will be slurred as in Sources 9. The standard turn Nachschlag at the end o m. 25 in the majority o the sources will be used over the threenote Nachschlag rom Source 5. Measure 2 The articulation rom Source 2 will be used. The dierences between Source 2 and the other versions are insigniicant. The crescendo in Sources 5 9 will also be used to ollow the ascending line. 174

181 Measure 27 As in mm. 24 and 25, the sorzando on the second hal o beat one in Sources 5 9 will not be used. Three o the our manuscrit sources omit the sorzando, and its lacement is awkward unless it is meant to be layed on the trill reix. A Nachschlag will be added to the end o the trill. I reer to tongue the E-lat on the second 1 th note o beat two. Only Sources 2 and 4 slur to the E-lat. Only Source 5 has a orte in this measure. Even though this measure contains the highest note o the hrase, I reer to save the orte or later in the hrase; thereore, it will not be included. The decrescendo in Sources 5 9 ollows the line as it descends. Measure 28 From this oint on, the melody in Source 1 does not resemble melody in the other sources. The articulation rom Sources 4 9 minus the overarching slurs in Sources and 8 will be used. The accent on beat two is only in three o the eight sources, none o which are in Vogt s hand, and will be omitted. The rhythm rom the our manuscrit sources will be used or the last hal o beat two. I do not agree with the dynamics in Source 5, and they will be omitted. Measure 29 Because the trill on beat one is receded by a ast 4 th note run, it is easy to slur into this trill as in Sources 2 and ; thereore, the trill will start on the main note rather than the uer auxiliary as indicated in Sources 9. The standard turn Nachschläge 175

182 rom Sources 9 will be added since they would be exected. A crescendo will be added throughout the entire measure to match the crescendo in the accomaniment. Measure 0 The articulation or this measure will be written as it aears in Source 2. Even though there are several slight dierences in articulation or the sextulet, all o them would be executed in the same manner. Forte will be laced in brackets on beat one o this measure. The ianissimo on beat two rom Source 5 will be used as it is the only manuscrit source with dynamics, and it breaks a tie o two each or iano and ianissimo between Sources 9. The crescendo in Source 5 ollows the ascending line and will be included. Measure 1 Source 2 is the only source that omits a tie between the E-lats in beat one. The tie will be included. There is no need or the accent in the middle o the irst sextulet in Sources 7 and 9. The articulation rom Source will be used or this measure. The crescendo in Sources 9 over the last sextulet shows the motion o this igure toward the downbeat o the next measure and will be used. Measure 2 The 1 th note C-shar on beat one should be slurred to the next 1 th note D as in Sources 9. Source 4 is the only source that does not have an articulated legato over the irst note, D 2, in the last sextulet. This note would still be executed with an articulated 17

183 legato; thereore, the articulation o the majority will be used. The crescendo and decrescendo aear only in Source 5. They will be omitted. Measure The staccato markings on the irst sextulet in Sources 2 and do not it the cantabile style. For the irst three sextulets in this measure, the version o articulation ound in Sources 9 will be used. The version in Sources 2 and will be used or the articulation o the last sextulet. It makes more sense to tongue the lea u to E-lat as in Sources 2 and rather than slur it as in Sources 4 9. The crescendos and diminuendo in Sources 9 ollow the nuances o the melodic line. They are more recise than the dynamic markings in Source 5 and will be included. Measure 4 The articulation in the manuscrit sources will be used or this measure. The crescendo ollowing the ascending line in Sources 5 9 will be used. The iano in Sources and 8 gives a seciic dynamic to begin this igure and will be included. Measure 5 The articulated legato on the downbeat in Sources 9 is not needed and does not aear in the manuscrit sources. The crescendo in Source 5 gives the soloist more room to make an eective smorzando in the next measure. 177

184 Measure The version in Sources 7 and 9 will be used or this measure. The instruction smorz rom Sources 4 and 9 eliminates the need or the dynamics in Source 5. The ritardando is more eective when saved until the last sextulet o the measure. Source 2 does not indicate any articulations. The articulations in Sources 7 and 9, which would be executed in the same manner as the articulations in Source, are more seciic. Movement : Rondo Montagnard, Allegretto Measure The melodic content rom Sources 2 and will be used unless otherwise noted or theme 1, mm. 54. As this is the irst statement o theme 1, I reer to lay it in its simlest orm, which is ound in these two sources. The articulation rom Sources 2,, and 9 will be used or the ickus. Sources 2 and do not have dynamic indications. The most common dynamic in Sources 4 9 is iano, which will be used. Measure The articulation is ambiguous or the irst three beats o this measure in Source 2. Either the irst three beats are all slurred, or only the irst two beats are slurred and the third beat is tongued. When this igure returns later in mm. 9 and 150, Source 2 clearly slurs the all three beats; thereore, this articulation will be used. 178

