FOUR SONATAS FOR HARP WITH VIOLIN ACCOMPANIMENT BY EUGENE GUILBERT: A MODERN EDITION by LAURA LEE LOGAN, B.M. A THESIS IN MUSIC HISTORY AND LITERATURE Submtted to the Graduate Faculty of Texas Tech Unversty n Partal Fulfllment of the Requrements for the Degree of MASTER OF MUSIC Approved December, 1988
It) 7ff Copyrght Laura Lee Logan, 1988
ACKNOWLEDGEMENTS My most sncere thanks to the members of my commttee: Dr. Paul Cutter for hs hours of nvaluable help and always cheerful encouragement. Professor Gal Barber for provdng the orgnal edton of the Four Sonatas and for her nsghts nto the nterpretaton of ornaments on the harp, and Dr. Rchard McGowan for hs revew and crtcsm of the text. Also thanks to Judy Marley for her tremendous assstance n lbrary research and to Susan Baer for her help n edtng the voln part
TABLE OF CONTENTS ACKNOWLEDGEMENTS CHAPTER L THE EIGHTEENTH CENTURY HARP 1 Development of the Pedal Harp 1 Composton for the 18 th Century Harp 3 Harp Composers of the Classcal Perod 4 PART ONE INTRODUCTION TO THE EDITION n. EUGENE GUILBERT 10 m. AN ANALYSIS OF THE FOUR SONATAS 12 Hstorcal Perspectve 12 Style and Form 15 Harmonc and Structural Analyss 17 Summary 19 IV. EDITORIAL PROCEDURES 21 Changes from the Orgnal Score 21 The FuU Score 22 Tempo 22 Dynamcs 23 Fngerngs 23 Bowngs 23 Ornaments 24 SELECTED BIBLIOGRAPHY 30
APPENDIX A: LIST OF WORKS APPENDIX B: GUILBERTS LAST WILL AND TESTAMENT 31 32 PART TWO FOUR SONATAS FOR HARP WITH VIOLIN ACCOMPANIMENT, OP. 3 SONATA NO. 1 IN Bb MAJOR SONATA NO. 2 IN Eb MAJOR SONATA NO. 3 IN C MAJOR SONATA NO. 4 IN F MAJOR CRITICAL NOTES VIOLIN SCORE 37 59 77 98 119 In Pocket IV
CHAPTER I THE EIGHTEENTH CENTURY HARP German developments n the mechansm of the harp takng place early n the eghteenth century led to an exploson of nterest n the nstrument among "serous" muscal crcles. Thus, the harp became not only a fashonable nstrument for the drawng room, but also the choce of many fme vrtuoso performers. These artsts were very often closely assocated wth a composer or were composers n ther own rght, tourng extensvely and promotng the harp and the new feld of harp lterature. Development of the Pedal Harp The sngle most outstandng mpetus n the harp's newly-ganed popularty was the nventon of the sngle-acton harp, whch allowed for a wder varety of keys and greater possbltes of modulaton. Jakob Hochbrucker of Bavara (bom c. 1673) s generally credted wth ts nventon sometme around the year 1720. Earler, n the late seventeenth century, metal hooks had been nserted nto the neck of the harp below the tunng pns of selected strngs. When the hook was turned by the left hand of the harpst, the correspondng strng was shortened, thus rasng the ptch of that strng by one half step. Whle ths was a tremendous mprovement over the cumbersome double and trple strung chromatc harps of the prevous generaton, the system of hooks had several shortcomngs. Not every strng was ftted wth a hook, partcularly those n the extreme octaves. Because the hooks were manually operated, only one strng could be sharpened at a tme and the left hand necessarly had to cease playng n order to accomplsh the change. These nconvenences were remeded wth the development of a pedal-operated system for turnng the hooks. Pedals extendng from the bottom of the nstrument were lnked to 1
2 the hook mechansm by wres runnng through the resonatng body up to the harp's strng arm or neck. Each pedal controlled all the octaves of the ptch for whch t was named. Early experments had only fve pedals, C, D, F, G and A; however, B and E pedals were soon added n order to cover every note of the scale. The sngle-acton pedal harps were tuned n Eb major, so that by a varety of pedal combnatons t was possble to play n eght major keys ( Eb, Bb, F, C, G, D, A and E ) and fve mnor keys ( c, g, d, a and e ). In order to be able to play n the key of Ab major, t was common practce to tune all the D strngs down to Db. Besdes Hochbrucker, other harp makers nvolved n the development of the pedal harp ncluded Georg Adam Goepfert (Gaffre, c. 1727 1809), a German harpst actve n Pars, and Jean Paul Vetter of Nuremberg, known to have bult a pedal harp around 1730. As the nstrument's mechansm became more sophstcated, alteratons were made n ts constructon and appearance. The pedals were housed n a sturdy box-lke base whch anchored the column and the body. Steel rods replaced wres n lnkng the pedals to the acton n the neck. The column of the harp was enlarged and hollowed out to accommodate the seven pedal rods. Improvements n the sharpng mechansm were made largely n Pars, whch by the md- 1750's had become the center of the harp world. Aesthetcally, a great contrbuton of French harp makers came n the way of beautfully carved and glded columns and exqustely panted soundboards. Study of the harp was hghly cultvated by the French arstocracy, no doubt n emulaton of Mare-Antonette, one of the more nfamous harpsts of the tme. Naturally, the physcal appearance of the nstrument was at least as mportant to wealthy courters as ts tone. Roslyn Rensch, The Harp: Its Hstory. Technque and Repertore (New York: Praeger Publshers, Inc., 1969), p. 98. Ann Grffths et al., "Harp," The New Grove Dctonary of Muscal Instruments, ed. Stanley Sade (London: MacMllan Press Lmted, 1984), Vol. 2, p. 146.
3 The late eghteenth century harp was graceful and delcate, usually 60 to 65 nches n heght and havng between 36 and 43 strngs. The nstrument was lghdy strung n gut, wth the excepton of the lowest sx or eght songs whch were wre-wrapped gut or slk. An engravng n Dderot and D'Alembert's Encvclopede (1767) llustrates n some detal a typcal sngle-acton pedal harp.3 The sngle-acton pedal harp remaned predomnant through the end of the century. The next major break-through n harp constructon dd not occur untl 1810, when Sebasten Erard patented the frst double-acton pedal harp. Now each strng could be rased two half-steps, fnally allowng the harpst to play n all keys easly and relatvely n tune. By ths tme, a new era n muscal tastes and compostonal style was comng to the fore and the harp became even more attractve both as a solo and orchestral nstrument The scope of ths thess, however, wll concern tself prmarly wth eghteenth century Classcsm and the sngle-acton pedal harp. Composton for the 18th Centurv Harp Characterstc harp wrtng of the perod conssted of apeggated fgures and chorda! and scalar passages. Octave doublngs and chord vocngs necesstatng awkward stretches of the hand were not unusual. C.P.E. Bach's Sonata n G Major (1762) "makes no concessons to ether the lmtatons of the [sngle-acton] harp... or those of the executant"; neterdoes Mozart's Concerto for Bute and Harp (K299). wrtten n 1778.~ Smaller spacngs between strngs and the fact that these harps were more lghdy strung than ther modem-day counterparts made t dstncty easer to execute such passagework and at a faster tempo. Ornaments, especally trlls and turns, were more easly dspatched as 'Reproduced n Grffths, p. 147. Grffths, p. 149.
4 weu.the overall style of playng n the late 1700's was much lghter and more precous than the vgorous attack of the nstrument advocated by many twenteth century schools. At a glance, most harp scores from ths tme appear to be very smlar to compostons for the keyboard. It can be assumed that many keyboard peces were adapted for harpsts' use, owng to the sheer lack of avalable lterature. Harp transcrptons are qute common even n the present day. As for domatc smlartes between orgnal harp compostons and works for the keyboard, ths was probably due to the newness of the nstrument tself and composers' unfamharty wth ts capabltes and lmtatons. A few domatc effects such as sngle harmoncs and sons etouffes (quckly muffled notes) n the left hand were n common use. Some of the more outstandng composers for the harp utlzed enharmoncs (made possble by the manpulaton of pedals and equal temperament tunng) to extend the chromatc capabltes of the nstrument. A classc example s the Eb mnor openng of Krumpholtz's Sonata No. 5 whch uses the enharmonc equvalents of Fttfor Gb, B'?for Cb, Efor Fb and C#for Db. For the most part, however, composers elected to stay wthn conventonal parameters of style and avalable keys. A large body of Classcal peces for the hap was wrtten n the open key of Eb major and modulatons tended to nvolve only closely related keys. Harp Composers of the Classcal Perod One member of the Hochbrucker famly of nstrument makers and muscans, Jakob Hochbrucker, has already been cted as a key fgure n the development of the pedal harp. It was Jakob's son Smon (1699-1750) who premered the Hochbrucker sngle-acton pedal harp n Venna n 1729 and n Brussels n 1739 through a seres of hghly successful rectal tours. Two of Smon's nephews, Coelestn (1727-1792) and Chrstan (1733- Grfflhs, p. 149.
