This dissertation is available at Iowa Research Online:

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Theses and Dissertations Summer 1976

A comprehensive performance project in the performance of

piano chamber music, with an essay on Franz Schubert's Sonata

in D major for piano and violin, D.384, a text-critical study

James Clarence Norden

University of Iowa

Follow this and additional works at: https://ir.uiowa.edu/etd Part of the Music Commons

Posted with permission of the author.

This dissertation is available at Iowa Research Online: https://ir.uiowa.edu/etd/6033

Recommended Citation Recommended Citation

Norden, James Clarence. "A comprehensive performance project in the performance of piano chamber music, with an essay on Franz Schubert's Sonata in D major for piano and violin, D.384, a text-critical study." DMA (Doctor of Musical Arts) thesis, University of Iowa, 1976.

https://doi.org/10.17077/etd.ur4g7uas

Follow this and additional works at: https://ir.uiowa.edu/etd

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THE PERFORMANCE OF PIANO CHAMBER MUSIC WITH AN ESSAY ON

FRANZ SCHUBERT'S SONATA IN D MAJOR FOR PIANO AND VIOLIN, D. 384, A TEXT-CRITICAL STUDY

by

James Clarence Norden

A thesis submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts

in the School of Music in the Graduate College of

The University of Iowa

July, 1976

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CERTIFICATE OF APPROVAL

D.M.A. THESIS

This is to certify that the D.M.A. thesis of James Clarence Norden

has been approved by the Examining Committee for the thesis requirement for the Doctor of Musical Arts in the School of Music at the July, 1976 graduation. Thesis committee: supervisor' Member Member Mem6/r Member

The University of iowo

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This study of the Sonata in D major for Piano and Violin, Deutsch Catalogue number 384 (hereafter referred to as D. number), by Franz Schubert fulfills the doctoral essay requirement for the D. M. A. degree in Performance and Pedagogy. Recital programs contained in Part I of the Essay are included as evidence of com pletion of the performance requirements for the same degree.

The purpose of this essay is to assist performers and teachers in the interpretation and study of the D major Sonata for Piano and Violin, D. 384. What the eye sees on a printed page of music is without doubt a very important basis for the kind of interpretation and performance which the performer will finally give of any musical composition. Through a text-critical study, i.e., measure-by-measure comparison, the many textual differences which exist between the manu scripts, first edition, and selected modern editions of this work are detailed and discussed. The modern editions chosen for study span a length of time from the late nineteenth century (1886) to the present

(1973). Editorial practices in these editions are illustrated and compared. Pertinent historical data and critical commentary are also included.

Appreciation is extended to Professor John Simms, the super visor of this project, whose assistance was invaluable. Gratitude is also due Dr. Gunter Henle of G. Henle Verlag, Munich-Duisburg, the

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copies of the music manuscripts; the British Museum in London for providing a microfilm copy of the first edition, along with permission to reproduce it in its entirety as Appendix A in this essay; and also to Dr. Rita Benton, Music Librarian, University of Iowa, for her assistance in locating other materials for this study. In addition,

I express my appreciation to Professors Himie Voxman, Allen Ohmes, and Frederick Crane of the School of Music, and to Professor Fred Fehling of the Department of German for assisting in the final reading of the essay.

And finally, I wish to thank Anne, Kimberly Anne, and Tamara Jo for their patience while awaiting the completion of this project.

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LIST OF TABLES... vi

LIST OF MUSICAL EXAMPLES... vii

PART I: PERFORMANCES 1 PART II: ESSAY ON FRANZ SCHUBERT'S SONATA IN D MAJOR FOR PIANO AND VIOLIN, D. 384, A TEXT-CRITICAL STUDY 30 I. HISTORICAL BACKGROUND, MANUSCRIPTS, AND EDITIONS... 31

Historical Background... 31

Manuscripts... 34

Editions... 37

II. PITCH AND TIME SYMBOLS... 45

First Movement... 46

Second Movement... 51

Third Movement... 55

III. ARTICULATION MARKINGS... 61

Dot-Staccatos, Slurred Staccatos, and Tenuto Dashes... 61

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Second and Third Movements... 70

Slurs... 71

First Movement... 71

Second Movement... 79

Third Movement... 80

IV. DYNAMIC MARKINGS... 87

V. CONCLUSION... 100

APPENDICES... 102

APPENDIX A: A PHOTOCOPY OF THE FIRST EDITION (A. DIABELLI, WIEN, 1836) OF THE SONATINA FOR PIANO AND VIOLIN OP. 137, No. 1, OF FRANZ SCHUBERT... 103

APPENDIX B: MARTIN CHUSID'S ANALYSIS OF FRANZ SCHUBERT'S SONATA IN D MAJOR FOR PIANO AND VIOLIN, D. 384... 119

BIBLIOGRAPHY... 123

Books and Articles... 124

Editions of Music... 131

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Example 1. D. 2. D. 3. D. 4. D. 5. D. 6. D. 7. D. 8. D. 9. D. 10. D. 11. D. 12. D. 13. D. 14. D. 15. D. 16. D. 17. D. 18. D. 19. D. 20. D. 21. D. Page 384, I, mm. 13-14, pfte, rh... 46 384, I, mm. 114-15, pfte, MS score... 47 384, I, m. 78, pfte, rh... 48 384, I, m. 91, vn... 49 384, I, mm. 95-96, pfte... 50 384, I, m. 134, vn... 51 384, II, m. 37, pfte... 52

384, II, mm. 68 & 78, pfte... 53

384, II, mm. 81-83, pfte, lh... ... 54

384, III, mm. 36-46, vn... 56

384, III, mm. 54-56, pfte... 57

384, III, mm. 77-81, vn and pfte... 58

384, III, mm. 233-45, pfte, lh... 60

384, I, m. 64, pfte, MS score... 63

384, I, m. 169, pfte... 64

384, I, mm. 74-75, pfte... 64

384, I, mm. 53^-55, vn. & pfte., MS score... 75

384, I, mm. 1664-68, pfte., MS part... 75

384, I, mm. 66-69, pfte. & vn., MS score... 76

384, I, mm. 66-69, pfte., MS part... 77

384, III, mm. 64-68, vn... 84

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22. D. 384, III, mm. 92-95, vn., MS... 86

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PART I

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The University of Iowa SCHOOL OF MUSIC

Division of Fine Arts

RECITAL JAMES NORDEN, piano

Assisted by: William Parkinson, oboe Joseph Messenger, clarinet

Sue Butler, French horn William Jones, bassoon

Anne Norden, violin Nancy Pierce, violoncello

FRIDAY, MAY 24, 1968 AT 6:00 P.M. NORTH HALL

Quintet for Piano and Winds, K. 452 Largo-Allegro moderato

Larghetto Allegretto

Fantasy for Piano and Violin, D. 934 Andante mol to Allegretto Andantino Allegro vivace W. A. Mozart Schubert INTERMISSION

Trio for Piano, Violin, and Violoncello, Op. 87 Allegro

Andante con moto Scherzo (presto)

Finale (Allegro giocoso)

Brahms

Student Series No. 114, 1967-68 Season.