185 Measure 7 consistency. The icku notes on beats our, ive, and six will be articulated as in m. or Measure 11 The orte rom Source 5 will be included to allow the reeat o this hrase in m. 15 to be layed at iano. Measure 1 also viable. I reer the articulation ound in Sources 7 and 9. The two other articulations are Measure 15 Only Sources 7 and 9 have a dierent articulation or this measure by slurring through the 8 th note on beat our. The other sources tongue this note, which clearly divides the hrase that ends on beat three and the beginning o a new hrase on beat our. The iano in Source 5 will be used to rovide contrast with the revious hrase. Measure 17 This measure will be notated the same way as m

186 Measures 25 9 The hrase beginning on beat our o m. 25 is omitted in all sources excet 2 and. This hrase is only reiterating a cadence in the dominant. It is not used in the tutti ollowing the end o the revious hrase in Sources 4 9. The oboist will robably need to breathe here, so the hrase contained in these measures will be excluded. Measure 0 Source 4 is the only source without a dynamic. Sources 2 and use ianissimo, and Sources 5 9 use iano. This measure begins a reeat o what was layed in the tutti. The two orchestral tuttis lay this assage at iano and the iano reductions lay this assage at orte. Piano will be used to go with the majority o sources and the tuttis. The tutti will be layed iano to go along with the orchestral version in the comoser s hand. The staccatos as in Sources 4, 5, 7, and 9 will be used. Measure 1 Since this hrase is a reeat o the revious tutti, the ornamentation ound in Sources 4 9 will be used. Only Source 5 slurs to the F-shar trill on beat our. The majority will be ollowed by tonguing the F-shar. This note is also tongued in the two sources that do not ornament it with a trill. The downbeat o the next measure will be tongued as in the manuscrit sources. 180

187 Measures 4 5 By laying the igure that begins on beat three o m. 4 orte, it sets u the igure s reeat to be echoed at iano in the next measure. Measure The ermata over beat three in Sources 9 shows that the soloist can take some time beore reentering. The Temo 1 in Sources 9 clariies the temo, and the iano in Sources 5 9 clariies the dynamic at which the next hrase should be layed. The articulation o the 8 th notes on beats 4, 5, and will be the same as in m.. Measure 8 The 1 th note trilet on beat our in Sources 4 9 will be used. The trilet is a written out inverted mordent. It should be clear by this measure that the irst art o theme 1 has returned; thereore, dierent and more comlex ornamentation will be used rom this measure orward to add variety. Beats our through six will be slurred as in all o the sources excet 4. Measure 9 The melodic ornamentation rom Source 5 will be used in this measure. I ind Source 5 s version o the end o this measure more interesting than Source 4 s ending; however, I reer to tongue the beginning o beat our as in Source 4. The crescendo ollowing the line u in Sources 9 will be used to hel show the shae o the line. The crescendo should also be layed in m. where this igure is irst heard. 181

188 Measure 40 The decrescendo in Sources 9 will be included to ollow the descending igure. The ianissimo in Source 5 will be omitted. All o the sources agree on the articulation o slurring the last three beats o the measure. This makes no sense here as it is the same icku rom the beginning o the movement; thereore, I believe it to be an error that has cret into all o the sources. The majority o the time this igure aears, it all three notes are articulated with the articulated legato; thereore, articulated legato will be used or all three notes to remain consistent. Measure 41 This measure is a slight variation on mm. 8 and 7. The grace-notes beore beat one in Sources 2 and should be ket because they hel the ear relate this measure to its revious versions. The 1 th note trilet on beat our ound in Sources 4 9 will be added. All o the sources excet Source 4 slur beats our through six. The articulation o the majority will be ollowed. Measures 42 4 These measures reeat beginning in m. 4; thereore, the simlest orm o the melody rom Sources 2 and will be used. Source s articulation will be ollowed in these three measures. The crescendo in m. 44 in Sources 9 will also be used because it shows the direction o the hrase to the D on the downbeat o the next measure. 182