5 1792), were also harpsts and composers. Chrstan Hochbrucker was wdely known n Pars as a vrtuoso harpst, harp teacher and composer. Hs works for harp, publshed n Pars and London, nclude three sets of sonatas (some wth voln accompanment). Op. 1, 6 and 22; harp duos. Op. 9; dvertssements. Op. 10; and harp accompanments to arettes by other composers. Op. 2, 3 and 4. Another German harpst/composer to make hs career n France was Phlpp Joseph Hnner (c.1754-1805). From 1775 untl c.1777, Hnner was harpst to Mare Antonette.'' Hnner's compostons were publshed n Pars and London from c. 1780-94 and nclude sonatas for harp wth voln. Op. 5-7; duets for two harps, Op. 1, 3, 8 and 10; accompanments to arettes by other composers. Op. 4 and 11; and sets of varatons for the harp. Jean-Baptste Cardon (1760-1803) was harpst to the royal famly n Russa from 1790-93. He produced many compostons for the harp ncludng more than 40 sonatas wth voln accompanment. Cardon also wrote a harp concerto, symphones concertantes, varatons, duets and a volume of exercses for the pedal harp, L'art de ouer de la harpe. Op. 12, publshed n Pars c. 1784.8 Phlppe-Jacques Meyer (1737-1819) was a pupl of Chrstan Hochbrucker n Pars. Meyer s sad to have ntroduced the pedal harp to England durng hs frst vst there n 1772.9 Besdes composng many chamber peces wth harp and works for the solo harp, Meyer publshed a harp method n 1763 whch s notable as the frst hstorcal survey of harps. In t, he dscussed bot the old hook harp and the new pedal harp. Meyer's sons. "Hochbrucker," The New Grove Dctonary of Musc and Muscans, ed. Stanley Sade (London: MacMllan, 1980), Vol. 8, p. 604-5. '"Phlpp Joseph Hnner," The New Grove Dctonary. Vol. 8, p. 589. "Jean-Baptste Cardon," The New Grove Dctonary. Vol. 3, p. 775. "Phlppe-Jacques Meyer," The New Grove Dctonary. Vol. 12, p. 245.
Phlppe-Jacques (d.l841) and Frederc-Charles, were harpsts, teachers and composers n England. Each publshed "lght" musc for the harp such as lessons, song arrangements, varatons, dvertment and sonatas. Frederc-Charles also wrote a harp method (c.l825) for the double-acton harp. Two other Meyers, Johann Bemhard and Johann Baptst, not related to Phlppe-Jacques, were actve n Pars and London as harpsts and harp composers durng ths perod, ' The three composers who made the greatest contrbuton to the lterature of the sngleacton harp were all marred to professonal harpsts. Many of the works of these three men Krumpholtz, Dussek and Spohr form an mportant part of the standard modem repertore for the pedal harp. Johann-Baptste Krumpholtz (b.l742) studed composton wth Haydn and was solo harpst n Count Esterhazy's orchestra n Verma. Krumpholtz was fascnated by nstrument desgn and made several attempts at mprovng the mechansm of the harp. After hs death, some of hs nnovatons were used by Erard n developng the nneteenth century double-acton harp. Krumpholtz marred hs harp student, Anne-Mare Steckler, n 1778. Anne-Mare later ran off to London wth J. L. Dussek; Krumpholtz subsequenty drowned hmself n the Sene n 1790. Krumpholtz was one of the vrtuoso harpsts of hs day and was qute a prolfc composer. Hs sx concert and over 50 sonatas and other works for harp appeared n Pars from about 1775.12 Krumpholtz was one of the more darng of the Classcal harp composers, wrtng techncally demandng works that stretched to the lmt the harmonc capabltes of the sngle-acton harp. op. ct. 11 Grffths, p. 149. 12"Krumpholtz," The New Grove Dctonary. Vol. 10, p. 283-4.
7 Jan Ladslav Dussek (1760-1812) was a Boheman panst and composer. Dussek's mother was a harpst and he eventually marred a harpst, Sopha Corr, n 1792. Dussek's early works are n the Classcal style, but hs later works exhbt Romantc tendences. Hs compostons nclude four double concert for panoforte and harp, one solo harp concerto (lost), some chamber musc, sonatas and sonatnas for harp. The German composer, volnst and conductor Ludwg [Lous] Spohr (1784-1859) belonged to the early Romantc perod as a leadng composer of nstmmental musc, Hs sx sonatas for voln and harp, however, were wrtten and frst performed on the sngleacton harp and for that reason he s ncluded as the last of ths generaton of harp composers. Spohr marred vrtuoso harpst Dorette Shedler n 1806 and composed numerous works for harp and voln for ther jont concert tours. The sx duo sonatas, composed n 1805-1819, are outstandng examples of early wrtng for the pedal harp n the varety of harp technques as well as n muscal content. Spohr also composed a concerto for voln and harp, another for flute, voln and harp, and fantasas and sets of varatons for the harp. Other noteworthy harp composers actve at the end of the eghteenth century nclude Johann Georg Albrechtsberger (1736-1806) and Adren Boeldeu (1775-1834). Albrechtsberger, an Austran composer, theorst and organst, was Kapellmester at St. Stephen's Cathedral n Venna from 1799 untl hs death. He was a frend of both Haydn and Mozart and was a teacher of Beethoven, Harpsts recognze Albrechtsberger prmarly for hs harp concerto of 1773, a work whch remans part of the standard concerto repertore. Boeldeu, known as "The French Mozart" for hs fresh and 13"Dussek," The New Grove Dctonary. Vol. 5, p. 754-8. l'"lous Spohr," The New Grove Dctonary. Vol. 18, p. 9-16. 15"Johann Georg Albrechtsberger," The New Grove Dctonary. Vol. 1, p. 224-6.
8 spontaneous themes and crystalune melodc lnes, was the leadng composer of operas comques durng the early nneteenth century. Boeldeu also wrote a harp concerto (1801) and chamber musc for harp. Ernst Echner (1740-1777) s prmarly known as a pre-classcal symphonst, but he wrote two concert for harp (or harpschord) n 1770 and 1771. '' Francesco Petrn (1744-1819) belonged to a German famly of harpsts and composers of Italan descent Pettn wrote many sonatas for harp wth voln accompanment, fve harp concert. four "symphones" for harp wth optonal nstrumental accompanment, plus varous other works for harp. Petrn publshed a harp method n the late 1770's as well as several books on harmony. 18 Menton should also be made of the French harpst and composer Martn- Pere Dalvmare (1772-1839). Dalvmare was a membct of Napoleon's prvate chamber orchestra n 1806 and was apponted hap tutor to Josephne n the followng year. Among hs many fne works for harp are symphone concertante of 1798, a harp concerto, Op. 30, over sxteen sonatas for harp (many wth voln accompanment or obblgato parts) and some duos, fantasas and sets of varatons. As wth any genre n a partcular perod n the hstory of musc, the composers that have been cted comprse only a small part of the actual number that exsted. Many more reman unknown and forgotten. Eugene Gulbert s one of those lost composers. 16"Adren Boeldeu," The New Grove Dctonary. Vol. 2, p. 856-61. 1''"Ernst Echner," The New Grove Dctonary. Vol. 6, p. 80-1. 18"Petrn," The New Grove Dctonary. Vol. 14, p. 590-1. 19"Martn-Perre Dalvmare," The New Grove Dctonary. VoL 5, p. 168-9.
PART ONE INTRODUCTION TO THE EDITION
CHAPTER n EUGENE GUILBERT Ltte s known of Eugene Gulbert's lfe, especally pror to hs mmgraton to the Unted States. The Bographcal Dctonarv of Amercan Musc gves hs brthdate as c. 1780,1 yet recent research has placed hm qute a bt earler. Accordng to an artcle appearng n The U.S. Catholc Mscellany. Vol. XVII, n the year of hs death, Eugene Andre Lous Gulbert was bom September 15, 1758 n Madrd, Span, probably of French parentage.2 Early n lfe he served n the French army, taught at the Brtsh Court (hs Ouatre Sonates are dedcated to a member of the Egerton famly) and vsted the West Indes before arrvng n Charleston, South Carolna sometme before 1809, the frst year hs name appears n the cty drectory. Gulbert marred Magdalene Delome (date unknown) and fathered four daughters. Many well-traned and respected muscans mmgrated from Europe durng the Colonal perod n Amercan hstory. Gulbert was a recognzed harpst and composer n France and England. Hs two sets of sonatas and a concerto for the harp were already pubushed before hs appearance n the Unted States. Most of hs Amercan works are songs n French and Englsh, although he dd compose a march for Lafayette and one for Presdent Monroe. Much of Gulbert's publshed repertore s wrtten for the talented amateur n the popular salon musc genre of the day. A manuscrpt score of a Mass for ICharles Eugene Claghom, Bographcal Dctonary of Amercan Musc (West Nyack, N.Y.: Parker Publshng Company, Inc., 1973). Norbcrt J. Burke, Letter to South Carolna Hstorcal Mapazne. Aprl 21, 1966, Eugene Gulbert papers, South Carolna Hstorcal Socety, Charleston, S.C. Rchard J. Wolfe. Secular Musc n Amerca. 1801-1825 (New York: The New York Publc Lbrary, 1964). I, 327-29. 10
11 chor and organ (preserved n the New York Publc Lbrary) s qute possbly the only extant large-scale work by Gulbert. Gulbert was also cted as a publsher n Charleston between c.1817 and 1826. However, from what ltte nformaton s avalable, t seems that he publshed only hs own compostons.'* It was a common practce n the Unted States and abroad at ths tme, especally for those composers tryng to establsh a reputaton, to have works publshed "at the author's expense" or "for the author" wth ether the composer's name as publsher or no publsher's name gven at all. Gulbert contnued to lve and work n Charleston untl hs death n 1839. The death certfcate as recorded by te County Regster lsts the cause of death as "old age" and reports the date as beng between the January 27 and February 3, 1839. Gulbert was bured n St. Mary's Churchyard n Charleston, wth hs Coat of Arms carved on hs tombstone. Gulbert was eulogzed as a "respectable nhabtant of ths cty" [Charleston] and a man "ardently attached to musc, for whch he had an exquste taste." The four daughters were equally provded for n Gulbert's last wll and testament, wrtten n 1838 and on probate n Charleston County. Magdalene Delome Gulbert presumably ded sometme earuer, as she s not mentoned n the document.'' Wolfe, m, 1144. Burke. Burke. See Appendx B.