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SONATA RECITAL ANNE DE VROOME NORDEN, violin

JAMES C. NORDEN, piano

THURSDAY, DECEMBER 19, 1968 AT 8:00 P.M. NORTH HALL

Sonata in A Major, Opus 47 Adagio sostenuto-Presto Andante con variazioni Finale (presto) Beethoven INTERMISSION Sonata in A Major, BWV 1015 Andante Allegro assai Andante un poco Presto J. S. Bach Sonata Concertante (1952)

Andante maestoso-Allegro mol to Adagio molto-Grazioso

Leon Kirchner

This program is being presented by Mr. and Mrs. James Norden in partial fulfillment of the requirements for the Doctor of

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RECITAL OF PIANO CHAMBER MUSIC JAMES C. NORDEN, piano

Assisted by:

Anne Norden, violin Wendy Gannett, viola Marcia Fountain, violoncello

TUESDAY, MAY 27, 1969 AT 8:00 P.M. NORTH HALL

Quartet in C Minor, Opus 60 Allegro non troppo Scherzo-Allegro Andante

Finale-Allegro comodo

Trio in E-flat Major, Opus 1, No. 1 Allegro Adagio cantabile Scherzo-Allegro assai Finale-Presto Brahms Beethoven INTERMISSION Quartet in C Minor, Opus 15

Allegro mol to moderato Scherzo-Allegro vivo Adagio

Allegro mol to

Faure

This program is being presented by Mr. Norden in partial fulfillment of the requirements for the Doctor of Musical Arts degree in

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ANNE DE VROOME NORDEN, violin JAMES C. NORDEN, piano

Assisted by: Gerald Fischbach, violin

Erich Lear, violin Russell Munneke, viola Marcia Fountain, violoncello

RECITAL

MONDAY, MAY 18, 1970 AT 6:30 P.M. NORTH HALL

Sonata in F Minor, Opus 80 Prokofieff

Andante assai Allegro brusco Andante

Allegrissimo

Concerto in D Major for Piano, Violin

and zString Quartet, Opus 21 Chausson

De'cide' Sicilienne Grave Tres anime

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CHRISTINE RADCLIFFE, violin James Norden, piano

Assisted by: William Hibbard, viola

RECITAL

SATURDAY, JULY 8, 1967 AT 8:00 P.M. NORTH HALL

Sonata in A Major Andante Allegro assai Andante un poco Presto Bach

Sonata No. 2 in A Major, Opus 100 Allegro amabile

Andante tranquillo

Allegretto grazioso (quasi Andante)

Brahms

Ideas and Transformations No. 1 Idea: I Idea: II Idea: III Transformation: I Transformation: II Transformation: III

Suite for Violin and Piano, Opus 18 Prelude

Air Rondo

Kenneth Gaburo

Paul Creston

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WILLIAM MANNING, clarinet James Norden, piano

Assisted by: Wendy Gannett, viola

RECITAL

TUESDAY, DECEMBER 12, 1967 AT 4:00 P.M. NORTH HALL

Phantasiestucke, Opus 73 Zart und mit Ausdruck Lebhaft, leicht

Rasch und mit Feuer

Sonata for Clarinet and Pianoforte, 1949 Allegro Moderato

Adagio mol to semplice Allegro Deci so

Trio for Piano, Clarinet and Viola, K. 498 Andante Menuett Allegretto Robert Schumann Daniel Pinkham W. A. Mozart

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JOHN CRYDER, French horn James Norden, piano

Assisted by: Paul Smoker, trumpet Nelson Amos, trumpet William Hartman, trombone

Stephen Brandon, tuba RECITAL

THURSDAY, DECEMBER 14, 1967 AT 6:30 P.M NORTH HALL

En Foret, Opus 40

Sonata, Opus 17

Allegro Moderato

Poco Adagio, quasi Andante Rondo

Sonata (1950) Briskly Very slowly Boldly

Quintet for Brass Instruments (1955) I. Adagio

II. Allegro moderato III. Mysteriso

IV. Allegro mol to

Bozza (1905- ) Beethoven (1770-1827) Donato (1909- ) Huggler (1928- )

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ANNE DE VROOME NORDEN, violin James C. Norden, piano

RECITAL

SATURDAY, MARCH 9, 1968 AT 8:00 P.M. NORTH HALL

Sonata in D Major Led air

Un poco andante Allegro

Sarabande (largo) Tambourin (presto)

Sonata in D Major, Opus 12, No. 1 Beethoven

Allegro con brio

Tema con Variazioni (andante con moto) Rondo (allegro)

INTERMISSION

"Ballade" for solo violin Ysaye

Sonata Debussy

Allegro vivo z

Intermede (fantasque et leger) Finale (tres anime)

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FRIDAY, JULY 19, 1968 AT 6:30 P.M.

Sonata No. 4 (flute) Larghetto Allegro Larghetto Allegro Gavotte Rapsodie Sonatine Sportive Lutte Mi-temps Course Histoires (piano)

Mr. Weaver is a senior in the School of Music.

JAMES WEAVER, saxophone James Norden, piano

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Civic Music Association Jacksonville, Florida THURSDAY, NOVEMBER 19, 1968 AT 8:15 P.M. Sonata in E Major Adagio cantabile Allegro Largo

Allegro non troppo

Sonata No. 1 in D Major, Opus 12 Allegro con brio

Tema con variazioni-andante con moto Rondo allegro

Paganini ana

INTERMISSION Sonata in G Minor

Allegro vivo ,

Intermede jFantasque et leger) Finale (Tres anime)

Romanza Andaluza

Six Roumanian Folk Dances

CHARLES TREGER, Violin James Norden, piano

Civic Auditorium

George Frederick Handel

Ludwig van Beethoven

Nathan Mil stein

Claude Debussy

Pablo Sarasate Be'la Bartok

RECITAL

Herbert Barrett Management 1860 Broadway

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WILLIAM NICHOLS, clarinet James Norden, piano and harpsichord

Assisted by:

Sandra Dye, clarinet Lawrence Mallett, clarinet Daniel Norgard, Alto clarinet

David Randall, Bass clarinet Chamber Orchestra

Christy Diedrich, violin

Christine Radcliffe, violin Wendy Gannett, viola

Andrew Duckwall, violin Richard Heinberg, viola

Erich Lear, violin Marcia Fountain, violoncello

Linda Ferry, violin Diana Gannett, contrabass

Raymond Comstock, violin

Jerry Kracht, conductor

RECITAL

THURSDAY, JANUARY 16, 1969 AT 4:00 P.M.

Adagio in B-flat, K. 411

Sonata de Camera, Opus 2, No. 6 (violin) Largo

Allemanda: Allegro moderato Sonata, Opus 78 (1959) Allegro serioso Lento Allegro fiocoso Dialogues (1957-58) NORTH HALL W. A. Mozart Pietro Locatelli Marcel Mihalovici George Rochberg Concerto No. 4 Moderato Adagio Allegro

Johann Mol ter

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RECITAL JOHN KAHRL, clarinet

James Norden, piano Assisted by: Karyn Fraley, flute William Parkinson, oboe

Peter El sea, bassoon

SATURDAY, FEBRUARY 8, 1969 AT 6:30 P.M. NORTH HALL

Sonata in E-flat Major, Opus 120, No. 2 Allegro amabile

Appassionato, ma non troppo allegro Andante con moto-Allegro non troppo Ballada, Opus 8

Quartet in C Major (1941) Allegro moderato Andante

Allegro vivace e leggermente

Johannes Brahms

Leo Weiner Arthur Berger

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DANNY ANDERSON, trombone James Norden, piano, harpsichord

Assisted by: Andrew Duckwall, violin William Parkinson, oboe

Carolyn Liehr, bassoon Russell Quick, trombone Henry Howey, bass trombone RECITAL

SATURDAY, FEBRUARY 22, 1969 AT 6:30 P.M. NORTH HALL

Sonata a 4 Moderato Adagio Allegro Sonata (1966)

Quietly and sustained Andante sostenuto Very spirited Autumn Sketches, 1965 Matthias Weckmann (1619-1674) Donald H. White David Uber Sonata (1941)

Allegro moderato maestoso Allegretto grazioso

Allegro peasante

Allegro moderato maestoso

Paul Hindemith (1815-1963)

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ANNE DE VROOME NORDEN, violin James C. Norden, piano

RECITAL

SATURDAY, MARCH 22, 1969 AT 8:00 P.M. NORTH HALL

Sonata in E Minor, K. 304 Allegro

Tempo di Minuetto

Sonata in C Major for unaccompanied violin Adagio Fuga Largo Allegro assai Mozart Bach INTERMISSION Pampeana No. 1 Sonata in A Major