189 Measures 4 9 The version in Sources 7 and 9 will be used or these measures. Since mm. 4 7 are a reeat o mm. 42, the slightly more comlex ornaments will be used in these measures. The trilets are not much more comlex than the single graces o Sources 2 and ; but they rovide a bit more variety. The longer crescendo in Sources 7 and 9 will be included instead o the shorter one in Sources and 8. The orte in m. 48 in Sources and 8 is too soon because the hrase is at least moving toward its aex on the D in m. 49. As in m. 45, I oten break the slur between beats one and three o m. 49 or a breath. Measures 50 4 Vogt s articulation rom Source 2 will be ollowed in these measures. A staccato mark will be laced over the G 2 on beat our o m. 52 to kee the articulation o this measure consistent with the articulation o m. 50. Crescendoing to orte on the downbeat o m. 50 allows the soloist to create an echo eect at iano in m. 52 as in Sources 9. A iano here will also match the dynamic in the accomaniment. Although not indicated in any o the sources, I reer to hold the crescendo until m. 5 to end theme 1 on orte in m. 54. These dynamics have been laced in brackets. Measure 0 Vogt is ossibly trying to bring out the illusion o a second voice within the oboe line with the accents on the second 1 th note o beats one and our in Sources 2 and. These notes will be heard without the accents because they are tongued and because o their register; thereore, the accents will be omitted. 18

190 Measure The articulation in Source 2 will be used or this measure because it is in Vogt s hand. The articulations ound in either source will work or this measure without making a signiicant imact on the character o the assage. Measure 4 The accents on the irst 1 th note o beats three and six in Sources 2 and will be omitted. The igure in this measure is similar to the igure in m. 0; thereore, it is interesting that the accents have been laced on a dierent beat in the igure. Measure 5 The slur beginning on beat our in Source is ambiguous. It aears to end over the second 1 th note o beat ive; however, this seems to be a mistake. Measure contains a similar igure that is articulated the same way in both sources. It ollows the articulation in Source 2 or m. 5; thus, the articulation rom Source 2 will be used or this measure. Measures 8 70 The three 8 th notes on beats our through six in m. 8 are slurred in both sources. The three 8 th notes on beats our through six in m. 70 are also slurred in Source 2. It is likely that Vogt would have articulated this rhythmic igure the same way each time and that he accidentally omitted the slur rom m. 9 in Source 2. Since the majority o these igures contain a slur, a slur will be added in m

191 Measure 7 Source contains a slur between the 8 th note G 2 on beat one and the quarter-note D 2 on beat two while Source 2 omits this slur. Measure 71 has a similar igure with the quarter-note on beat two as a D instead o D 2. Both sources slur the interval in m. 71; thereore, it will be slurred in m. 7 as in Source. Measures 74 Each o these measures contains the same melodic content. Vogt does not oer any articulations or the 1 th notes in these measures in Source 2; however, it is unlikely that he would have tongued them all. The lack o articulation markings suggests that Vogt either did not have a seciic articulation in mind or that the articulation changed rom erormance to erormance. Bruyant s coy in Source contains slightly dierent articulations in each measure. Measure 74 slurs the 1 th notes on beats two and three and tongues the irst 1 th note on beat our. The next grou o 1 th notes is slurred through the downbeat o m. 75. Measure 75 has the same articulation excet that the slur beginning on beat our stos at the end o the measure. Measure 7 slurs all o the 1 th notes in the measure. I reer to slur the 1 th notes on beats two and three as in mm. 74 and 75. I then slur together the two 1 th notes on beat our and tongue the 1 th notes on beats ive and six. The same articulation will be used in each o these three measures. 185

192 Measure 82 The igure in this measure returns in mm. 8 and 97. When it returns, both versions consistently have an accent over the dotted quarter-note G 2 on beat our as in Source 2 in this measure, so this accent will be retained. Measures 104, 10, and 107 I reer to slur the grou o three 8 th notes on beats our through six in each o these measures as in Source. The sorzando on beat our o mm. 10 and 107 in both sources will be omitted. It is not resent in any o the sources in the corresonding measures (mm. 22 and 2) in the recaitulation. Measures 110 and 111 The oboe art has been given to the iano in these two measures. These measures are reeated in mm. 112 and 11. Giving these two measures to the accomaniment varies them on their reeat and gives the oboist a coule o extra measures to recover and reset his breathing to execute the ucoming strenuous assage. Measure 112 Vogt does not indicate an articulation or this measure; thereore, the articulation that Vogt indicates in m. 110 in Source 2 and is coied in Source will be used here. This measure should be layed orte as m. 110 is in Source. 18