CHAPTER m AN ANALYSIS OF THE FOUR SONATAS Hstorcal Perspectve Gulbert's Four Sonatas for Harp wth Voln Accompanment. Op.3, belong to the genre of the accompaned keyboard sonata, a muscal form unque to the Classcal perod, The huge success of the accompaned keyboard sonata can be drecty related to the new socal promnence of the muscal dlettante n the eghteenth century and hs desre for accessble musc deal for the salon: lght, elegant, charmng to lsten to and, above all, havng smple parts wth whch even the most untraned amateur could partcpate. One of the prmary functons of the sonata durng the Enlghtenment was to provde a source of entertanment n domestc musc-makng.2 Solo sonatas, ncludng those of the masters- Haydn, Mozart and Beethoven were seldom presented as featured tems n publc concerts. The symphony, nstrumental concerto and the opera ara were consdered to be the mportant showpeces for the vrtuoso performer, solo sonatas were gven second bllng as mere vehcles of techncal dsplay. Nevertheless, an enormous number of sonatas was wrtten and publshed n Pars and London n the mddle to late eghteenth century, most of them fallng nto the category of the more facle accompaned keyboard sonata.3 IWllam S. Newman, Mchael Tlmouth, and Paul Grffths, "Sonata," The New Grove Dctonary. Vol. 17, p. 488. Newman, "Sonata," p. 486. Newman, "Sonata," p. 488. 12
13 The orgns of the new genre can be traced back to voln sonatas wth realzed harpschord parts, such as those of J.S. Bach and other Baroque composers.'* These works, n three-part textures consstng of the voln lne and keyboard treble and bass lnes, were often descrbed as beng "en tro," a desgnaton whch remaned n use through the mddle of the eghteenth century. The frst clear examples of the accompaned keyboard sonata are found n the French peces de clavecn en sonates. avec accompagnement de volon of the 1730's and 40's. Jean-Joseph Cassanea de Mondonvlle was one of the leaders n thsfeld hsfrstset of accompaned clavecn sonatas, Op. 3, appeared c. 1734. In the dedcaton to hs patron he stated that "For several years such a prodgous number of sonatas of all types have been brought to lght that there s no one who does not beleve ths genre s exhausted. However,... I have sought to fnd somethng new...." It was somethng new ndeed The accompaned keyboard settng, because of ts smple, gracous character and easy parts, became extremely popular among muscal amateurs and, therefore, hghly proftable; so proftable, n fact, that no sonata was safe from the unsolcted addton of an accompanment part by a publsher tryng to augment sales. Accompanments were very often prnted and sold separately wthout any ndcaton n the keyboard score.' Composers who wshed ther solo keyboard sonatas to reman unaccompaned attempted to ndcate such by makng the dstncton "for panoforte only."8 The accompaned keyboard sonata became such a standard settng, especally durng the 'Wllam S. Newman, The Sonata n the Classc Era. 3rd. ed. (New York: W.W. Norton & Co. Inc., 1983), 99. Davd Fuller, "Accompaned keyboard musc," The New Grove Dctonary. Vol. 1, p. 37. Newman, Sonata n the Classc Era, p. 618. Newman, "Sonata," p. 488. op. ct.
14 thrd quarter of the century, that t was utlzed by almost every major sonata composer and hundreds of ther lesser contemporares. Among Mondonvlle's Parsan colleagues n the genre were Gulleman, Clement, Conette and Shobert. Composers n London and elsewhere ncluded Gardn, Bocchern, C.P.E. and J.C. Bach, CF. Abel, Haydn, plus Mozart and dement. The materal of prmary nterest n ths type of sonata s n the keyboard. The accompanyng nstrument usually voln orflute wasmarked ad lbtum and could easly have been omtted altogether, as Gulleman suggested for hs Op. 13 of 1745: "If one wshes, one can play these sonatas wth or wthout accompanment. They wu lose none of ther melody, snce t s all complete wthn the clavejn part...." Nevertheless, the accompanyng part enrched the texture of de pece n a varety of ways, makng ts absence regrettable. The voln (or ts alternatve) could smply double the treble of te keyboard part or t could move n thrds or sxths wth the melody. The accompanment sometmes flled n wth long sustaned notes (or trlls), or t created movement by supplyng off-beat punctuatons or seres of quck repeated notes. The accompanment occasonally entered nto bref passages of dalogue or mtaton wth the keyboard, addng consderable nterest. Gradually, as the form developed, the accompanyng nstmment began to take the melodc lead a phrase or two at a tme. The advent of tese short solo lnes eventually paved the way for the trae duo sonatas of Mozart and Beethoven late n the Classcal perod.*' Voln parts began to be marked obblgato (as n Beethoven's Kreutzer Sonata "per U Pan-forte ed un volno oblgato," truly a duo work) and then not at all as Newman. Sonata n the Classc Era, p. 622. l%ewman. Sonata n the Classc Era, p. 104.
15 the voln graduated from ts role of extraneous accompanment to a full and equal partner. 11 In France from the 1760's many smlar sonatas were wrtten n whch the harp replaced the pano (or oter keyboard nsument), smlarly accompaned by an optonal voln or flute. 12 Most composers followed the lead of Chrstan Hochbrucker n wrtng accompaned harp sonatas. It was not untl Ludwg Spohr's duo sonatas for voln and harp of the early nneteenth century that the harp and voln partcpated equally n the exposton and development of thematc materal. Stvle and Form The Four Sonatas, despte ther late date (c. 1801), are wrtten n what has been termed the "second galant style" whch reached ts peak n the 1750's and 60's.3 The second galant grew out of the earler galant movement and represented a tme break wth Baroque tradton. Instead of the long spnnng-out of a melodc Une, galant melodes tend to be grouped n short two or four measure phrases, punctuated by rests and frequenty endng on half cadences. In each of the four frst movements n the set, the prncpal theme fts ths descrpton exacty. Certan nherent trats of the galant style are perfecty suted to the accompaned keyboard sonata settng. Much galant musc was ntended to nstruct and entertan amateur muscans, partcularly females. One aspect of eghteenth century accompaned keyboard llnewman, "Sonata," p. 489. lmchael Tlmouth, "Chamber musc," The New Grove Dctonary. Vol. 4. p. 115. lnewman, Sonata n the Classc Era, p. 120.
16 sonatas s that they were often wrtten for the amusement of lades or n a manner such that "even a 10 year old grl" could manage to read them easly. 1" Emphass n the galant style s on a lght and ary homophonc texture. The partcpaton of the voln or flute n an accompaned keyboard sonata does not dramatcally tcken the texture, as t s doublng the melody for the most part. When t does break nto three dstnct parts, the texture remans qute thn wth an overall feelng of openness. Harmones are typcally smple wth a predomnance of prmary trads, and the harmonc rhythm s relatvely slow. Gulbert usually changes harmony wth the barune n a fast tempo, quckenng the harmonc rhythm n the drve toward a cadence. Formula cadences abound, the cadental sx-four pattern beng a favorte clche. Characterstc wrtng for the left hand ncludes Albert bass, chordal accompanments and smple octaves. The "murky bass" fgure (broken octaves, usually n eght notes) was wdely used n the second half of the eghteenth century. Broken octaves are the man accompanment feature of the frst movement of Sonata No. 4 n F Maor. Certan mannersms are key to dentfyng a pece n the galant style: dotted rhythms, partcularly the Scotch snap, fequent appoggaturas, syncopaton, the decoratve use of trplet fgures and smple omamentaton such as trlls and tums. Gulbert utlzes all these devces n the Four Sonatas wth the excepton of the Scotch snap. All of the sonatas n Gulbert's Op. 3 are two-movement sonatas. Whle most Classcal composers apparendy favored the three or four-movement sonatas, the twomovement varety appears often n the works of pre-classcal Italan composers, especally Albert and Parads. For that reason, the two-movement format has been referred to by I'Newman, "Sonata," p. 486. lnewman. Sonata n the Classc Era, p. 134.
