Eighth Note Publications Concerto in D oseh Rieel Arranged by Kevin Eisensmith oseh Rieel was born in 1709 in the town o Hörschlag in northern Austria. In his childhood Rieel attended the Latin schools in Linz and Graz, and he later studied hilosohy at the University o Graz. Following his years o study, Rieel became a schoolmaster at the seminary o Steyr. It seems likely that this occuation was not to his liking, as he let it to tour Euroe rom about 177 to 1740 as a servant to traveling noblemen. Rieel then moved to Dresden and rom 1740 to 1745 again studied hilosohy and mathematics. Fétis writes that he also studied music during this eriod. Rieel let Dresden in 1745 and traveled widely, including a brie residence in Poland. His tyes o emloyment have not been recorded. He made his way eventually to Regensburg, which became an imortant center in 1748 when Fürst Alexander Ferdinand von Thurn und Taxis, newly nominated Princial-Commissarius [Princial Commissioner] o Kaiser Franz I, moved there rom Frankurt, and took u residence in the Freisinger Ho. Regensburg was the center o the Holy Roman Emire o the German Nation. The Princial-Commissarius, unctioning as the "resident" o the municiality, met with and entertained the rinces and electors o the Reich (Emire) and ambassadors rom the rest o Euroe along with their rincely households. His main tasks were to accet letters o credence rom ambassadors and to manage great recetions (easts). There exist conlicting reorts as to exactly when and in what caacity Rieel arrived in Regensburg. When Rieel was assigned the rank o Kaellmeister is also a matter o debate. Reed says that it is not known in what year he became music director, thus acceting resonsibilities or the roduction o three concerts weekly and suervising aroximately thirty-ive musicians. In a court music budget [maniest] rom the year 1755, oseh Rieel leads the list o musicians and is thereore the Kaellmeister." PREVIEW Rieel died in Regensburg on October 2, 1782 ater aroximately thirty years o service. ONLY In evaluating his contributions to the music roession, Riemann states that Rieel was an "imortant theorist" and a "chamber musician to the Prince o Thurn and Taxis." oseh Rieel was considered a minor comoser in his day. Only three o his concertos (all or violin) were ublished during his lietime. Prior to this edition, none o his comositions are available in modern editions. He did, however, comose a considerable number o works reresenting virtually every genre known at the time. These comositions are listed in the extensive thematic catalog that aears in Thomas Emmerig's oseh Rieel--Hokaellmeister des Fürsten von Thurn und Taxis. They include 46 instrumental comositions (14 concertos; one or trumet), 64 sacred vocal works, one oera and three secular vocal comositions. Manuscrits o Rieel's works are held in a number o Euroean libraries, including those in Austria, Belgium, the Czech Reublic, Germany and Poland. Some have even ound their way to the United States. Three o Rieel's sinonias were coied in 1767 by ohann Friedrich Peter, who later brought them to America. Peter's coies, in the archives o the Moravian Music Foundation, which is located in Winston-Salem, North Carolina, are the only known surviving coies o these works. In 1910 the Library o Congress bought a collection o music manuscrits which ormerly belonged to the Hokaelle at Fulda. According to an inventory in 1788 the Hokaelle at Fulda had the ollowing: "Concerten vor Trometten: 1 von Rieel, 1 von Groos, 1 von Holzbogen, 1 von Richter, 1 von Stamitz." Rieel's concerto is currently housed at the Library o Congress along with three other trumet concertos by oseh Arnold Gross, Franz Xaver Richter and a ourth concerto that is incomlete and unattributed. This could be the concerto written by either ohann Stamitz or ohann Georg Holzbogen. oseh Rieel's Concerto in D à Clarino Princiale is organized in the customary three-movement ormat: Movement I Allegro non troo Movement II Adagio Movement III Presto The irst movement may be analyzed in seven large sections according to whether the orchestra or the soloist is erorming. mm. 1-14 Tutti 1 (oening ritornello) 15-27 Solo 1 27-8 Tutti 2 (ritornello) 9-49 Solo 2 49-56 Tutti (ritornello) 57-74 Solo 74-80 Tutti 4 (closing ritornello) The structure o this movement, which is based uon the Baroque ritornello orm, is tyical o many irst movements in re-classic concertos. The tonal structure o this movement is airly tyical: the work modulates rom the tonic (D maor) to the dominant during the irst solo section (m. 24), and the relative minor o the dominant () is suggested (m. 49) ust rior to the return o the tonic and the inal solo statement (m. 57). The temo or the irst movement is given as Allegro non troo. ISBN: 9781554722280 CATALOG NUMBER: ST2450 COST: $10.00 DURATION: 9:0 DIFFICULTY RATING:Diicult Trumet and Keyboard www.enmusic.com