193 Measure 11 I reer to use the articulation in m. 111 rom Source as these two measures are the same melodically. Measures The articulations rom Source will be used or these measures since Source 2 rovides no articulation markings. The E 2 on the irst 1 th note o beat six in both sources is a mistake. The same igure is layed with an F 2 in m The corresonding melody or these measures (mm. 21 2) in the recaitulation also suggests that F 2 is correct. Piano will be laced in brackets in m. 119 to create an echo eect or the reeat o m The same igure occurs transosed in. mm o the recaitulation. Piano is not marked in any o the oboe arts; however, it is marked in the accomaniment Measure 120 I reer to slur all our o the 1 th notes on beats two and three and tongue the irst 1 th note on beat our beore slurring together the remaining notes in the measure. Source 2 contains no articulation markings, and the articulation in Source, does not occur in any similar assages o 1 th notes in this movement. A crescendo will be laced where the line begins its ascent in m. 120, otherwise the iano in m. 125 does not make sense. 187

194 Measures These measures will be articulated as in Source. Nachschläge will be added to the trills. The dynamics in the oboe art will match the dynamics in the accomaniment o Source. These dynamics will be bracketed. Measures The staccatos will be added over the 8 th notes to continue the articulation o this sequence that began in m Measures Measure 147 begins the return o an abbreviated version o theme 1 in the oboe. It will be articulated the same way as it was in the beginning. It is ossible to ornament the return o the theme by taking some o the ornamentation rom Sources 4 9 in the exosition; however, none will be added in this edition. Measures The icku to m. 172 begins the retransition. The majority o sources use the dynamic orte. Sources 4 and 5 contain ortissimo, and Sources and 8 show no dynamic or the oboe art. The dynamic is orte or the iano accomaniment in Sources and 8. Sources 9 also add the instruction energico, energetic. This term rovides the erormer with a character or this hrase and will be included. Energico should also be added in m.5, which is the beginning o the transition in the exosition. Only Source 5 188

195 does not slur across the bar line rom m. 171 to the downbeat o m The majority, slurring over the bar, will be used. The trills rom Sources, 7, and 9 will be included. Measure 17 Sources 7 and 9 slur across the bar line to the irst note o m The remaining sources do not; thereore, the majority will be used. Source has a trill over the downbeat. Sources 7 and 9 have a trill on the downbeat and the irst 1 th note o beat our. These added trills will be ket. Measure 174 The articulation, one tongued and ive slurred, o each grou o six 1 th notes will be used in this measure as in Sources 2,,, and 8. This articulation hels highlight the irst note, which is in a lower register, o each grou o 1 th notes. Measure 175 The articulation rom Sources 2 4 will be used on the last three beats o this measure. The articulated legato works with the cantabile nature o this hrase better than the staccato markings in Sources 9. The Dolce assai instruction in Sources 2 and gives the erormer a more seciic character than either iano or ianissimo. Dolce imlies iano in addition to a sweet character. 189

196 Measure 17 The trill and its Nachschlag rom Sources 4 and 9 will be used to ornament the line. Tonguing the main note o the trill will slightly accent the note without the need to write an accent. Slurring would nulliy the slight accent gained rom tonguing the note; thereore, this measure will be layed as in Sources 9 to combine the accent rom Sources 2 and with the ornamental trill in Source 4. Measure 177 The melody or the next section will be taken rom Sources 9. It closely ollows the melody in two o the manuscrit sources, Sources 4 and 5, and a iano reduction already exists or this section rom Sources 9 I reer to slur rom the dotted quarter-note on beat one to the 8 th note on beat our as in Sources 4, 7, and 9; however, I do not like the staccato marking over the 8 th note on beat ive in these sources. The staccato marking could be a seck in Source 4 and not an actual articulation marking. It is ositioned signiicantly higher above the F 2 than the staccato mark over another F 2 in m Neither the slur rom beats one to our nor the staccato mark is in Sources and 8. I do not like the accent on beat six in Sources 7 and 9. This accent is not in the majority o sources with this melody and will be omitted. Measure The 1 th notes on beats our through six o mm. 178 and 179 in Source 4 are an ornament to the areggios in Sources 9. The 1 th note ornaments eel odd rhythmically and will be omitted. The articulation rom Source 4, which matches the articulation 190