17 Jfewnnm f{an THh? 'N?t.?--t m gg Qassc &a) as ±e "Italan sonata." Regardless of the 255JKjpaBmes$ of ns gnrr. the cwo-movement desgn n England and France, as well as n Mly., -w/js cheankrsdc of lghter soacas those wrtten for the student or dlettante, or n he accnampaeec jtsmrd sarrrg. The order of movernents n a two-movement sonata s suauj' Mostoae-Fsz- Fast Fast, Fast-jonda, or Fast mnuet and tro." Slow mdvctnm'cs accsr zszj.. Tbe frst movements n the Fmrr Snnat*; by Gulbert are all n modcraktee* &st mmpm, wfrrte the fnal mdvemeats arc ether rondos (No. 1, 3 and 4) or Tn'mnfff and cn V.NDL 2). Efermonc atd Structural Analyss AH j3f ff fcs nao-ements ra the set are n textbook sonata-allegro form and qute STTrnlKr. Umefenc m. «E be saffoenr OD smy one movanent n detal as representatve of hectbcsbl Segss: N"o.. 1 m B& -laor opens wth a two-measure fenfare-ike statement DnrTnrng le IDEIIC nsrf Hf second part of tfte frst rlrpmt? conssts of arpeggated chords mranc.ard oncrar harmony. A Bb mor scale (measures 9-10) leads up to a bg half.crtffnnf fdl[ka>wed by a lesl The <sevcrnd tfremp- mfcn rmmhttfy (m mpa'rp 1 ) n thp s cffflflc gftnnn rhmrr Tlmnc ce some pfffyyttrt' mrtatons betwea the harp and voln at two MUEasDjc JTmnanolc masdng a 4--4 perod. Up to tha pont, the only harmones used have feem II anad V. Hue Bradgc so the Qoang secton (begnnng n measure 21) ntroduces one (trr mgot mnpttr rfwrnfly ;?mf tyrmt cf-rmmmnn am nvgrnnn nf fhe nperttng- statement of the fnst ftftffttffr "One ClfflPg secton (at measure 33) s comprsed prmarly of thrty-second mnbe -BrrRllrf: aan apgos n the harp, outlnng V and I harmones. The Exposton ends wmn a dwbc odonal sx-foor cadence pauem n F major.. ** n. oa. I'fewnaau Snutata m nbue Qagatc Era. p> 135.,
17 Newman (n The Sonata n the Classc Era) as the "Italan sonata." Regardless of the approprateness of the term, the two-movement desgn n England and France, as well as n Italy, was characterstc of Ughter sonatas-those wrtten for the student or dlettante, or n the accompaned keyboard settng. The order of movements n a two-movement sonata s usually Moderate-Fast, Fast-Fast, Fast-rondo, or Fast-mnuet and tro.' Slow movements occur rarely. The frst movements n the Four Sonatas by Gulbert are all n moderate to fast tempos whle the fnal movements are ether rondos (No. 1, 3 and 4) or mnuet and tro (No. 2), Harmonc and Structural Analyss All of the frst movements n the set are n textbook sonata-allegro form and qute smlar. Therefore t wll be suffcent to study one movement n detal as representatve of the entre set Sonata No. 1 n Bb Major opens wth a two-measure fanfare-lke statement outlnng the tonc trad. The second part of the frst theme conssts of arpeggated chords over tonc and domnant harmony. A Bb major scale (measures 9-10) leads up to a bg half cadence followed by a rest The second theme enters mmedately (n measure 13) n the key of the domnant There are some pleasant mtatons between the harp and voln at two measure ntervals, makng a 4+4 perod. Up to ths pont, the only harmones used have been I and V. The Brdge to the Closng secton (begnnng n measure 21) ntroduces one or two more chords and feaures a dmnuton and nverson of the openng statement of the frst theme. The Closng secton (at measure 33) s comprsed prmarly of thrty-second note scales and arpeggos n the harp, outlnng V and I harmones. The Exposton ends wth a clch cadental sx-four cadence pattem n F major. op. ct. lnewman, Sonata n the Classc Era, p. 135.
18 The Development begns (at the double bar) wth a complete statement of the frst theme n the domnant Instead of the expected half cadence, however, there s a jarrng leap from F major to a D domnant seventh chord n measure 61. Ths s resolved nto g mnor when the second part of the Development starts n measure 63. Part two s organzed nto a square 4-1-4 perod and s smply a workng n the relatve mnor of the openng two bars of the pece. Imtaton between the harp and voln s clearly drawn from the second theme. Part three of the Development (measure 71) s nothng more than fuler materal n g mnor for four bars, then n c mnor for another four bars. A transton to the Recaptulaton follows (measure 79) whch s also bascally fller: thrty-second note arpeggated chords n the harp and smple outunes of harmones n the voun, all over a long domnant pedal. The Recaptulaton s a complete restatement of the Exposton, transposed down a ffth to the tonc key from measure 99 to the end of the movement Nothng s added or changed n any way, other than tonahty. The remander of the frst movements n the set are organzed n much the same way. Prncpal themes open wth the tonc trad outned n some fashon, usually n octaves. As mentoned above, all frst theme areas end abmptly on half cadences. Imtatve passages are typcally found n the statement of the second theme. Development sectons are bref and unmagnatve, often endng wth a domnant pedal as the brdge nto the Recaptulaton. In every case, the Recaptulaton s exacty the same as the Exposton, but transposed. Gulbert's second movements are, on the whole, more nterestng peces of musc. The rondos n partcular can be qute charmng, evokng mages of an eghteenth century soree, wth refned lades and gentemen seekng amusement by playng musc together. There tends to be much more nterplay between the nstmments n the rondos, makng the peces more enjoyable for both the lsteners and the performers. Each of the rondos s n straghtforward fve-part rondo form. The key of the relatve mnor s explored n the
19 second epsode n two of the movements. There are even a few short cadenzas to add flavor, as n the second movements of sonatas 1 and 4. The mnuet and tro of Sonata No. 2 s one of the more engagng movements of the entre set Its easy, gracous melodc lne s embellshed wth trlls, tums and grace notes. The harmonc language s smple-prmary trads preval-but harmonc moton s not so lethargc as n other movements. The openng of the tro n the relatve mnor makes a rater nce contrast to the mnuet Summary Gulbert's Four Sonatas can only be classfed as eghteenth century popular musc, of whch the accompaned keyboard (or harp) sonata was an mportant genre. The sonatas were obvously wrtten hurredly and wthout much thought or creatvty. The style of composton throughout s extremely smplstc, approachng banalty n ts over-abundant use of clches and unmagnatve treatment of muscal form. Frst movements, especally, are qute borng n ther predctablty. Nevertheless, they should not be completely dsmssed as trte, partcularly when one consders the very specfc purpose for whch they and all accompaned keyboard/harp sonatas were wrtten, that of domestc entertanment. To that end, they served ther functon well. Gulbert's sonatas can be enjoyable to play, although provdng much more of a techncal challenge to the harpst than the volnst. The Four Sonatas are not an mportant addton to the harp repertore from a performance perspectve. They are, however, mportant hstorcally for several reasons. Dscovery and study of musc such as ths can lead to a greater understandng of what was happenng n the manstream of eghteenth century musc. An awareness of the work of lesser or forgotten composers certanly serves to reaffrm the geruus of Haydn, Mozart and Beethoven. The Four Sonatas are also worth takng note of as belongng to the genre of the accompaned keyboardarp sonata, a vtal lnk between the Baroque sonata wth
20 contnuo and the vrtuoso duo sonata of the late Classcal and early Romantc perod. As a manstay n the eghteenth century dlettante's repertore, the accompaned keyboard/harp sonata further represents a unque facet of European muscal and cultural hstory.