Allegretto ben moderato Allegro

Reci tati vo-Fantasi a Allegretto poco mosso

Ginestera Franck

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ANN BEASON, mezzo-soprano James Norden, piano Pat Purswell, flute David Randall, clarinet RECITAL

FRIDAY, APRIL 25, 1969 AT 6:30 P.M. NORTH HALL

Betorte Welt

from Cantata 94

J.*S. Bach

0 kuhler Wald Am Sonntag Morgen

Imirier leiser wird Standchen

INTERMISSION

Brahms

Five Greek Folk Songs 1. Chanson de la 2. La-bas, vers 1 3. Quel gal ant m1

Marie'e 1'eglise

'est comparable

Ravel

4. Chanson des cueilleuses de lentisques

5. Tout gai!

Four Fragments from The Canterbury Tales Trimble

Prologe A Knyght A Yong Squier

The Wyf of Bi side Batha

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GRANT A. WILLS, baritone James Norden, piano

Assisted by: Chamber Ensemble

RECITAL

FRIDAY, JUNE 27, 1969 AT 6:30 P.M. NORTH HALL

Ingrata Lidia

Filli di Gioia Vuoi Farmi Morir An Die Feme Geliebte, Opus 98

(Alos Jeitteles)

Auf dem Hugel sitz' ich, sp&hend Wo die Berge so blau

Leichte Segler in den^Hohen Diese Wolken in den Hohen Diese Wolken in den Hohen Es kehret der Maien

Nimm sie hin denn, diese Lieder INTERMISSION

Antonio Vivaldi (1675-1741) Ludwig van Beethoven

(1770-1827)

Cinque Canti (1956) (from Lirici Greci) Flight For Heaven (1950)

(Robert Herrick) Sur L'herbe (Paul Verlaine) Luigi Dallapiccola (1904- ) Ned Rorem (1923- ) Maurice Ravel (1875-1937)

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ANN BEASON, mezzo-soprano James Norden, piano

RECITAL

SUNDAY, JULY 27, 1969 AT 8:00 P.M. NORTH HALL

Si, tra i ceppi (Berenice) Alma mi a (Floridante)

Finche lo strale (Floridante) Connais-tu le pays from "Mignon" Handel Thomas INTERMISSION From Calligrammes I L'Espionne II Mutation III Vers le sud

IV Pleut

VI Aussi bien que les cigales VII Voyage Die Verschwiegenen Heimkehr Zeitlose Standchen Poulenc Strauss

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DAVID STUART BLACKBURN, bass-baritone James Norden, piano

RECITAL

MONDAY, AUGUST 4, 1969 AT 6:30 P.M. NORTH HALL

In questa tomba oscura Beethoven L'amante impaziente Beethoven L'amante impaziente Beethoven Dimmi, ben mio, Opus 82

Madamina! il catalogo e questo Aria from "Don Giovanni"

Beethoven Mozart

Zwei Gesange, Opus 1 Dank

Abschied

/

Six Chansons de Theatre

Deux Chansons text Pitoeff Deux Chansons text Lenormand Deux Chansons text Supervielle I Said To Love

I need not go

At Middle-Field Gate in February Two Lips

In Five-score Summers (Meditation) I said to Love

Schoenberg

Milhaud

Finzi

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RECITAL DONALD KEHRBERG, oboe James C. Norden, piano

Assisted by: Jennifer Natvig, violoncello

SUNDAY, OCTOBER 19, 1969 AT 8:00 P.M. NORTH HALL

Sonata in F Minor Adagio Vivace Largo Presto William Babel 1 (ca. 1690-1723) Concerto in C Major Allegro Spirituoso Andante Rondo

Franz Joseph Haydn (1732-1809) Sonata, (,1962) Ele'gie Scherzo Deploration Francis Poulenc (1899-1963) Concerto (1944) Andante e rubato Vivace William A1wyn (1905- )

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RECITAL BARRY GRIFFIN, trombone

James Norden, piano Assisted by: Danny Anderson, trombone

Andy Doty, trombone Russell Quick, trombone

SATURDAY, JANUARY 10, 1970 AT 6:00 P.M. NORTH HALL

’Tis Thee I would Be Praising from The Christmas Oratorio

Bach-Beversdorf

Sonata (1967)

Quietly and Sustained-Allegro Andante Sostenuto Very Spirited D. White Sonatina (1958) Allegro Mol to Lento Allegro R. Jones

Suite for Four Trombones, Opus 82 (1959) F. Peeters

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Division of Fine Arts NORTH HALL Mozart Stravinsky Faure RECITAL ERICH LEAR, violin James Norden, piano

SATURDAY, JANUARY 17, 1970 AT 8:00 P.M. Sonata in E Minor, K. 304 Allegro Tempo di Menuetto Due Concertante Cantilene Eglogue I Eglogue II Gigue Di thyrambe INTERMISSION Sonata in A Major, Opus 13

Allegro mol to Andante

Allegro vivo

Allegro quasi presto

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Trinity Christian College DEPARTMENT OF MUSIC

Palos Heights, Illinois

SONATA RECITAL ANNE DE VROOME NORDEN, violin

JAMES C. NORDEN, piano

WEDNESDAY, JANUARY 22, 1970 AT 8:15 P.M. AUDITORIUM

Sonatensatz (Scherzo from the FAE Sonata) Sonata in F Minor, Opus 80

Andante assai Allegro brusco Andante Allegrissimo Brahms Prokofieff INTERMISSION Duo in A Major, Opus 162

Allegro moderato Scherzo Andantino Allegro vivace Sonata in E (1935) Ruhig bewegt

Langsam - Sehr lebhaft

Schubert

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Division of Fine Arts SUNDAY, APRIL 19, 1970 AT 4:00 P.M. Sonata in D Major Moderato (a fantasia) Allegro moderato Largo Vivace

Sonata in F Major, Opus 24 ("Spring") Allegro

Adagio mol to espressivo Scherzo (Allegro mol to)

Rondo (Allegro ma non troppo)

INTERMISSION Concerto in A Minor

First Movement: Moderato Playera

Six Roumanian Folk Dances

TIM DANIELS, violin James Norden, piano

NORTH HALL Vivaldi - Respighi Beethoven Viotti Sarasate Bartok RECITAL

Student Series No. Ill, 1969-70 Season.

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MARCIA SPANGLER, soprano James Norden, piano and harpsichord

Assisted by: Linda Parker, flute Vicki Fehling, violoncello RECITAL

SATURDAY, APRIL 25, 1970 AT 2:00 P.M. NORTH HALL

Meine Seele hort im Sehen Handel

Susse Stille

Am Grabe Anselmos Schubert

Gretchen am Spinnrade Lachen und Weinen Ganymed

INTERMISSION

On This Island Britten

Let the Florid Music Praise! Now the Leaves Are Falling Fast Seascape

Nocturne

As It Is Plenty

Lia's aria from L'Enfant Prodigue Debussy

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RECITAL RODNEY HUDSON, trombone

James Norden, piano Assisted by: Danny Anderson, trombone

Roger Bissell, trombone Thomas Swanson, trombone

THURSDAY, MAY 14, 1970 AT 6:00 P.M. NORTH HALL

Sonata for four trombones Daniel Speer

(1632-1707)

Ballade pour Trombone tenor et Piano (1944) Eugene Bozza

(1905- )

Sonatina no puzon i forte pi an (1954) Allegro

Andante mol to Sostenuto Allegro vivace

Kazimierz Serocki

(1922- )

Sonate (1941)

Allegro moderato maestose Allegretto grazioso

Allegro pesante

Allegro moderato maestoso

Paul Hindemith (1895-1963)

Students Series No. 135, 1969-70 Season.