197 ound in Sources and 8, will be used. As in m. 177, the accents on beat six will be omitted. Measures The articulation or these measures will be taken rom Source 4. Beginning in the ickus to m. 18, Source 5 contains a slightly dierent melody that uses a dierent harmonic rogression. Its melody will not be used. The orte on beat our o m. 181 in Sources 9 will be used to set u the echo o the reeated hrase at iano in m The 1 th note ornamentation on beats our through six in Source 4 will be used. The downbeat o m. 189 will be slurred to be consistent with mm. 184 and 185. Measures The igure in the second hal o m. 189 is reeated in the irst hal o m The articulation o this igure is consistent both times in Sources 9 but it is not consistent in Source 4. This igure will be articulated both times as in m. 189 o Source 4. The dynamic will be orte to set u the echo. Measures These measures will be articulated as the revious two measures; but they will be layed in echo at ianissimo as in Sources 9. The rallentando will be let out o m. 192 so the one in m. 19 will be more eective. The decrescendo in m. 192 is only in Sources and 8 and will be omitted. 191

198 Measures 19 7 Source 5 is the only source that has a dierent articulation or these measures. The majority will be used. Since there has been no rallentando or decrescendo, the Temo 1 in Sources 9 and ianissimo in Sources 5, 7, and 9 are not needed. The sorzando on beat one o m. 19 in Sources and 8 and the accent on beat one o the same measure in Sources 7 and 9 are not resent in either o the two manuscrit sources that contain this hrase. The accent and sorzando will both be omitted. The rallentando in Sources 9 will be laced under beat our as in Sources and 8 because most o it will occur in the last three beats o the measure. Measures too long. These measures will be cut as in Sources 9 so this movement does not become Measure 212 In Source 2, Vogt is consistent about accenting the dotted quarter-note on beat our o this igure. There is also an accent on this note in Sources,, and 8. The crescendo rom Sources 4 and 8 will be used to show the direction o the line. Sources 4 and 5 ornament the dotted quarter-notes with an 8 th note line. The majority, Sources 2,, and 9, will be used or the melody. 192

199 Measure 21 I reer the contrast in articulation between the irst three beats staccato and the last three beats articulated legato in Source 2 and 5. When this igure is transosed u a minor third in m. 215, Source ollows the same articulation as Sources 2 and 5. Perhas it is a mistake that it does not do so here. I reer the decrescendo ollowing the descending line in beats one through three as in Source 5 instead o the accent on beat one as in Sources 9. Perhas this accent meant a decrescendo. The accent is not in any o the manuscrit sources. The iano under beat our in Source 5 is not needed and will be omitted. I anything, the hrase starting on beat our should be a little louder than the one beginning on the ickus to m. 212 to ollow the melody s ascension. Measure 214 See m This measure is the same as m. 212 transosed u a minor third. Measure 215 See m. 21. The crescendo rom Source 5 on the last three beats o this measure continues into m. 21 as the line ascends. It will be included. Measure 21 This measure will be articulated as in Sources 2 4. The dotted quarter-note C on beat our is accented in both Sources 2 and when this igure returns in m. 22. This is a similar igure to those ound in mm. 212 and 214 in which the accent was included. It should be included here as well or consistency. The decrescendo on beats ive and six in 19

200 Source 5 will be omitted because the line is moving toward the downbeat o the next measure. Measures The version in Sources 2 and will be used or these measures. Because the line is moving toward the downbeat o m. 217, the ianissimo in Source 5 will be excluded. The 8 th note D on beat six should have a shar beside it or clarity as in Sources 9. Measures These measures will be layed as in Source. Piano, as in the manuscrit sources, will be used over the ianissimo rom the ublished sources. Sources 4 and 5 do not have these measures; however, Source 5 indicates a dynamic o iano when it reenters in m. 22. The articulated legato or the three 8 th notes in m. 222 as in Sources 2,,, and 8 is consistent with how this igure has been layed reviously. Measures 22 8 The iano in m. 22 in Source 5 is not needed here since it is in m The crescendo rom Source 5 has been exanded through all o m The crescendo ollows the line u and reaches its aex with the line on the D-lat in m The D-lat is not exected here because the revious hrase concluded on the tonic F major. The two dotted quarter-notes in m. 227 should be slurred because this igure is similar to the revious dotted quarter-note igure that was slurred. The trill is only ornamental. The standard turn Nachschlag will be added. The version in Sources 2,, and 9 will be 194