CHAPTER IV EDITORIAL PROCEDURES The prnted source used for the edton was obtaned prvately from a London bookdealer who dated the publcaton 1789.1 The copy lsted n the new Brtsh Lbrary catalog, however, s dated 1801.2 It s unknown whether the latter s smply a reprnt of an earler edton or f both are of the same prntng. The only other known copy of the Four Sonatas s n the Glasgow Unversty Lbrary Gsted n RISM): however the date of publcaton s not gven.3 No publsher s named on any of the known edtons, but the engraver s gven as T. Scherer, No. 47 Hay Market London. Presumably the edton was publshed prvately at the expense of the composer or hs patron, Madame Arana Egerton. Changes from the Orgnal Score The edtor's am n preparng the present edton of Gulbert's Four Sonatas for Harp wth Voln Accompanment has been to produce a readable modem score, practcal for use n performance yet not overly edted. In de nterest of presentng as scholarly an edton as possble, edtoral emendatons have been footnoted and lsted n the Crtcal Notes. Notes that may be omtted for ease of performance are ndcated n the score by parentheses. Notes and dynamc markngs added by the edtor are ndcated by brackets. Items that can obvously be attrbuted to copyst error have been corrected wthout comment: rhythmc jn a prvate collecton of antquaran harp musc owned by Professor Gal Barber, Texas Tech Unversty, Lubbock, TX. The Catalogue of Prnted Musc n the Brtsh Lbrary to 1980 (London: K.G. Saur, 1981-87). Robert Etner also dates the Four Sonatas c.1801 n Bopraphsch-bblofrraphschesOuellen-Lexcon dgr Musker und Muskgelehrten (Lepzg: Bretkopf & Hartel, 1898-1904). Repertore Internatonal des Sources Muscales. Seres A (Kassel: Barenreter, 1971-), Vol. I, R. 3. 21
22 nconsstences such as omtted dots or extraneous notes n a fgure, omtted repeat sgns n ether the harp or voln part, the absence of necessary accdentals or the ncluson of unnecessary accdentals. In a few cases where the orgnal readng s plausble yet not congmous wth the rest of the passage, the edted verson s gven n the score and the change s commented on n the Crtcal Notes. The Full Score The harp and voln parts, prnted separately n the orgnal, are combned n full score. A separate voln part s ncluded n pocket, for convenence. Where dscrepances appeared between the two parts (repeat sgns, dynamcs, etc.), the harp score was taken as the authortatve source. Although the harp part can be performed separately wthout jeopardzng the harmonc or melodc ntegrty of the sonatas, much of the charm that the voln accompanment lends to the peces wll be lost. Tempo The style of playng for these sonatas should be delcate and of an ntmate nature. Long passages of octaves or repeated broken chord fgures wll be rendered more easly and effectvely by playng lghty. Tempos, therefore, should not be too fast, but should reflect the playful, charmng character of these works. The followng table s a suggested range of metronome markngs for each movement: Sonata No. 1 n Bb Major Sonata No. 3 n C maor Allegro moderato ) = 58-66 RONDO: Allegro «> = 69-76 Vvace J = 66-80 RONDO Pastorale: AUegrettoJ-=60-66 Sonata No. 2 n Eb Maor Sonata No. 4 n F Maor Allegro assa J =112-120 Allegro maestoso < =58-69 Menuetto J = 60 RONDO: Allegro J = 66-72
23 Dynamcs The orgnal dynamc markngs are manly lmted to forte and pano. Very few crescendos and no dmnuendos are marked. Whle resstng the temptaton to contrbute too many markngs to the score, the edtor has suggested dynamcs (enclosed n brackets) n a few cases where none were ndcated. Dynamcs have been added n parallel places between the exposton and recaptulaton when necessary. Some dynamcs have been added or changed n the voln part n order to acheve a better balance between modem nstmments. In general, the voln should not overwhelm the harp, especally n those passages whch are strcty accompanment (measures of repeated eghth or sxteenth notes, for example). Imtatve passages, partcularly those occurrng n second theme areas, should be brought out The performer wll dscover that the character of the musc lends tself to much more shadng and nuance, whch one should add at hs own dscreton, than can be adequately ndcated n the score. Fngerng? Mostfngerngswll be self-evdent to the experenced player. A few suggested or altematefngerngsn the harp part have been added for consderaton. Pedal changes are not marked n the score as the placement of such markngs vares accordng to personal taste. However, the performer should realze that pedal changes n these sonatas wu not be dffcult. Bowngs Very few voln markngs appear n the orgnal. Some slurs and bowngs have been added edtorally to balance or complement the harp part Such addtons are cted n the 1 I I I Crtcal Notes. The markngs f f f f. have been changed to correspond wth
24 contemporary meanng: f f f f '* Passages marked n ths manner should defntely not be slurred, but the modem performer has the choce of playng spccato or smply detached. The desred effect should be clearly ndcated to the player by the character of the musc. Ornaments Four dstnct types of omaments appear n the sonatas-the appoggatura, the trll, the Schneller (mnature trll), and the turn. Each of the four man types, along wth ther respectve sub-speces, wll be dscussed separately, lstng general gudelnes for performance. Exceptons to these gudelnes are footnoted n the score and the realzaton gven n the Crtcal Notes. In nstances of a partcular omament beng repeated wthn a movement only the frst appearance of the omament has been footnoted Omaments that are unque cases are also foomoted and realzed n the Crtcal Notes. An appoggatura s defned as any sngle omamental ptch that precedes and s slurred to ts prncpal note. A long appoggatura generally takes half te value of ts man note and s ndcated by a small note half the denomnaton of the man note. A long appoggatura begns on the beat and receves a slght stress. Ex. 4.1 Sonata No. 1, Allegro moderato, m. 105-106 'Nathan Broder, Mozart Sonatas and Fantases for the Pano (Bryn Mawr Theodore Pressor Co., 1960), p. x.
25 An overlong appoggatura takes the whole value of ts man note f the man note s followed by a rest or a te. The man note then takes the place of the rest or te. The only nstance of an overlong appoggatura n Gulbert's Four Sonatas occurs n Sonata No. 4, frst movement, measure 60. Ex. 4.2 Sonata No. 4, Allegro Maestoso, m. 59-60 m" t ' *" '" I 1 m A short appoggatura s very bref and usually falls on the beat thus causng the rhythmc dsplacement of the man note. Recent research n thefeldof omamentaton has proposed, however, that the grace note may sometmes be substtuted for the short appoggatura.5 Because de grace note slghty antcpates the beat the accent falls on the man note. Ths s a desred effect n several cases n the Four Sonatas: Ex. 4.3 Before groups of bnary notes: Sonata No. 2, Menuetto, m. 29-30 \Mf VJ rr-0- ---rm- g r rf - M I 1 "fl % { { { {.{. Frederck Neumann, Omamentaton and Improvsaton n Mozart (Prnceton: Prnceton Unversty Press, 1986), p. 42.
Ex. 4.4 Before sngle notes: Sonata No. 1, Allegro moderato, m. 13 26 Ex. 4.5 Before repeated notes: Sonata No. 1, Allegro moderato, m. 14 Kf k jm >f EL Ex. 4.6 On upward leaps: Sonata No. 3, Vvace, m. 15 fe Gulbert s ambguous n hs notaton of short appoggaturas. One must aurally determne the ntended effect In every case cted above, the orgnal notaton (small eghth or sxteenth note) has been replaced by a grace note symbol ( / ). The changes are ndcated n the Crtcal Notes. The appoggatura n a scale formula, shown below, s preferably realzed as four even notes (equalzaton).
27 Ex. 4.7 Sonata No. 2, Menuetto, m. 14-16 ff Jn 1 * : [d H; # There are dfferng theores as to why the appoggatura was not smply wrtten out n the Baroque and Classcal perods. Long appoggaturas often formed dssonances wth the bass and thus would not be wrtten on a strong beat. Because contemporary performance practce allowed for the mprovsaton of omaments, appoggaturas may have been wrtten as small notes to denote ther functon as omaments and as a warnng to the player that no further embellshment was to be added. For these reasons, and to preserve the ntegrty of Gulbert's orgnal pubucaton, all appoggaturas are ndcated wth small notes. A trll (:fr ) n ths edton wll generally start on the upper neghbor. One notable excepton occurs when the trll s the frst note of a pece or of a new secton, as n the Tro of Sonata No. 2, second movement. Another excepton would be when a trll occurs on a fermata or when an appoggatura trll would dsmpt the melodc flow. A trll wth a wrtten-out appoggatura should n every case begn wth the upper note. Ex. 4.8 Sonata No. 1, Allegro moderato, m. 32 mtj
28 Trlls may or may not end wth a tum, dependng on performer preference. In some stuatons, t wll be more approprate to play a mnature tru (one or two altematons only) where a regular trll s ndcated. Such nstances are cted n the Crtcal Notes. Gulbert uses the chevron (w ) to ndcate a Schneller. a mnature Ull of only one altematon (often referred to as an nverted mordent). Ths type of trll wll always begn on the man note and wll be performed by quckly altematmg man note upper note-man note. A tum conssts of three omamental notes that ether descend or ascend and whch surround the prncpal note. Gulbert ndcates the tum by the symbol («) or, n a few cases, by wrtten-out notes ( **»f ). The realzaton of trns vares wdely n the Four Sonatas: therefore, t s more expedent to handle each case separately n the Crtcal Notes. The rale concernng omaments n the Classcal perod s that there are no hard and fast mles. The task of the modem edtor (and performer) s to examne each omament carefully to arrve at a soluton whch s stylstcally correct as well as aesthetcally pleasng. An excellent reference for eghteenth century omamentaton s Frederck Neumann's Omamentaton and Improvsaton n Mozart. The book s useful especally for Neumann's dscusson of dverse theores of omamentaton, both hstorcal and contemporary. Idomatc consderatons must also come nto play when nterpretng omaments on the harp. Omamentaton should be executed as cleanly and precsely as possble wthout obscurng muscal contnuty. Fnally, the techncal abuty of the performer wll determne to a large extent the speed at whch an omament s to be executed. An edtor can merely suggest possble solutons that work n partcular muscal stuatons. The performer, n the op. ct
29 end, "cannot escape the responsblty of [hs] own artstc judgement,"' tempered by knowledge of the practce at hand. Neumann, p. 5.