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CHARLES LAWSON, clarinet James Norden, piano

Assisted by: Erich Lear, violin

RECITAL

SUNDAY, MAY 17, 1970 AT 6:30 P.M. NORTH HALL

Konzert fur klarinette Allegro moderato Adagio

Poco presto

Sonata, Opus 120, No. 1 Allegro appassionato Andante un poco Adagio Allegretto grazioso Vivace

Suite pour Violin, Clarinette et Piano I Ouverture II Divertissement III Jeu IV Introduction et Final Johann Stamitz Johannes Brahms Darius Milhaud

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TIM DANIELS, violin Assisted by: James C. Norden, piano

Daniel Norgard, piano RECITAL

WEDNESDAY, MAY 20, 1970 AT 4:00 P.M. NORTH HALL

Sonata in F Major Adagio

Allegro Largo Allegro

Sonata, Opus 24 ("Spring") Allegro

Adagio mol to expressivo Scherzo (Allegro mol to)

Rondo (Allegro ma non troppo)

INTERMISSION Handel Beethoven Sonata Allegretto Blues (Moderato)

Perpetuum Mobile (Allegro) Allegro Ravel Canzonetta Mazurek Fiocco Dvorak Mlynarski

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SHARON MONDAY, MAY 25, 1970 AT 4:00 P.M. Partita II in D Minor Allemande Courante Sarabande Gigue Sonata in A Major, K. 526 Mol to allegro Andante Presto J. MITCHELL, violin James Norden, piano

NORTH HALL

J. S. Bach

W. A. Mozart RECITAL

INTERMISSION Sonata in C-sharp Minor

Allegro appassionato Allegro ma con tenerezza Vivace assai

Variations on a Corelli Theme Praeludium and Allegro

Dohnanyi

Tartini-Kreisler Kreisler

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PART II

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Chapter I

HISTORICAL BACKGROUND, MANUSCRIPTS, AND EDITIONS

Historical Background

Franz Schubert composed the Sonata in D major for piano and violin, D. 384,in March, 1816. It is the first of three sonatas for piano and violin that he completed in 1816, the other two being the Sonata in A minor, D. 385, completed in March, and the Sonata in G minor, D. 408, completed in April.2 Besides being Schubert's first violin and piano works, these sonatas predate any of his surviving complete solo piano sonatas as well as any of his other complete chamber works with piano.3

Einstein has speculated that the three sonatas of 1816 "must . . . have been 'occasional' works," that is, written for a particular person or occasion.Since the sonatas bear no dedication and no

1. D. = Otto Erich Deutsch, in collaboration with Donald R. Wakeling,

Schubert: Thematic Catalogue of All His Works in Chronological Order (London: J. M. Dent & Sons, 1951).

2. Schubert wrote one other sonata for piano and violin, the Sonata

in A major (D. 574), in August, 1817. It was published by Anton Diabelli in Vienna as Opus 162 in 1851 under the title Duo

(Deutsch, Schubert: Thematic Catalogue, 252).

3. Two incomplete solo piano sonatas, D. 154 in E major and D. 279 in

C. major, date from Feb., 1815 and Sept., 1815 respectively and a movement from a "Sonata" for Piano, Violin and Violoncello in B flat, D. 28, dates from July and August, 1812.

4. Alfred Einstein, Schubert: A Musical Portrait (New York: Oxford

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contemporary documents mention them, who or what occasioned these works is not known. Certainly they were not written for one of his piano pupils to play with him.^ In March and April, 1816, Schubert was "sixth assistant in the bottom form" of his father's school in the Himmelpfortgrund suburb of Vienna and taught, not piano, but the Taferlklasse (first grade) its ABCs.^

It seems probable that Schubert composed the three sonatas for his older brother Ferdinand, who played violin in the family string quartet and for whom he often composed.? He composed for him in the same year as these sonatas his two-movement Concerto in D major for Violin and Orchestra (D. 345).8 in 1818, Ferdinand gave the first performance of a work Schubert had composed for him in 1817: the Polonaise in B-flat for Violin and String Orchestra (D. 580).9 Ferdinand's close association with the 1816 sonatas is also demon strated by the fact that he arranged two of them (the D major and A

5. Suggested as a possibility by Harold Rawlinson, "The Schubert Sonatinas, Op. 137," The Strad LXVIII (Sept. 1957), 168.

6. Otto Erich Deutsch, The Schubert Reader, trans. Eric Blom (New

York: W. W. Norton & Co., 1947), 53, 929; Maurice J. E. Brown, Hans F. Redlich, Klaus Hortschansky, and Wilhelm Pfannkuch, "Schubert, Franz Peter," Die Musik in Geschichte und Gegenwart, 14 vols., ed. Friedrich Blume (Kassel: Barenreiter, 1949-68), XII, 107.

7. Deutsch, Schubert Reader, 913-14.

8. Deutsch, Schubert: Thematic Catalogue, 151.

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minor) for orchestra in 1817.

If Ferdinand is indeed the person Schubert had in mind when he wrote the violin part of these sonatas, then he himself would have been

the pianist. The first performances would have taken place in the family home with Schubert playing on the small piano his father had given him in 1814. The range of the piano part in these sonatas would have exactly fit into its five octaves (F^ to f3).H

Ferdinand’s regard for the three piano and violin sonatas of 1816 continued after Schubert's death in 1828. In 1829, acting as the executor of his brother's estate, he offered to sell the publication rights of a great number of Schubert's works to the Vienna publisher, Anton Diabelli. In the list of compositions are the sonatas of 1816. They are the only compositions in the list on which he commented, describing them as "easy" and "very fine."12

Ferdinand's remarks are apt: little can be said that better describes them in a general way. The lack of technical difficulties in these works for both the pianist and violinist led probably to their being published as "sonatinas" by Anton Diabelli (see below, p.37); it has also led to their having long been considered ideal "teaching pieces" to introduce students to both the problems and rewards of

10. These orchestrations have only recently come to light as the

result of the investigations of Christa Landon: see her article, "New Schubert Finds," Music Review XXXI/3 (Aug. 1970), 227-28. 11. Deutsch, Schubert Reader, 44.

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13 ensemble playing.

The pre-eminent fact about the musical style of the 1816 piano and violin sonatas is that they are youthful works written before Schubert's handling of forms and textures had matured. They date from the end of a period in Schubert's development as a composer which has been rightly called one of "classic imitation" and in which his musical idol was Mozart.^

Manuscripts

Existing holographs in whole or in part of the Sonata in D major are: (1) an autograph score of all three movements; (2) an autograph of only the piano part of the first movement; and (3) an auto graph fragment of the last six measures of the third movement. Impor tant also as a secondary source for the text is a surviving part of the first movement of Ferdinand Schubert's orchestration of this sonata.

The complete manuscript score comprises twenty-five pages. Its first page bears the heading "Sonate pour Pianoforte et Violin/ Marz 1816/Franz Schubert." The first eight pages of the manuscript

(the first movement) have been crossed out (by an editor?) probably because Schubert began to revise the piano part in this score.

13. W. Daly, "The Violin," The Musical Educator IV (1910), 37-50. 14. Martin Chusid, "The Chamber Music of Franz Schubert" (unpublished

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However, these eight pages are the sole holograph source for the text of the violin part of the first movement just as the remaining seven teen pages of manuscript are (with the exception of the six-measure variant mentioned above and to be discussed below) the sole autograph source for both the violin and piano parts of the sonata. The owner ship of this manuscript is divided at present: the first two movements and the first seventy-three measures of the third movement are now the

1 c

property of G. Henle Verlag, Munich-Duisburg;1 the manuscript of measures 74-245 of the third movement, formerly in the possession of Otto Taussig's Schubert Foundation, belongs to the Music Department of the University Library of Lund, Lund, Sweden.^

The autograph of the separate piano part of the first move ment is contained on three pages of music manuscript. On its first page is the heading "Sonate fur's Pianoforte mit/Begleitung einer Violin von Franz Schubert." The manuscript bears no date but is obviously a later version of the piano part of this movement: the revision that had been begun in the early measures of the piano part of the autograph score are presented in "fair copy" in this autograph; during the course of the movement further corrections of the early version are made. This manuscript is the property of G. Henle Verlag,

15. Dr. Gunter Henle kindly supplied photocopies to the writer of

these portions of the complete score as well as the autograph of the piano part of the first movement.