201 used in m The decrescendo in Source 5 in m. 228 will be omitted. I reer to stay at a louder volume until later in this hrase. Measure 229 Since this measure is a reeat o m. 228, the simler ornament rom Sources 4, 7, and 9 will be used. The articulation rom Sources 7 and 9 will be used because it ollows the articulation ound or the unadorned melody in the majority o the manuscrit sources. Measure 20 The rhythm and articulation rom the version in Sources 2 and will be used or this measure. The sorzando on beat our in Source 5 will be omitted. There is no sorzando in the corresonding measure, 104, in the exosition. Measure 21 The ornamentation rom the second hal o the measure in Source 5 will be used along with its articulation. The dynamics rom Source 5 will be omitted. Measure 22 The articulation rom three o the our manuscrit sources, Sources 2,, and 5, will be used or these measures. Again, the dynamics in Source 5 will be omitted. While the igures in these measures are similar, m. 2 is not an echo o m. 22. The rhythm is consistent in these measures with their corresonding measures, 10 7, in the exosition. 195

202 The igure on the second hal o each o these measures oten has the rhythm o a dotted 8 th note, 1 th note, and 8 th note. Measures 2 51 Sources 4 and 5 contain a dierent coda rom the rest o the sources. Because a iano reduction o the coda beginning in m. 252 in Sources 2,, and 9 already exists and the oboe art rom that iano reduction closely ollows two o the manuscrit sources, the coda rom Sources 4 and 5 will not be used. Measure 252 The ossia sta o Source 2 is an alternate version o the coda that was included in Source 2. It will be called Source 2a. As in the exosition, these two measures have been given to the accomaniment to allow the soloist an extra chance to rest beore inishing the iece. Measures 254 and 255 are an exact reeat o these measures; thereore, giving these measures to the accomaniment also adds some variety. Measures These measures will be articulated as in Sources 2,,, and 8. The orte that was in m. 252 in Sources 9 will be inserted into m. 254 since the oboe entrance has been moved there. 19

203 Measures 25 7 These two measures will be layed as in Sources and 9. Source 2 rovides no articulation or m. 257 and does not have the trill on the dotted quarter-note on beat our. The standard Nachschlag will be included on the end o the trill. Because this is an awkward and short trill, erormers may want to either leave the Nachschlag out or lay this trill like a turn. Measure Measures 259 and 20 are a whole-ste lower sequence o mm. 257 and 258. The slur rom the second 1 th note in beat one to the irst 1 th note o beat three in Source 2 aears to be a mistake. Aside rom Source 2a, which has a dierent melody, all o the other sources slur the entire grou o 1 th notes. Source will be used or the articulation o these three measures. The trill on beat our o m. 259 in Sources 9 will be used with its added Nachschlag. See m Measures 21 2 These measures corresond to mm. 118 and 119 in the exosition. In Source 2, the slur over the second grou o six 1 th notes is ambiguous in both measures. The articulation rom Source, which is also ound in Sources and 8, will be used. I lay m. 22 iano to echo m. 21; however, this dynamic is not indicated in any o the oboe sources. It will be added in brackets to match the exosition. 197

204 Measure 2 5 Sources 2 and 2a do not have any articulation markings or these measures. The other sources, and 9, that contain these measures have the same articulation. This articulation will be emloyed. Measure 2 9 Measure 2 begins a diversion o Sources 2, 2a, and rom the remainder o the sources. The version rom Sources 4 9 will be used because it rovides needed sace to breathe. Sources 4 9 all agree on a dynamic o ianissimo in the second hal o m. 2. Source 5 has a slightly dierent articulation rom the other sources or mm. 28 and 29. Either version will work; however, the majority, Sources 4 and 9, will be used. The un oco rall in m. 2 rom Sources 9 will be used; however, it will be laced in brackets and moved to m. 29 so the assage does not slow down too much too soon. Measures The sorzando on beat our o m. 270 in Sources 4 and 5 goes with a sorzando in the orchestra. It is absent rom the both oboe and orchestra in Source 4 in m. 271, which is a sequential reetition o m Sources 9 and the iano reduction are without the sorzandi in these two measures; thereore, they will be omitted. It is ossible that the sorzando is serving as a dynamic indicator in Source 4 in addition to showing a strong accent. Because the rallentando is being used in m. 29, the Temo 1 is needed. The orte rom Sources 5, 7, and 9 will be used to show the dynamic and character contrast 198