SELECTED BIBLIOGRAPHY Broder, Nathan. Mozart Sonatas and Fantases for the Pano. Bryn Mawr: Theodore Presser Co., 1960. Claghom, Charles Eugene. Bographcal Dctonary of Amercan Musc. West Nyack N.Y.: Parker Publshng Company, Inc., 1973. Etner, Robert. Bographsch-bblographsches Ouellen-Lexcon der Musker und Muskgelehrten. 10 vols. Lepzg: Bretcopf& Hartel, 1898-1904. Loft, Abram. Voln and Keyboard: The Duo Repertore. Vol. I: From the Seventeenth Centurv to Mozart. New York: Grossman Publshers, 1973. Neumann, Frederck. Omamentaton and Improvsaton n Mozart Prnceton: Prnceton Unversty Press, 1986. The New Grove Dctonarv of Muscal Instruments. Ed. Stanley Sade. 3 vols. London: MacMllan Press Lmted, 1984. The New Grove Dctonary of Musc and Muscans. Ed. Stanley Sade. 20 vols. London: MacMUan, 1980. Newman, Wllam S. The Sonata n the Classc Era. 3rd. ed. New York: W.W. Norton & Co., Inc., 1983. Rensch, Roslyn. The Harp: Its Hstory. Technque and Repertore. New York: Praeger Publshers, Inc., 1969. Repertore ntemaronal des sources muscales. Seres A: Enzeldmcke vor 1800. Kassel: Barenreter, 1971-. Rosen, Charles. Sonata Forms. New York: W.W. Norton & Co., Inc., 1980. Wolfe, Rchard J. Secular Musc n Amerca. 1801-1825. New York: The New York Publc Lbrary, 1964. 30
APPENDIX A LIST OF WORKS Songs Arbre charmant A favorte French song. Wt Englsh words. Poetry by DeFloran. Charleston: J. Seglng, 1819 (?). The favorte song Arbre charmant Wth varatons for de panoforte. Phladelpha: Publshed for de autor by G. Wllg, 1824-1827. Twelve Englsh songs. Wth an accompanment for de Spansh gutar or lyre. Selected and arranged by Eugene Gulbert. Phladelpha: J.G. Klemm, 1823-1824, The love s warm awhle. Wd varatons for the harp or panoforte. Phladelpha: Publshed for de autor by G. Wllg, 18-. Relentless love. Phladelpha: Publshed for de audor by G. Wllg, 1824-1827. Sx romances d'estelle. Mses en musque, avec accompagnement de harpe ou forte pano. Ov. 10. Charleston, Carolne du Sud, chez I'Auteur, Pars, chez alexs Eymery, Lb,; Bourdeaux, chez Gassot Sne, Fosses de I'lntendance, 1817-1826. Harp Ouatre sonates pour la harpe avec accompagnement de volon. Ov. IH. London: n.p. (engraved by T. Scherer), n.d. Tros sonates pour la harpe avec accompagnement de volon et basse. Ov, V. London: Publshed for the author by J. Dale, n.d. Concerto pour la harpe avec accompagnement de deux volons. alto, et basse. Op. Vn. London: PubUshed for the author by J. Dale, n.d. Manuscrpts VI Are e Duett per la harpa. Ms. 18657,13, Osterrechsche Natonalbblodek (formerly K.K. Hofljblodek). Gulbert's mass. For SATB and organ. Charleston, S.C, c.1830. In the New York Publc Lbrary. Ms. collecton of peces for the harp by Eugene Gulbert and F.J. Naderman, 182-. In the New York Publc Lbrary. 31
10 J: So. 26. APPENDIX B GUILBERT'S LAST WILL AND TESTAMENT CHAHTJSTOT SOmS CUBOLIXl. Za tlm Xua Qt thn Itost Holy Trnty, Tlw Tath«r, Tha 8«a and Xha loxy Ghoat Mn. Z Zu<ana AaAza uj Ottlhartt * aatra af Ba4rA a tha Sngloa or Spaa aaa aaw Ctsaa of tha UataA Stataa of aaroa, baag SouU la boy aad a Judcaaaat, Aaolara that ahat follows a ay Toataaant * tha azprafsoa of ay last Vll aad that aay Tostaaaat postarar to tha data of tha praaaat ona '"" 'T ha Tod aad of ao affaat. Vr fuaaral Shall ha daoont and athout ootontatoa. Ify dobts Shall ha pad, thay aro rodaead to Tory llttlo aad do aot aaouat, at ths taa to taoaty Dollars. Vo thne a daa te aa by aay parsea. ll that Shall ba found to boloag ta as, at tha hoar of ay doath. Shall ba Sold aad tho proaoads of tha Bala, togathar wth tha aonay whoh wll bo fouad a tha Baak af tha Stata of South Carolna, Shall ba dotdod a four oqual parts * dotrbatod as follows) St. 1 Oaa fourth Shall bo (raa to ar balotod laughtor Xocaaa Uohal (wfo of Traaos Hohal, so that Sho aay oajey t a Abaalata rt, darag har lfa, at tha and f whah tha Sad faarth Shall ba dardad a tha fora af tab* ttatoa to har ohldraa. ad. 8. da aqual fourth Shall ba gran to ay aa* lotod dasghtar daaaaea OaUaaa (wfa of Potar Oulloala) So that Sha My aajay t, a abooluta rght, durng har lfa, at tha and of whah tha Sad fourth Shall ba dordad n tha foza af Sabattataa to har ohld or ohlldroa. 3. a oqoal fourth Shall bo gton to ar M BoloTad daaghtar daa 7aata (wfo of Xngoaa Taata, to that OM aay «a4oy t, a absoluta rt, darng hor lfa, at tha and of Hoh, tba Sad foarth Shall bo do-rdad n tha fora of Sabattataa, ta har ohld or shudraa. 32
th d. Oaa aqnal fourth Shall ba gltoa ta ay BoloTod dantar largnarta Baary (wfo of 8.. Eanry) 33 So that Sha aay anjay t, n abaolnto rght, darng har lfo, at tha aad of whah tha Sad fourth Shall ba datldod n fora of Sabattataa ta har ahld or ohldraa. Z doolara orootor that ay four Oaoghtars ar-. m aaly * Sola ha Ira aad that Z wsh that thay aay aajoy what Z gra thaa by tha prooont TaataMnt a parfaot ttfu and aa praparty balongng to thaa, wlthaat balag faroad ta pay tha dabta oontraat* od by thar praaaat 9T fataxa hasbaads. Xhay My oonsnlt and oenf or wth thaa oa tho aoaas af aaalaxatlag tha lot of thar ohldraa aftar tha daath af tha aathar. 2* aay no of ay Oaaghtars Shaald loaa har haabaad aad Shauld hara tba folly to aarry agaa, tho ohlldroa bora froa tha Saooad arrlaga aoald aat la aay aaaaar * aadar aay pratanaa, taka part la tha Sabattataa of tha ahldraa (bartt) froa tha frst aarraga. Zf ana ef ar Oaagbtors Should de wthout f sao SarrlTlag Sha aay la ths oaso alona dlspeoo of tha fourth whah Sha has roaaltad, a farar of whoa Sha ploaoaa, but t Shall ba by Tastaaaat. Thay Shall thaasaltoa glta roloasaa ef that whah thay wll raoolro froa tha Szaauter and thasa ralaaaaa Shall ba entre dlsahargas to ha. X boaaooh ay Seas la Zaa to aajca ay Saaghtars hpy, as far as t wll ba la thslr power. Z eoaatltute poat aad naao ay frload Zoals Vafselalgua ta ba azaeator of ay Tootoaeat. th Done * wrttea eatlrely by ae tha day d. Seooaber 18SA. Charlootoa Soath Oarelaa. Z beloto that Z hato doae ay duty, so aaah for these lae de aet falfu thers. «domum (Z. s.} Slgaed aad Sealed a preaenoa of Vtnofsee nuo Jong. J>».o Traaor 'Tf W, Trered before Thoaae Lehre 0. 0. T. S. oa the ZIoTonth dar of Tehy as«. dt the Saaa tlm qualfed Loula Vafoalalgae Xxer. Xxd. by T. L.
PART TWO FOUR SONATAS FOR HARP WITH VIOLIN ACCOMPANIMENT, OP.3
- Dedoe.. a.u lref-loo'al)lc o.vlo'.. t MU L p.,. D ];» Y. s 35
FOUR SONATAS for THE HARP Wth Voln Accompanment Dedcated to the very honorable luladame Arana Egerton by EUGENE GUILBERT 36
voln FOUR SONATAS FOR HARP WITH VIOLIN ACCOMPANIMENT. OP.3 Allegro moderato C J = 58-66 J 1 SONATA NO. 1 Eugene Gulbert C.1758-1839 harp J- m 'HH 5==S=5f * H:?N?r \* ' ' * 1 S 9 6-4 - crescendo m =F=? crescendo m 9 a 111" 37
38 I?V*.1* JV m sszzzsjtzzs: /» j» /I* /» Mllllll ± TrT.Tr 16
39 m ' 'I K' * / m s gt - t'n a I*» *- I* - ~» *-.jt Jh?frrs
40 m I ffj.rrj- I'lr g j'' r 34 (crescencyq] s.» * - (crescendo] ggsl, *JgS. ",*,!»,,», I 'rlr 1
41
42 r r rr r r rrrrrr m, m gjtf \r r r r r r rz ;pj S?=L m 46 C] J J J J J J J J JJJJ Jjjjn J s s* * s 55fS=«= 1 53
- I ' 1 43 I I I I n : M» # -* # ±=e: J * S * J I I J M * J I * :j-r--g 56 TJZI w #:*! crescendo 'fffll m rnrvt mt & 4 f jj**r y-nr I ' I - g crescendo W f- 4):,I, f m F r r \ I L, 59 r IX=s --s 'r'f L B TT /
44 I m.vl-rt f f * I *- 0-0' 4 f crrtrf -T»-r- 71
45 m 1 m M J J J # * -» - 74 I*' ' :'n 80 V
46 83 crescendo escendq jjvjjrj 0 0- - S M / j.» * -r g»»» r -0 w W-
47 --W-m P crescendo crescendo " _ M 0- V 3C 95 -* *- [fa [ *-]' rj*r
48?=? f jr R» =h»» h >. J Tr- 101 104 [ 107 [/] r fe> [/] =&: f-rff rlf rff
49 r r 113 m
50 I.f»»»»mm»-m- Tnrm :-AM J* w M u*tf
51 I f-rfrrf-f-f:- f-f-fr-f-f-f 5 [ y' mf'm., 131 [/]' ej- jr f-»,\ 0 0 % CK] CW f-f-rf-f-r m rs 0. fe \ -0 ' \ 0\\ \» '"""' 1'' ':%0!;I' t3«w r r t c;*j [ *5
52 RONDO I AllegrotJ=69-76j Allegro I g pp h. X ' 1 t J J. A. s V t> I m # S /»? " - 4 I 2- P".r 4 + + -»r
53 I d ~* W m t ' m 13 «s 0 0 0 0 P" J J * J J' 3 ] J * 3 '0? I Fne rs /CN * y Fne V \y * J'\ ' * HTH; S 17 f a t * m F r 0 jt: m = fc W 21 m
54 J-* S m m > J # *.. \> r Ir 0 >* 25 s f 29 m-m )j * j ' ' r rff» > -0 't => 0 F» 'lln I 33 3g
D:* m 3C3E~B=a r-» W 3e=!E3rz.».» *]. Ddracac =1-3> :J) I mn
56 \ r» - P A. I * - m» m 3lp= * *-"5 / S H j s: : ±Z -1 ' 1 1 ' -T ; ' #' «~9 # -m *- TF-.S3! je» m 0. m 0 # P>- C>/ y=re= 3C3C j»g»- 5? 5 - *:.x: zpr V
55 mm 0 4> 0 0» 0 0 f 0 rf] r-r] m -0 0-37.'' OJ [s m.rtl r\ 0 0 0 0 -y 8) 9) 41 -* L#! VC >p 45-0 0-0
56» & - 49 m. mm. -- * H : / rp - S I 7» JJ? # T» *Sr m I. S3 s -0-0- '*~lg' P 0 I 3= I 1J = 57 = P
57 w mm 0 d 61 w # :?z I m / j j» / P HI' f'?»l/h» P? 65 I d. 0 0 0 f f m - 111 3 / r. zf -."K:? 69 w
58
SONATA NO. 2 Allegro assalc J =112-120] vn. hp. Allegro asa ZZ r, z_ S * :2 m. m # * 0 fr 0 0 T 0 0 ' 0 -* r - I 0 0 d m 3 TT 3 - *---*- 5555 PP -0rjt. -* * «0- B # # * #_ #, 0 0 0 0 11) -0 0 0 0-59
60 I m. I # J. _r j>4... ]> (k\ I' s > 11... J).. >.,. f 1 I 1 S I js h : =!: (r) :>» V 'f 4.'j) fffff-f s HMM rrfrfrf rlfff'f" 17
61 H'' "'r r 'LU : J E : SI ffff-f 20 LJ r t S _««_ 23 'I' L.> [> J 7 r r a 0 0 0. 0
62
63 ff y f 7 * d g 41»-(r4 59-5=p a S 45 :fe f ±0 CD fj ff '* *- S e* * J n / # * * "* r
64 W' jjjjj: 0 m- PP «y --------3--3--3--3- w V hv jy hv JN J: S HT 6 48 r~"t IPI [ 5-J : [-Tl j» # I * w * 0 % w e- -«- *.r; -* *- 54 W J.