16. Xerox copies of the nine pages of manuscript containing these

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Muni ch-Duisburg.

The autograph fragment containing the last six measures of the third movement of the D major Sonata appears on one side of a manu script leaf owned by the Newberry Library in Chicago.^ On its other side are the first fourteen measures of an early version of Schubert's song "Gruppe aus dem Tartarus" (Deutsch gives the number 396 to the song fragment and 583 to the later completed song). The date and signature given on the side of the manuscript leaf with the song fragment are "Marz 1816/Frz. Schubert/Wien." The version in this autograph fragment of the last six measures of the sonata differs from other versions of these measures in three respects: an added note, tying of notes, and dynamics (see below, pp. 59-60 and 90).

Ferdinand's orchestration of the D major Sonata bears the heading "Sonata ["Symphonie" is marked through] von Frz. Schubert,

II

furs Orchestre eingerichtet von Ferd. Schubert/angef. d. 14 June 1817/geendet d. 17 - - ." The surviving part of this manuscript, now preserved in the Music Department of the University Library of Lund, Lund, Sweden, contains the first 135 measures of the first movement. The orchestration called for by Ferdinand is: Two Korns in D, Flute, Two Oboes, Two Bassoons, Violins I and II, Viola, and Bass.

Ferdinand's manuscript is clear and has been helpful in the present study in clarifying certain points in articulation and dynamics where other sources differ.

17. A Xerox copy of this autograph fragment was kindly provided by the

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Edi ti ons

Schubert's Sonatas in D major, A minor, and G minor for piano and violin were first published by Anton Diabelli and Company in Vienna in 1836. Diabelli changed the genre in Schubert's titles of these works from sonata to sonatina.^ Thus the title of the first edition of the three sonatas reads Drei Sonatinen/fur/Piano-Forte und Violine/componiert/von/Franz Schubert/Op. 137 (see the title page for this edition in Appendix A).^ The D major sonata was designated as the first number of the composite opus and given the publisher's number 5848.

Because of the many and important differences between the first edition and the manuscript versions presently known of the D major Sonata, some writers have supposed that another manuscript of

the sonata must have been available to Diabelli (see below, p. 42- 44). The existence of the autograph variant of the final six measures of the sonata in the Newberry Library in Chicago supports this specu lation. At the same time, however, it should be remembered that these differences could have originated with Diabelli himself, for, besides being a publisher and editor, he was a composer. Other works by

18. Maurice J. E. Brown, Schubert: A Critical Biography (New York:

St. Martin's Press, 1958), 74. Brown regards this change as a "misnaming" and debasement of the sonatas. See also Newman, The Sonata Since Beethoven (Chapel Hill: The University of North Carolina Press, 1969), 219-20.

19. A copy of the original edition of the Sonatinas is owned by the

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Schubert have been cited by Brown and others in which Diabelli's

"editing" included textual revisions and additions.^0 As will be seen the significance that later editors have attached to the variants in the first edition has differed.

Since the first edition of 1836, publication of Schubert's three "sonatinas" for piano and violin has been frequent and wide spread. In the MGG article previously cited, no less than twenty- seven editions of these works have been listed as having appeared through the year 1954, including the first edition.20 21 Since then, at least three other editions of the sonatas have been published.

For the present study, six editions have been selected for textual comparison with the extant manuscripts and the first edition of the Sonata in D major. All of them are in widespread use today and currently in print or easily available in reprint editions.

1. Three Sonatinas for Violin and Piano, Opus 137, Schirmer's Library

of Musical Classics Vol. 921, ed. Ferdinand David. New York: G. Schirmer, 1908, published in score and with separate violin part.

Shortened references to this edition = David.

Ferdinand David (1810-73), a noted German violinist and pedagogue (a friend of Mendelssohn, he gave the first performance of that composer's violin concerto; among his pupils was the famous violinist Joachim), was a prominent editor of the classical violin repertory. The Schirmer edition of the Sonatinas is a reprint of part

20. Brown, Essays on Schubert (New York: St. Martin's Press, 1966),

275.

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of an earlier publication of Schubert Duos edited by David for the Peters publishing firm in Leipzig ca. 1882 (plate number 6626;

edition number 156a). The editing and placement of rehearsal letters are precisely the same in the two publications. Differences are

trivial: the engraver of the Schirmer edition has changed the direc tion of the stems of the note heads in a few instances and the pagi nation differs (1 in Peters = 3 in Schirmer). As will be seen, David relied heavily on Diabelli's first edition for his text. There is'no internal textual evidence in his edition that suggests he had access to any of Schubert's manuscripts in preparing it.

2. Franz Schubert's Merke. Kritisch durchgesehene GesamtausgabeJ 41

vols. in 21 Series withn10 Revisionsberichte, ed. J. Brahms et al. (^Leipzig: Breitkopf & Hartel, 1884-97J Reprinted in 19 vols. as

Franz Schubert: Complete Works by Dov£r Publications, New York, in 1964. Shortened references to this edition = GA.

The D major Sonata for piano and violin is contained in Series VIII of the GA: Merke fur Pianoforte und ein Instrument, published in score and with separate violin part (published in Vol. 3 of the reprint edition).23 Series VIII was published in 1886 and edited by Ignaz

22. Hortschansky, "Schubert," MGG, XII, 165. This latter Peters edition itself is probably a reprint of an earlier edition by David of the same works, cited by Hortschansky (p. 165) as having been published by Peters in 1869 (plate number 4777). David died some nine years before the second Peters publication of the Duos. The Duos, according to Hortschansky, included the six works

Schubert composed for piano and violin -- (the three Sonatinas), Op. 70 (the Rondo in B minor), Op. 159 (the Fantasy in C major), Op. 162 (the A major Duo), and his one duo for piano and flute, Op. 160, the Introduction and Variations on "Trockne Blumen", from Die schone Mullerin.

23. Contained in this series in addition to the six duos for piano

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Brull (1846-1907), a noted Austrian pianist-composer and close friend of Brahms. For his edition of the sonata Brull had access to the auto graph score of the entire work, the revised autograph piano part of the first movement, as well as the first edition by Diabelli. Brull's editorial commentary is brief (by no means adequate by present-day standards for such commentary): he mentions only two of the many differences in pitch and time symbols between the manuscript score and manuscript part.24 These two autographs (not the first edition) are the basis, however, for his printed text. Editorial departures from Schubert's text, particularly with regard to marks of articulation and dynamics, are acknowledged (in parentheses) rarely.

The Schubert GA of 1884-97 is a still highly regarded edition of Schubert's works;25 the Dover reprint of it was jointly sponsored by the American Musi cological Society and the Music Library Associa tion. A photographically reduced reprint of the six piano and violin works printed in Series VIII of the Schubert GA is currently available as All Sonatas and Duos for Violin and Piano (New York: Lea Pocket Scores, n.d.).

3. Sonatinen fur Klavier und Violine, Opus 137, ed. Carl Herrmann.

New York: C. F. Peters, 1934, published in score and with separate violin part. Shortened references to this edition = Peters.

24. See Franz Schubert, Revisionsbericht (1897), Vol. 19 of the

Dover reprint, Franz Schubert: Complete Works (New York: Dover Pub1ications, 1964), 88.

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This edition bears the same plate number (6626) and edition number (156a) as the much earlier Peters edition, ca. 1882, edited by Ferdinand David (see above, p.39). Here the resemblance between the two editions ends: Herrmann's edition is highly edited and profuse with performance directions, discriminating in no way between the editor's interpretative markings and those representing the composer's intentions. This edition is included in the present study only because of its wide circulation and use. It will be compared with the manu script and other editions only with respect to pitch and time symbols (Chapter II).

It should be noted that the edition of the Sonatinas published in 1954 by the Peters affiliate Hinrichsen Edition, Ltd., in London with the edition number 156a-I is an exact reprint of the score of the

1934 Peters edition (156a); only the separate violin part has been

re-edited by the Russian violinist, Maxim Jacobsen (1887- ).