Eighth Note Publications Concerto in D oseh Rieel Arranged by Kevin Eisensmith One need only look at the intricate rhythmic igures o the oening ritornello to understand why the comoser might recommend that the erormers lay the movement "not too quickly." This indication is, nevertheless, nebulous because temo markings oten relate strictly to mood, not to temo. Rieel rovides dynamic indications or every instrument in this concerto other than the trumet, although these indications are limited mainly to iano and orte in the irst movement. The trumet soloist was aarently ree to determine his own dynamic shadings. Although there are no dynamics indicated at the beginning o the movement, it can be assumed that the oening tutti was to be erormed at the orte level. Movement two, Adagio, is in ive large arts: mm. 1-12 Tutti 1 (oening ritornello) 1-26 Solo 1 26-7 Tutti 2 (ritornello) 8-5 Solo 2 (ending in cadenza) 5-59 Tutti (closing ritornello) The structure o this movement is similar to that o the irst movement in that the rincial eriods--those erormed by the soloist--are searated by ritornellos. Rieel utilizes a reduced orchestra or this movement by omitting the horns. The melodic line o the solo section, with its elaborate ornamentation, is tyical o a concerto slow movement. As exected, the melody is based uon the ritornello, and the irst our measures dulicate the "a" hrase. The second violin, viola and basso continuo arts double the trumet's dotted PREVIEW rhythm to rovide additional emhasis, and the viola and continuo arts are marked at a ONLY louder dynamic level. Rieel selected A maor, the dominant o the key o the concerto, as the key center or this movement. A customary modulation to the dominant (E maor) and a transition to the arallel minor o the dominant (E minor) occur beore the tonic returns and the movement ends in A maor. A ermata, the standard indication at that time or a cadenza, is inserted near the end o the movement. A written-out cadenza is rovided in the trumet art, an unusual addition in an eighteenth-century concerto. The cadenza is airly short, equivalent to aroximately six measures. Movement three, Presto, is in ive large arts: mm. 1-27 Tutti 1 (oening ritornello) 28-55 Solo 1 55-74 Tutti 2 (ritornello) 75-116 Solo 2 116-122 Tutti (closing ritornello) Rieel utilizes Baroque ritornello orm once again, but the structure or this movement is less comlicated--almost simlistic--when comared to the revious movements. This movement, however, oers a good examle o Rieel's use o an initial motive as a means o uniication. The tonal structure o this movement is the least comlicated o the three: D maor modulating to the dominant (A maor) and then returning to the tonic. This is in keeing with the style o the movement, which is light-hearted, and similar to the asseied. That Rieel did not reare a score is not uncommon or works o this era, since either the soloist, the irst violinist or the keyboardist served as the conductor. He would insert the necessary cues in his art; thereore, a comlete score would be unnecessary. Manuscrit arts are available or the ollowing instruments: Clarino Princiale (Trumet), or an instrument itched in D; Violino Primo (Violin I); Violino Secundo (Violin II); Alto Viola (Viola); Flauto Traverso Primo and Flauto Traverso Secundo (Flute I and Flute II); and Basso cum Riieno. Included are two searate arts or bass instruments: a Basso Continuo, which lays continuously throughout the concerto, and a Basso Riieno, which contains the same itches as the Continuo, but only during the tutti or orte sections. The Basso Continuo was erormed by the cello and harsichord. The harsichordist was exected to imrovise accomanying chord structures based on the given bass line, but no chord igures are given. The Basso Riieno was layed by the double bass. Although they are not listed on the title age o the concerto, arts or two horns itched in D (Cornu Primo and Cornu Secundo), which erorm as art o the riieno ensemble, are included. The individual arts o Rieel's concerto reveal additional inormation; or examle, several corrections were made to the arts, suggesting that the concerto was erormed, or at least rehearsed (see Figures 1 and 2). O the our extant concertos in the Fulda Collection, only Rieel's comosition has never been ublished. Desite the act that Musica Rara announced more than twenty-ive years ago that it intended to ublish Rieel's concerto, this is the irst time that the work aears in rint. ISBN: 9781554722280 CATALOG NUMBER: ST2450 COST: $10.00 DURATION: 9:0 DIFFICULTY RATING:Diicult Trumet and Keyboard www.enmusic.com
Concerto in D á Clarino Princiale I oseh Rieel (1709-1782) Edited by Dr. Kevin E. Eisensmith Organ reduction by Dr. Schuyler Robinson Trumet in D Organ c Allegro non troo q» I. c.. c 2.... Pedal c 4 5. 6 n... n PREVIEW ONLY n n n 7 Ó 8 II. 9 Ó 2004 Eighth Note Publications www.enmusic.com
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