65 63 af f % % f=f m M m E m
66 I W m f P f f 66 s? S 70 T 1 r ac3c=3e: #_ < S 0 0 P z: j-ar-jr-*--*--*--*--*- 0 0 - ly'-jjjj...... as 7 g 7 S 7 M d:-d Kpr-0., j).....!>., 7 g 7 >7 g 7 * ]#: #- je- 73
67 I ff '4VtJ A mw m 0 79 0 0 0 0 0 0 :a 0 F 0 r r r r r r 0. 0
68 a I'l, r- F r ff J'f > 2 * 0 0 0 '>" r r f r r 85
69 II r ; - I a knz: * f4 97
70 MENUETTO Poco Lento CJ= 60] 1 P I Poco Lento -ft- >3) m vaz! 14) > =«-mf- -H- JC 0- _F 0 F _F- 0 \ ] - 0 \ I P 0 0 J I! ar± 3 p 0. 0 «- rg JCX,? I 15) 16) 17). *.«*f 1 a pp "zy r =±!; J >! >
71 m 13 M m 0J 0' * 5 y-r u-j' <* r f- r * fe sr fe m 18) 0 J *? 17 «F- * 0 0- P P 1 r _(2_ -l9- -«-_ I * 0 Se b# r #-,-* 0- m\ rr J::! 21 1 -
72 P? = nnr xa rrs? =? 25 I X I 2. I S P 1 =?"S3C krfrrr. 33 g f. f «-
73 1 0 V- 37 ' m00 f Cff' L r? s t- =r P IT) 45 0--d-'0--0- I J : 5 cy s BSeE St m -* r\ ZZ21 W" w * a =2: Fne * Rne c/
74 TRIO g -0 7- p f r *» + t t
75 1 tm -0.- M m SEE Ar u m -F~0- m 61 m m 65 s w 0 0 0 d =r 0 } 0 P Jz * _ # 3C S ; j? [ 4=f 20) O ffl / :HII f r r r-r /CN S H I L I 5 I V/
76 * m m * p 73 m w 77? * p S P r F 0h. D.C. al Majore D.C. al Majore
SONATA NO. 3 Vvace [J = 66-80] I?*a r r: r r m w m m m H \- P C r C & = & *::=t 3 T } f: r 7 L L 0 11
78
79.. I h 0 b 0 B J 0 19
80 m 0» 0 0 tta 3? rrrfm. 1 P 28-0 - I kfk/'q m 31 ;,Hv J J J Jffr 34
81
82 tj U [ s 1 S 49 ftp- P -««- fcs fe felrtftrfftrgrr WW -* TT &= Lf] [ffr?- '=K 0 0 *P f f Ifc :«=«= 3 52 P f
83 IV ' ' -- AK " m ]W r r r \. Y r 0 55 1 kj ' J»' f r. r -It 0 fr r U r h r, F t=. 0 L -ttl d 1 _, J «J r r f r -L» L J J J J J J J J m 0 P fe= 58 r r. r. ff -* F 1 0 0 0-,' r r r S' r. ;
J I I J d 0 0 -r -0 0-84
85 I F g I f A #_ r-#, ne 4 3 73 I 0 0»< 0 0 0 0 0 m 76 # k t p,.<ff>.
86 m Jl J S -M «_ s -r* L!»- -1* *- &U:J 82 t frr r M M m 0 nfn 0 r 0 0 88
87 3 91 jj- jj.. jt M ff SE f l l r ''t.h.h f <r <p 94?» j j g f f prrv,; >r ft±
88 U rrrrrr s 0 0 f -0 0-0 d 5S ;..f?. 100 p U" u S:- -0 0-1 r vf r f * J g *-,!» * * - J'J!7'. -«0- J
89 RONDO Pastorale Allegretto [J.= 60-66] Allegretto 5 S pp ffl 0 " s f?, 0 0Z -0 «0- = j }> j 3 3 3 3 3 t / tm
90 IP f -01. I s m 16 c- DJ
91 m I I s p M d d J. 1 3 T» p~ 19 C [ I' V, n. J. 4M"J-' 7frfrr?rfg >».» 22
+ H H 92
93
94 Mlnore [!«k r PV V P I f ; '. -5b- m -2 p- 49 a [j m * -Sf 'r?
95 55 CJ- o
96 Majore ('' rrfr 64 V W p 0 m 70 F- tt / /
97 m 0 * 0 333333 m
SONATA NO. 4 Allegro Maestoso C J=58-69 ] s A d d d- d d 0 r a m TS Z 0 * ' \ f nsz 98
99
100
101 1 p I =: w ') -[ V r r r - 28 v.rrv? w m -r- - =5t* fcm "h J r 31 3 * 0 V -F-10-
102 {h \ H 4 43 121
103 W» -9 PP / 1* f '3 3 3 fl 49 D W
104 7 J J J m * TTT r m 32) 61 [JJ CllJ w *
105
106 DJ3TQ3 a n
107 W'ln' m 82 'Uj-yj''yj = w T p m 0 0 r w
108 3 0 0 0»- 0 0 * g=g= fe P
109 100 f..nf mftr t p= / 1=3 1 fe p -4=H= 103 S 1 r ± n 106
110 'TTnT I flt r 3 112 -g4?-5= jjrrjar r; %? '> JM-U": -<s- I J J
Ill RONDO Allegro [J = 66-72 J
112 w fff Fne 0 00' Fne 'H dlld 13 \/ IP p LT» 0 17 s M-l-4 L r g a»? tll I I j=t 21 1 m y -
113 : P.L fl r \M\ M 33 L rr r -*- *
114 fc B 37-1 -» 0-7 I I H- & 1>- :t?= H 41 "1 I r I I 0 I # '# I * I y 0 \ 0 \ 0 \ 0 1 * * - 34) : g k- =F I J!_ = l.j IJ I \d * J * P* J * P 45 ' ' ' ' -0 : V> P-»- 1 1 f- JIJ U IJ I I I I J!
115 r\ ad lbtum ad lbtum r m 49 VC/ V/ /0\ *X' j d 35) t)- rtstrp s 53 0 F- & r r g m m I " ' * *' -*- 0. 0-F-Frrr I fe 'hrjjt'jr] m 57
116 1 ' f 'saml 61 P fl fl! s s :a rdld 65 # 35= I Mlnore f yj [Pj w f p 69 1 *
117 I P {p (MfVrr- tt 77 f J j 'rrru 7 C/J _C K * K 0 / B 7 * * 7 =5= P P f f f fe trrrr r p p 81
118 I m M IJJJ.JJJJ jjjuijjtp 85 D.C. al Majore D.C. al Majore 89 V
CRITICAL NOTES SONATA NO. 1 1) Orgnal has 16th note appoggaturas throughout ths passage. 2) Allegro moderato, m. 16. Played: I m=amj 3) Allegro moderato, m. 32. Played: m f } 4) Dynamc markng lowered for better balance. 5) Allegro moderato, m. 69. Orgnal: y XA 6) Orgnal has a D#grace note, whch would sound enharmoncally wth the Eb. 7) Man note trll. 8) RONDO AUegro, m. 43. Orgnal: : -8- " V 8 119
9) Orgnal has D.C. 120 10) Orgnal spellng: at lbtum. See also: cadenza n Sonata No. 4, second movement SONATA NO. 2 11) Allegro assa, m. 9. Orgnal: (Occurs also n m.73 and n m.72 n the voln) =S=g IZ& 22= 12) Allegro assa, m.49. Orgnal: t'fljellj 13) Menuetto, m. 1. Played: 14) Orgnal has 16th note appoggatura. 15) Orgnal has trll nstead of tum. See also m. 41 16) Orgnal has tum nstead of appoggatura. See also m. 44. 17) All slurs and bowngs are edtoral. 18) Ths s the only repeat sgn that occurs n the orgnal. All other repeat sgns n ths movement have been added edtorally.