4. Sonatinen fur Klavier und Violine, Opus 137, ed. Gunter Henle and

Karl RBhrig. Munchen-Duisburg: G. Henle-Verlag, 1955, published in score and with separate violin part. Shortened references to this edition = Henle.

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Preface to the edition). This edition, therefore, follows one or the other of the two manuscripts mentioned above almost exclusively. Fingerings and bowings have been added.

5. Sonaten fur Klavier und Violine, ed. Monika Ho11, violin part ed.

by David Oistrakh, with fingerings in the piano part by Hans Kann. Wien: Wiener Urtext Edition, Musikverlag Ges. m.b. H. & Co., K. G., 1973, published in score and with separate violin part. Shortened references to this edition = WUE.

This edition contains the four sonatas for violin and piano (D. 384, 385, 408, and the A major Duo, D. 574). Its publication was announced in 1964 by Universal Edition, Vienna (UE No. 13,308). The present printing shows the copyright date as 1973 and bears the plate number UT [Urtext] 50,004. The editor, Monika Holl, discusses her use of the autograph MS score and the first edition in the preparation of this edition, and mentions her knowledge of the Newberry Library

(Chicago) fragment, but does not mention as a source the separate MS piano part of the first movement. Holl assumes that another autograph copy of the D major Sonata was available for the Diabelli edition and that this has been lost. Therefore, in her opinion, the first edition is the most authentic source for the sonata. She states in her Pre face, page vi, that "the present edition follows Diabelli's printed edition in cases of significantly diverging readings. ..." However, readings from both the MS score and the first edition are often printed

for comparison within the text. Written variants are noted in Critical Notes appended to this edition.

6. Werke fur Klavier und ein Instrument, ed. Helmut Wirth. Series VI,

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parts. Shortened references to this edition = NSA.

To date only eight volumes have appeared in the New Complete Edition of Schubert's works first announced in 1964, projected in eight series and ca. fifty volumes. The present volume containing the D major Piano and Violin Sonata was one of the first to appear and was completed in 1968 by Helmut Wirth according to his preface. Following the general editorial policy adopted for all volumes in the Neue

Schubert-Ausgabe, an array of typographical devices -- broken lines, italics, lighter and smaller print, et al. -- is used in indicating editorial additions and changes. Without the critical commentary announced in 1970, but not yet forthcoming however, it is difficult, if not impossible, to distinguish between those markings based on primary and secondary sources (Schubert's autographs and the first edition) and those that are strictly editorial, such as reconciliations of markings that differ in parallel passages.

For the D major Sonata Helmut Wirth had available all the

manuscript sources for this sonata including the MS score, the MS part, the Newberry fragment, and the surviving fragment of Ferdinand

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time. 26

This edition of the D major Sonata has been reprinted recently (1974) by Barenreiter in its series The Nineteenth Century in the volume Sonaten fur Violine und Klavier (BA 19,120) -- it contains the three "Sonatinas", D. 384, 385, and 408, as well as the "Duo", D. 574. Neither the "first version" nor the appended footnotes in NSA are included in the reprint.

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Chapter II

PITCH AND TIME SYMBOLS

The surviving manuscripts in Schubert's hand of his D major Piano and Violin Sonata are quite legible, are neatly written, and contain few errors or oversights as to the notation of pitch and time symbols. Likewise Ferdinand Schubert's manuscript of his orchestra tion of the first movement -- that is, the portion of it that has survived -- is quite legible and accurate with regard to pitch and time symbols. The few errors in notation that do exist in the manu scripts will not be noted in the present discussion since they have been corrected in the editions with which the manuscripts will be compared.

Not noted also will be the different ways in which the time- values of appoggiaturas are indicated in the various editions. In the manuscripts they are never notated with a slash through the stem (£ )

but always as small sixteenths, eighths, etc.

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First Movement

A few differences in notes between the MS score and the MS part are not included in the comparisons below because the notes shown in the MS score in these instances are not printed in the main text of any of the editions. These differences occur in measures 44, 52, 58-61, 153, 157, and 162 in the piano part and can be seen in the Appendix to the NSA (pp. 163-68). The differences that are included in the comparisons below appear in measures 13-14, 17, 78, 91, 95-96, 134, and their later corresponding measures.

Measures 13-14, 18, 114-15, 118-19, 122-23, and 126-27

The circled notes in Example la are apparently editorial additions in the first edition (Diabelli); they do not appear in

either the MS score or MS part (Example lb). Only the Peters edition, WUE, and David follow the first edition in these measures. Notes added or retained in similar broken-chord patterns in later measures

Example 1. (a)

D. 384, I, mm. 13-14, pfte, rh. Diabelli, WUE, David, Peters.

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in the Diabelli edition are: e^- (m. 18); d^ (mm. 114-15); fl (mm. 118-19); gl (mm. 122-23); and b flat-*- (mm. 126-27). As before, only WUE and David follow the reading of the Diabelli edition in all these measures; GA prints the e^- in measure 18, however.

Example 2 shows the comparable pattern of Example 1 written as a chordal accompaniment in the MS score in measures 114-15 (it continues through measure 133). In measures 13-21, however, the chordal accompaniment has been "scribbled" out in the MS score

Example 2. D. 384, I, mm. 114-15, pfte, MS score.

and the broken-chord pattern, as in Example lb above, inserted. It seems clear, therefore, that even in this so-called "first version" of the movement Schubert had already decided on the change from a purely chordal to a broken-chord accompaniment pattern. It is some what misleading, therefore, that NSA editor Helmut Wirth should decide to assimilate the chordal writing in measures 114-33 to measures 13- 28 despite Schubert's corrections in the earlier measures (see NSA, pp. 163-67).

Measures 17 and 122

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half note

(J)

in the MS part and as a quarter note (J) in the MS score. Only the Henle edition and WUE follow the MS score by printing a

quarter note here; the other editions show the half note as in the MS part. The corresponding note in measure 122 is written as a

quarter note in both manuscripts and in all the editions. Measure 78

As shown in Example 3a, the note e^ in the piano part appears in the MS score as a small eighth-note appoggiatura slurred to its following main note, c#2. In the MS part (Example 3b) the two notes

Example 3. D. 384, I, m. 78, pfte, rh.

(a) MS score, Henle. (b) MS part, GA, NSA.

are shown as a simultaneously sounding harmonic interval. The Diabelli edition, Peters edition, WUE, and David show a grace note here along with the Henle edition but they notate it either as a sixteenth

(Diabelli) or as a small slashed eighth note, i.e., as a very short appoggiatura (Peters, WUE, and David).

Measure 91

As seen in Example 4a, the MS score does not contain the final note c#^ in the violin part as shown in the Diabelli edition in

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(see p. 4 of the edition).

Example 4. D. 384, I, m. 91, vn. (a) MS score, Henle, NSA.

U 1

(b) Diabelli, David, GA, WUE, Peters.

Measures 95-96 and 98-99

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apparent by printing them as broken lines. See Example 5.1

Example 5. D. 384, I, mm. 95-96, pfte. (a) MS part.

(b) NSA.

1. The same left-hand chords with slurs and ties (broken or unbroken)

are also shown in mm. 98-99 in the MS part and NSA. It should be noted that the MS score shows these chords with two unbroken lines: one connecting the top note of the chords and one

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Measure 134

As shown in Example 6, the octave printed in the violin part in measure 134 in the Diabelli edition appears in all the editions except NSA. Although it does not appear in the MS score, it is printed

in Ferdinand Schubert's orchestration of this sonata (Violins I and II)

Example 6. D. 384, I, m. 134, vn.

(a) MS score, NSA. (b) Diabelli, GA, David, Henle,

WUE, Peters.

Second Movement

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Example 7. D. 384, II, m. 37, pfte. (a) MS score, WUE.

r r >

-(b) Diabelli, GA, David, Peters, Henle, NSA.