205 between this hrase and the revious one. The standard turn Nachschlag will be included on the end o both trills. Measures 272 Sources 9 resent a dierent rhythmic version o the melody rom Sources 4 and 5. The trilet version in Sources 4 and 5 will be used because it oers some rhythmic variety rom the assages o 1 th notes that occur throughout much o the coda. Measure 274 Sources, 4, 5,, and 8 slur this entire measure, and Sources 7 and 9 slur the irst two 1 th notes beore tonguing the remainder o them. Sources 2 and 2a have no articulation markings in this measure. I reer the articulation in Sources 7 and 9; however, since either version will work, the majority articulation will be used since it includes three o the manuscrit sources. The decrescendo in Source 5 ollows the line down and gives this assage some nuance rather than laying the whole hrase orte. It will be included. Measures 275 Again, Source 2 and 2a do not have any articulation marked or the 1 th notes in this measure. All o the other manuscrit sources have dierent articulations. The ublished sources do not match any o the manuscrit sources in articulation; thereore, I will use the version I reer, which is Source. The crescendo in Source 5 will be omitted. 199

206 Measure 27 The melody rom the majority o the sources, 4 9, will be used or this measure. The two manuscrit sources agree with Sources and 8 or articulation. This articulation will be used. The orte in Source 5 is not needed here. See m Measure 277 The otion in Sources 7 and 9 to lay either the unornamented or ornamented 1 th note version o this measure will be included. Measures Nachschläge will be added will be added to the ends o the trills as in Sources Measure 280 The remainder o the movement will ollow Sources 4 and 5. By resting in this measure and m. 282, the soloist can breathe to survive the conclusion o the iece. Otherwise, the soloist must break the trill in m. 278 or ind laces to circular breathe even in the version in Sources 9 that has a shorter ending. Measures Sources 4 and 5 agree on the articulation in these measures. The dynamics in Source 5 will be used. The iano in m. 285 creates an echo or the reeat o the revious 200

207 measure; however, the crescendo will be laced in brackets and moved to m. 28 to arrive at orte on the downbeat o m. 287 as at a similar melodic igure at the end o theme 1 in mm For mm , the ull chromatic scale will be used as in mm in Sources 9. The orte in Source 5 will be included instead o the ortissimo in Source 4 in m The orte gives the oboist room to crescendo u the ascending chromatic scale to the F on the downbeat o m The ortissimo in m. 290 o Source 5 will be moved to m. 291 and relaced with a crescendo. Both dynamics will be laced in brackets. 201

208 Aendix 1: Table o Sources or Gustave Vogt's 4 ème Solo de Concert Source # Title Source Descrition Publisher Date Binding 1 Premier Concerto Published Oboe Part Pleyel c Portait our Hautbois Bound recto and verso 2 Concerto Pour le hautbois Manuscrit Oboe Part Portrait ar G. Vogt et coie Oboe Part Aears to be bound ar lui-meme Written in Vogt's hand recto and verso with corrections, additions, deletions, and sketches Ancien 1er Concerto Manuscrit Orchestral Score Ater 1844 Portait our le Hautbois Written in Bruyant's hand Bound recto and verso devenu 4ème Solo de Concert 4 4 ème Solo de Concert Manuscrit Orchestral Score, Landscae ar Gustave Vogt with corrections, additions, Aears to have been deletions, and sketches bound, recto and verso, Written in Vogt's hand with a single stitch at the to let corner Possible second stitch in the lower let corner 5 1er Concerto devenu Manuscrit Solo Oboe Portrait 4ème Solo de Concert and Orchestra Parts Aears to be bound Written in Vogt's hand recto and verso Comlete (No signs o editing) Mostly corresonds to Source #1 4ème Solo de Concert Published Piano Score Richault Portait our Hautbois Comlete and Cie. Bound recto and verso 7 4ème Solo de Concert Published Oboe Part Richault Portait our Hautbois Comlete and Cie. Bound recto and verso 8 4ème Solo de Concert Published Piano Score Editions Portait our Hautbois Comlete Costallat Photocoies 9 4ème Solo de Concert Published Oboe Part Editions Portait our Hautbois Comlete Costallat Photocoies

209 20