19) Orgnal has D.C. 121 20) There are no grace notes n the orgnal voln part. Presumably, the player would have added them as a matter of course. SONATA NO. 3 21) Vvace, m. 13. Played: * ft 9 p m 1 22) Orgnal has 16th note appoggatura n thsfgurethroughout the movement. 23) Vvace, m. 16. Played: t 24) Vvace, I m. 18. Played: 25) Orgnal has 16th note appoggatura n thsfgurethroughout the movement 26) Vvace, m. 86. Played: $ J-. : m f 27) Vvace, m. 88. Played: I JL. m
122 28) RONDO Pastorale, m. 46. Orgnal: I W s f: m 29) RONDO Pastorale, m. 57. Played: h f Lg :Sz D:: O" O' m T-0 0- = 30) RONDO Pastorale, m. 78. Orgnal: & 'J' J-L I SONATA NO. 4 31) Allegro Maestoso, m. 60. Played: ffg=f= F g?
123 32) Allegro Maestoso, m. 61. Played: 8=» P 33) Bowngs n m. 25-28 are edtoral. 34) RONDO AUegro, m. 46. Orgnal: I 9 35) Orgnal has D.C.
FOUR SONATAS FOR HARP WITH VIOLIN ACCOMPANIMENT, OP.3 Voln SONATA NO. 1 Eugene Gulbert Allegro moderato [<! = 58-66] P c.1758-1839 m f - 1 I I I M 1= crescendo 10 jrpf- [/J *' * I 15 ' ttmz > y h0 - W' 19 / r -
FOUR SONATAS FOR HARP WITH VIOLIN ACCOMPANIMENT, OP.3 Voln SONATA NO. 1 Eugene Gulbert Allegro moderato [«' = 58-66] m c.1758-1839 Jr-JrU f P g.g.4 JTTJJTTJIB U crescendo hm 15 * *., t s *» *a m 19 m -0 *- 22 fe;. rrr m
m 25 tj''' r L'r J I r m 0 28 0 32 [crescendo] TJ.rfj- I'If 37 L [.hrf 1 pfcc escend6\ 40 [jll'f f f f f -# 0-48
p 1 5 51 B' j7~j.~r~j l 1 54 I 57 J J J Jjj.J IJ J J J J J J J Nj Jrr crescendo m -0 60 / r» F r F 64 68 71 ' -0 <=-
m 5 5 75 -* 0 0 ' 0r 79 - -* d 0 A I'A 83 [crescendo] [fl crescendo K'''I [rr * ar- 96 r/j
99.J0 '0.0 J I t 103 [j'ls \rm t '"' [f] 110 C te.'c'-....i'l/ 1 X 113 116 [_crescend6j
» r r r r r r r=-f-r-~ r r r r r r P 123 {.7 d d d d d 0 126 [crescendoj 130 [ r f f r,rrf-rf-rrr-u J u 133
SSSKs" ' RONDO Allegro [J-=69-76] I /,J J'J J, IJ JJ j, IJ J J - J J zjg m -0-' 13 * mm J IJ y. r\ Fne 17 * p f! I 21 '±M1 25 d d d I J. # TT-*- ff' 29
33 -P--»- m 37 m m I.m rn I m rr d d d d d 0 d d d d d 0 d 0 d 0 0 0- [«41 r\ 45 8 8'' J J' I > IJ J'. j. I,T] TT] 53 f {j -'J l J'J JTJfl 57 5 -» rzr = ~» mm [-n 61
65 J J J I J- / p f [fc 69 d d d f / I w 73 JP "27 Smorzando I 77 81 r\ te D.C. I
10 SONATA NO. 2 Allegro assa [J=112-120] f rr 'UJ If r r -' p P r " ' / PP jt jfjli*."??? ll _P n I I I I I I r" r~r'"n c"t" "" r*" t JJ4JJJ.lLWJj'.yJ4j «'j' ' ' 'nf 19 p) r r 'UJ c 7* S W~ B'' p- p 1' ' p 22
11 25 I J I -* --* jj I ff JjJllJjJl I 28 r tr r '1,' ~,rn -* 31 H*- S P P 34 * Sfr- -*-?- P 37 W \ * P 40 / f
! 12 ll' J J J J JTJ] IJ J J J 46 PP t'' J P p '# 49 S2 / 55 / 1=f -«&- [P] ( # 0 0 m 61 [ 64 f s 67 / 'LU If, r r a
13 r#>,, 0 0.. -=t=j==- 1 1 1 1 1 1 70 PP 73 d--d--d--d- *- *- *-»- 76 / =2z: -* # -I f = : p 85 (f'lj 88 #, f p I p l-jl I,,~t llj -<> *:: r rx 91 S fr
14 P? 94 97 P m J f J 7 3t:=z 100 m "f r F 0 *f d J. / -S-
15 MENUETTO Poco Lento C J= 60] s 1; m s m 6 d -P- d d ' : g 0d0- PP KJ I'f -;jro' '[' T 11 1 W'' f p 17 * -0 P r r If m 21 25 -J \ 1 u
16 X gvgrj'tn F 0 0 0 29 33 ( S 37 I =2=3 -d '- 5 41 Pf- ;''u;jjj2 * SI -CN Fne TRIO IS''''- HM 49 / V' * [ 53
17 P * S7 / v_- T.n "OW u r>3 IS'' J' jj 11 m 61 p 5 65 "X37" r\ 69 73 / V-' Sr fe a P nl I n 77 \_y J. 1 '.jjjb D.C. al Majore
W. J S, 18 SONATA NO. 3 Vvace CJ= 66-80] M 1 / m m Ita LM'wrnj ',j : 13 17 ( 21 frr I r tr 0 0 fr n-rrr- rrr' F 0 \:... \ lqf\ dddddddd F*Fdddd ' * * * 25
19 m JJJJJJJ Irr 29 / 0 d d 0 -zs- {I JTn-l.?lJ:7Jnv 0 0 0'0~ 33 m m a- #' 37 [VJ 41 -J-L--UL 0 0 000 A J I h P I I 45 J I II I I 5 {(jt/jtjjttj 1 3 49 ( 53
20 I d 57 0-1 \ \ 1 1 r- [ dd ddd 61 m m! 65 g J n I J' g 69 I h V > 0 0 0 0 0 0 0 ' r I *- 0 0 ~r ( 73 rrrrrrr I p v I mf. If'' I al!'[b' I r[. I 1 81 f _«0- -0. 0-
21 85 r (\J I fel L_; 7 89 m m I 01 / 0 (T. # # DDE SE : I I * * I 105 <B c: > fffjjjj I Jjjg -#- 1 -*
22 I RONDO Pastorale Allegretto [J.= 60-66] -j I I' I m 8 nj. kju 7]Q] r: 10 I t-mhh- 15? S 20 * 24 " S 3fc- - m 29 /r\ 5 33 /.k m. L_tf m.
23 8..0] I J, J M,m 43 --0- Mnore 48 CVj r * * k P! n 1 r ly'fp FrrrMV L'Nj 52 f 57 -r g±:y * m 00 F F' lu 0 0- P 62-0 1 0 - m Majore 7 I 72 Hrrj..r:,rn ;?==* * ' * B.m..aj- 1. 77
HMSpfpf 24 SONATA NO. 4 Allegro Maestoso [J= 58-69] 8' ;' 1 J P w f - d d- ''jol Mjll' 13 J t & P --W 17 / 21 / It Tr I SL tttt 25 J>p 0 0 0 0 1:1*1*'J- t-
25 8'''fflj ff 29 3 8! I ' 33 f J f» I g g?z: «0-37 41 *» ( P m F I 49 / CfY r r D'ln B S ( # I» d 0 0 53
26 57 P P J 1-1. S m zg- 61 m -t-j-j-j I ;j 65 za. J'0'0 <' I * * 0 00 0' 8 jjjjjjjj»jjj] I (' H,1 69 / J r «P 8' [f I [r =p= 73 / g I I I I H J 77 rjlj \ hrlo 3C: 81 m ( P [ r
27 go J lue 85 r/j a [fe'' -JJ JJj' "rr 90 (I J h- 94 ={] lp * * > 30( -Uj-j-j -J I < I 0 98 0 0 0 #1*» 0 0 0 r 0 0 r r 0 T=P ffnr Tr* H 102 =fc3c ( 107 m g.d=r # / # 35e 8' [j'' L:C 111 -*H* 8=
28 RONDO Allegro l= 66-72] s j.r F IL-' m \) I f) I r- Ten e J I I 1 I -» 0 0 d 0 0 r r f J 8 - n 13 /CN Fne m p 17 8J Q 3=E TT- 25 te 29
29 m 35 pa 41» 45-7 -1- I I -0- r-1 --_ r\ >' 9J 49 m 53 (-p3 ar lhtm * H«-! ' I I h I [? * y 57 61
30 ff'n r:r_rr r r 'r 65 Mnore Tm m m f\ 73 pe pjt]1r r f nqtt" 77 C*]? I evtj- ff s [fl [P [fl [fe y r f 81 ( ff * I * 86 v_y / D.C. al Majore
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