Measures 68 and 78

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Example 8. (a)

D. 384, II, mm. 68 & 78, pfte.

MS score, Diabelli, Peters, NSA, Henle.

(b) GA.

Measures 81-83

Schubert's practice of often supplying only one tie between o

notes of successive chords may have contributed to the differences shown in Example 9 below. The influence of the Diabelli edition on the modern editions is again evident.

2. Cf. the discussion of mm. 95-96 and 98-99 in the first movement,

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Example 9. D. 384, II, mm. 81-83, pfte, lh. (a) MS score.

(b) NSA, Henle, WUE.

(c) Diabelli, David, Peters.

I

LZ v

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Third Movement

Because the note-picture of this movement printed in the first edition by Diabelli differs so radically in numerous and lengthy

passages from that in the MS score, one might suppose that another manuscript of this movement existed at the time it was first published in 1836. The existence of another manuscript of the final six measures of this movement held at the Newberry Library in Chicago might be cited to lend support to this speculation. But the fact is that the version in the Newberry fragment was not printed by Diabelli (see Example 13 below). It seems more likely that these differences originated with the publisher (Diabelli), his editors, or copyists.Examples 10, 11, and 12 partially illustrate these differences and the fact that only the Peters edition, David, and WUE have continued these readings of the first edition.

Measures 36-46, 122-32, and 212-22

Example 10 shows the differences in notes between the MS score and the first edition in the violin part in measures 36-46. The notes in the violin part in measures 123-31 and 213-21 correspond exactly to those in measures 37-45 except that the order of the notes in the Diabelli and Peters editions in measure 44 is reversed in measures 130 and 220 to read A-d^-f#k Because of the different harmonic context of the later passages, the initial and final measures illustrated in Example 10 (measures 36 and 46) differ in the later corresponding

3. Cf. WUE: both the MS score and first edition versions are printed

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Example 10. D. 384, III, mm. 36-46, vn. (a) Diabelli, Peters, David, WUE.

(b) MS score, GA, Henle, NSA, WUE.

measures: measures 122 and 212 (= m. 36) in the Diabelli, David, WUE, and Peters editions read a^-b^-a^-g^-f#^-e^; the MS score, GA, Henle, WUE, and NSA read a^-bl-al-el-c#l-B in measure 122 and al-el-dl-c#l-dl e* in measure 212; and all sources read c#^, quarter note followed by rests for the remainder of the measure, in measures 132 and 222

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The chords in the piano's left-hand part in the measures shown in Example 11 derive from the first edition. In the corres ponding measures of Example 11 (measures 140-42) and those immediately

Example 11. D. 384, III, mm. 54-56, pfte. (a) Diabelli, Peters, David, WUE.

(b) Ms score, GA, Henle, NSA, WUE.

fe f Wfa

EVit

---preceding there are also differences in the bass notes of the piano part. The Diabelli, David, and Peters editions contain octaves

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measures 133-42; the MS score, Henle edition, WUE, and NSA show single notes (D-A^-D-G^-B^-, etc.) in measure 133 through the first note

of measure 142; and GA has printed single notes as in the MS in measures 133-35, but octaves as in Diabelli (adding the lower octave notes) in measures-136-42.

The striking difference from the manuscript in the version of these measures printed by Diabelli is shown in Example 12. Similar differences occur a whole step lower in measures 171-75.

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Example 12. (Continued)

(b) MS score, GA, Henle, NSA, WUE.

Measures 233-45

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Example 13. D. 384, III, mm. 233-45, pfte, lh. (a) MS score, GA, Henle, NSA.

(b) Diabelli, Peters.

r

rr

f

(c) Newberry MS fragment, mm. 240-45.

H"zJ "J»

Measure 245

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Chapter III ARTICULATION MARKINGS

Schubert's marks of articulation in the manuscripts of the D major Sonata are:

(1) dot-staccatos (not always uniformly appearing as such

however -- they are often broadened enough horizontally (because of haste and/or bluntness of pen) that at least some of them could be interpreted as tenuto dashes);

(2) slurred staccatos, that is, portatos;

(3) horizontal dashes, that is, tenutos (at least in one

instance in the D major Sonata the tenuto dash seems to be clearly indicated by Schubert);

(4) wedges (in the manuscripts always appearing as vertical

dashes or strokes and printed in the editions in the conventional wedge shape);

(5) slurs (often hastily notated and not precise in the

manner of printed editions in starting and ending on specific note heads).

Dot-Staccatos, Slurred Staccatos, and Tenuto Dashes

First Movement Measures 30 and 135

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movement of the D major Sonata occur with the last three eighth notes in all parts in measure 30 and its corresponding measure in the recapi tulation, measure 135. Their continuation over the eighth notes in measures 31-32 and 136-37 can be assumed; Henle does not print them,

however; all other editions do^ -- NSA in light print. Measures 35 and 140

The marking of slurred dots (portatos) over the four repeated quarter notes in the violin part in these measures in David is an editorial addition unique to this edition. The notes are unmarked

(nonlegato) in the MS score. Compare, however, the discussion of measures 56 and 161 below.

Measures 56 and 161

Other manuscript dot-staccatos in the first movement are slurred. Interpreted in all editions except Henle as a dot-staccato is the quite definite tenuto dash over the first quarter note e2 in the violin part, measure 56. Thus, the four quarter notes (e^s) in

that measure are marked

p p

in Henle as in the MS score, but in

all other editions 'jT. The latter articulation, however, is

marked (the dot-staccatos somewhat broad) in corresponding measure 161 in the MS score and is so printed in all editions, including Henle. It should be noted that Ferdinand in his orchestration ignores his brother's tenuto dash and neatly scores the four e2s for the oboe as slurred staccatos.

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Measures 64 and 169

Other slurred staccatos in the first movement occur in the piano part in measure 64 and corresponding measure 169. All editions follow the MS score in printing slurred staccatos over the first two quarter notes in measure 64 (see Example 14). In measure 169 the MS score and all editions except Diabelli (which prints wedges) also show the slurred staccatos. It is interesting, however, that in

Example 14. D. 384, I, m. 64, pfte, MS score.

Henle's first edition (1949) these notes in measure 169 are marked

with slurred tenuto dashes, that is (

J

J ). This is, indeed, the

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Example 15. D. 384, I, m. 169, pfte.

(a) MS score. (b) MS part.

Measures 74-75

In measures 74-75 the MS score and MS part differ in the manner of slurring the last three quarter-note staccato chords in measure 74 and the four in measure 75 (see Example 16): in the MS score the

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Example 16. (Continued) (b) MS part. - ■ /L —ftp

5 <

xj—

9

3 —9—

a * * • f '—■ /YML— “—r rr r F—

F

f

J ■11_{r “t t "} 1 1 1₁ _it 5 J V I t 1 _{□--- 1----}

1—

seven chords are covered by one slur; in the MS part by two slurs breaking at the bar line (all editions follow the MS part here except WUE which follows the MS score).

Second Movement

There is remarkable conformity among the editions in this

movement in the notation of slurs, dot-staccatos, and slurred staccatos (there are no tenuto dashes or wedges) despite the fact that the

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Measures 1, 6, 61, and 11, 16, 21, 26, 66, 71, and 76

A possibly intentional difference on Schubert's part is meant in the articulation of the last three eighth notes in each of the following measures: in measures 1, 6, and 61 of the manuscript these notes are marked with dot-staccatos only; in parallel measures 11, 16, 21, 26, 66, 71, and 76 the dot-staccatos are slurred. All editions except the first (see Appendix A) reconcile this difference by adding slurs in measures 1, 6, and 61 (in NSA with broken-line slurs).

Measures 30 and 79

Seemingly obvious oversights in the manuscript are the missing staccato marks in measure 30 (the second and third eighth notes, piano part) and measure 79 (the last two eighth notes, violin part). They have been added in all editions. That they are additions is made

apparent in Henle (measure 30 by parentheses) and NSA (in both measures by lighter print).

Third Movement

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Measures 49 and 114

The rising succession of eighth notes in the piano right-hand

part in measure 49 is marked

p f f T

ln the MS score. This

siurred-staccato notation for all six notes occurs consistently in the violin part of the MS score six times in the course of the third move ment (measures 3, 29, 117, 135, 207, and 225). In measure 11, however

-- the only other occurrence of this passage in this movement in the piano part -- Schubert notates the articulation as/|*>k£J^J f f p that is, the first note undotted and slurred to the last note in the pre ceding measure. Henle, NSA, and WUE have chosen to make the articu lation in measure 49 conform to that in measure 11. The first edition, GA, and David follow the MS score.

The articulation prescribed for the six-note succession in the

violin part in measure 114 in the MS score is Henl e

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follows this notation; all other editions extend the slur to include the first eighth note.

Wedges

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with it today.

It should be noted that neither David nor GA differentiate between wedges and dot-staccatos, i.e., no wedges are printed in these editions.

First Movement

In the autographs of the first movement, wedges occur only:

(1) in measures 16 and 20 of the MS piano part under each of

the two half-notes in the lower staff (in the MS score these half notes are slurred, and in Ferdinand Schubert's orchestration of each measure the first half note is unmarked, i.e., nonlegato, and the second is slurred to the quarter note in the next measure);

(2) in measures 134 and 138 of the MS score over the two

half notes in the violin part. The various editorial procedures of assimilating, reconciling, regularizing, and choosing between variants account for other appearances or eliminations of wedge markings in the editions.

Measures 16, 20, 117, and 121

NSA suppresses the wedges in measures 16 and 20 altogether in favor of the articulation and accentuation marked in measures 117 and 121 in the MS part where the first half note is unmarked (nonlegato) and the second is accented (T>) and slurred to the first quarter note of the next measure. Such reconciliation of variant readings occurs frequently in Wirth's edition; in this instance he may have derived

2. Howard Ferguson, Keyboard Interpretation (New York: Oxford

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the slurs in measure 16 and 20 from Ferdinand Schubert's orchestration It should be noted that the slurred version of these four measures in the MS score is printed in the Appendix (pp. 163 and 166) of NSA.

David reconciles the differences between the markings in these measures in exactly the opposite way from that of Wirth (NSA), print ing dot-staccatos in all measures.

The slurring in measure 117 could have been derived by

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from the measures being considered: measure

MS score, but there is no autograph authority for the nonlegato arti culation of both notes in measure 20. Strangely, however, Holl in WUE adopts this nonlegato articulation (no markings) in measures 117 and

121, but prints wedges, following the MS part, in measures 16 and 20. Only the Henle edition prints the articulation marked in the MS part in all four measures: wedges in measures 16 and 20 and the nonlegato-slurred accent sequence in measures 117 and 121.

The first edition follows the MS part in measures 16, 20, and 121, but follows the MS score ( d d ) in measure 117.

Measures 134, 138, 29, and 33

Because wedges are shown in the MS score only over the two violin half notes in measures 134 and 138, the problem for the editors has been whether to add wedges to the unmarked (nonlegato) half notes in the piano part in these measures as well as to the similarly

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wedges in measures 134 and 138 only in the violin part and in no other place, thus leaving to the performer any assimilation of these markings in parallel contexts. Holl, in WUE, adds the wedges in all parts in all four measures. David follows this procedure but prints the marks as dot-staccatos in all four measures. NSA has chosen to print wedges in the violin part only in all four measures. The first edition is quite inconsistent: measure 29: no marking; measures 33 and 138: wedges in the violin part only (as can be seen in Appendix A, wedges appear in Diabelli's edition over the violin’s first notes in measures 34 and 139 -- they do not appear in the MS score and are printed in none of the other editions); measure 134: wedges in the violin and piano right-hand parts.

Second and Third Movements

In the second and third movements no wedges appear in either the violin or piano parts of the MS score, nor are any printed in any of the editions except the first.

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differentiation might serve to point out the inherently different acoustical properties of two different instruments such as the piano and violin.

SI urs

Schubert follows the classical practice (i.e., of Mozart, Haydn, and Beethoven) of beginning and ending slurs with the barline; they thus normally conform to the measure or to regular subdivisions and/or multiples of it.3

First Movement Measures 13-28 and 114-33

The differences in the slurring of the notes in the piano's right-hand part in measures 13-28 in the manuscripts and editions are collated in the following diagram (1 = one whole-measure slur; 2 = two half-measure si urs ; 0 = no si ur‘, i.e., nonlegato):

Measures 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 MS part 1 0 1 2 0 0 1 2 0 0 0 0 0 0 0 0 MS score 2 1 1 2 2 1 2 1 1 1 1 1 0 0 0 0 Diabelli 1 1 1 2 0 0 1 2 0 0 0 0 0 0 0 0 David 1 1 1 2 1 1 1 2 1 1 1 1 1 1 1 1 GA 1 1 1 1 1 1 1 1 0 0 0 0 0 0 0 0 Henle 1 1 1 2 1 1 1 2 0 0 0 0 0 0 0 0

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WUE 1112111200000000

NSA 1 (1) 1 2 (1)(1) 1 2 (1 1 1 1 1 1 1 l)4 5

Only the Diabelli version could be called a true conflation of both manuscripts: authority exists for each measure in one or the other manuscripts. In choosing to adopt the half-measure slurrings only in those measures where harmonic changes occur within them (mm. 16 and 20), the editor of the first edition has exercised musical judg ment; in leaving unmarked and up to the performer the assimilation of

slurs in measures 17, 18, and 21-28, he has adopted the simplest and possibly the wisest course in dealing with this type of assimilation in Schubert’s works. In later corresponding measures 114-33 (the passage is four measures longer than its parallel in the exposition because the initial four-measure phrase is repeated twice sequen tially in the recapitulated passage instead of once as in the exposi tion) all of the editions have chosen to ignore the two half-measure slurs in measures 114, 118, and 122 in the MS part;^ presumably by analogy with measure 13 in the MS part all editions except GA (which perhaps by oversight shows no slur in measure 118) print whole-measure slurs in these measures. The slurring in all the editions except GA (as just noted) and David (which strangely shows two half-measure

4. The parentheses indicate that in NSA the slurs are represented by

broken lines, i.e., slurs are added by the editor.

5. In mm. 114-33 of the MS score no slurs occur at all in the piano

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slurs in measure 124 and one slur only over the second half of measure 125) for measures 114-25 is a thrice repeated 1-1-1-2 pattern again reserving the half-measure slurs for those measures where harmonic changes occur within the measure.

As shown in the diagram above, the notes in the piano's right hand part in measures 21-28 are slurred in whole measures in David and NSA. These slurs could have been printed in these editions because they appear in measures 21-24 of the MS score (continuation in

following measures 25-28 could certainly be inferred); more probably they were added because in the corresponding measures 126-33, measures 127-33 are slurred in whole measures in the MS part. Diabelli, GA, and David have chosen to follow the MS part in showing two half

measure slurs in measure 126 and thus to begin the whole-measure slurs in measure 127. WUE, Henle, and NSA show one-measure slurs in all the measures (126-33). Only GA and Diabelli do not conform totally,

omitting (intentionally?) slurs in measures 132-33 and 133 respec tively.

The slur in NSA and WUE connecting the whole note A1 in the o

piano's left-hand part in measure 27 with the whole note A in measure 28 is derived from measures 132-33 where the corresponding notes d^-D are so slurred in the manuscripts. Other editions preserve the

variance here, printing the slur in measures 132-33 but not in measures 27-28.

This dissertation is available at Iowa Research Online:

A comprehensive performance project in the performance of

A comprehensive performance project in the performance of

piano chamber music, with an essay on Franz Schubert's Sonata

piano chamber music, with an essay on Franz Schubert's Sonata

in D major for piano and violin, D.384, a text-critical study

in D major for piano and violin, D.384, a text-critical study

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