UUnniivveerrssiittyy ooff SSoouutthh CCaarroolliinnaa SScchhoollaarr CCoommmmoonnss Theses and Dissertations 2016 TThhee GGuuiittaarr aanndd HHaauussmmuussiikk iinn tthhee LLaattee 1188tthh aanndd EEaarrllyy 1199tthh CCeennttuurriieess Jeremy Polley University of South Carolina Follow this and additional works at: https://scholarcommons.sc.edu/etd Part of the Music Commons RReeccoommmmeennddeedd CCiittaattiioonn Polley, J.(2016). The Guitar and Hausmusik in the Late 18th and Early 19th Centuries. (Master's thesis). Retrieved from https://scholarcommons.sc.edu/etd/3573 This Open Access Thesis is brought to you by Scholar Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. THE GUITAR AND HAUSMUSIK IN THE LATE 18TH AND EARLY 19TH CENTURIES by Jeremy Polley Bachelor of Arts Millikin University, 2009 Masters of Music University of South Carolina, 2013 ____________________________________ Submitted in Partial Fulfillment of the Requirements For the Degree of Master of Music in Music School of Music University of South Carolina 2016 Accepted by: Julie Hubbert, Director of Thesis Kunio Hara, Reader Christopher Berg, Reader Cheryl L. Addy, Vice Provost and Dean of the Graduate School Dedication Dedicated to my inspiration, my guidance, and my source of strength, Sarah Polley. Without your support, none of this would have been possible. ii Acknowledgments Many thanks to Dr. Julie Hubbert and Professor Berg for their encouragement and guidance through this long process. Thank you to Dr. Ellen Exner for challenging me to step out of my comfort zone in the creation of this document. Thank you to Dr. Kunio Hara for the keen eye and important questions. And my deepest thanks to everyone who helped me bring this idea to life, who are too many to name, and provided me with the support and criticism that I needed to see clearly. iii Abstract While being one of the most popular instruments in Western culture, the guitar has received relatively little scholarly attention. Music historians particularly overlook the guitar and its impact upon the development of music. Writings about the Hausmusik tradition that existed around the turn of the nineteenth century, however, suggest that the guitar was an important part of amateur music making. Analysis of publisher’s catalogs from the period also indicate the existence of a thriving guitar culture at the time. By performing a comparative analysis on works based on a theme by Giovanni Paisello from Fernando Sor and Mauro Giuliani, a wide range of complexity for a range of expertise is discovered. This range of complexity, coupled with the publication of music and its role in Hausmusik establishes the guitar as an important part of music at the beginning of the nineteenth century. iv Table of Contents Dedication ........................................................................................................................... ii Acknowledgments .............................................................................................................. iii Abstract .............................................................................................................................. iv List of Figures .................................................................................................................... vi Introduction: Hausmusik and the Guitar ..............................................................................1 Chapter I: On Publishers and Operas ...................................................................................6 Chapter II: Considering Theme and Variations .................................................................11 Chapter III: Mauro Giuliani ...............................................................................................16 Chapter IV: Fernando Sor ..................................................................................................21 Chapter V: Study on Paisiello's Variations by Giuliani and Sor .......................................25 Conclusion .........................................................................................................................43 Bibliography ......................................................................................................................45 v List of Figures Figure 5.1 - Mauro Giuliani, Six Variations Op. 4, mms. 1-20 .........................................26 Figure 5.2 - Mauro Giuliani, Six Variations Op. 4, Variation II ........................................26 Figure 5.3 - Mauro Giuliani, Six Variations Op. 4, Variation III ......................................27 Figure 5.4 - Mauro Giuliani, Six Variations Op. 4, Variation IV ......................................28 Figure 5.5 - Mauro Giuliani, Six Variations Op. 4, Variation V .......................................29 Figure 5.6 - Mauro Giuliani, Six Variations Op. 4, Variation VI ......................................30 Figure 5.7 - Fernando Sor, Variations on Monsiuer Paisiello's “Nel cor piu non mi sento,” Theme ....................................................................................................................32 Figure 5.8 - Fernando Sor, Variations on Monsiuer Paisiello's “Nel cor piu non mi sento,” Introduction ............................................................................................................34 Figure 5.9 - Fernando Sor, Variations on Monsiuer Paisiello's “Nel cor piu non mi sento,” Theme, mms. 52-60 ...............................................................................................35 Figure 5.10 - Fernando Sor, Variations on Monsiuer Paisiello's “Nel cor piu non mi sento,”1st Var., mm. 11 ......................................................................................................35 Figure 5.11 - Fernando Sor, Variations on Monsiuer Paisiello's “Nel cor piu non mi sento,” 1st Var., mms. 18-19 ..............................................................................................35 Figure 5.12 - Fernando Sor, Variations on Monsiuer Paisiello's “Nel cor piu non mi sento,” 2nd Var., mms. 1-4 ..................................................................................................36 Figure 5.13 Fernando Sor, Variations on Monsiuer Paisiello's “Nel cor piu non mi sento,” 3rd Var., mms. 1-3 ..................................................................................................36 Figure 5.14 - Fernando Sor, Variations on Monsiuer Paisiello's “Nel cor piu non mi sento,” 4th Var., mms. 1-3 ..................................................................................................36 Figure 5.15 - Fernando Sor, Variations on Monsiuer Paisiello's “Nel cor piu non mi sento,” 4th Var., mms. 8-15 ................................................................................................37 vi Figure 5.16 - Fernando Sor, Variations on Monsiuer Paisiello's “Nel cor piu non mi sento,” 6th Var., mms. 1-7 ..................................................................................................37 Figure 5.17 - Fernando Sor, Variations on Monsiuer Paisiello's “Nel cor piu non mi sento,” 7th Var., mms. 1-2 ..................................................................................................38 Figure 5.18 - Fernando Sor, Variations on Monsiuer Paisiello's “Nel cor piu non mi sento,” 8th Var., mm. 1-4 ....................................................................................................38 Figure 5.19 - Fernando Sor, Variations on Monsiuer Paisiello's “Nel cor piu non mi sento,” 9th Var., mms. 1-26 ................................................................................................40 Figure 5.20 - Fernando Sor, Variations on Monsiuer Paisiello's “Nel cor piu non mi sento,” 8th Var., mms. 27-62 ..............................................................................................41 vii Introduction: Hausmusik and the Guitar There is a prejudice in music that reaches back to the nineteenth century; a widely accepted bias that discriminates against one of the most popular instruments in the Western world. Reviewing today’s musical history texts reveals this deficiency. In Richard Taruskin’s Music of the Nineteenth Century, we find the guitar is only mentioned in reference to Spanish dances. Taruskin explains salon and Beidermier music in the nineteenth century in detail, but makes no mention of the guitar being played.1 Craig Wright and Bryan Simms make mention of the Gaultiers during the Baroque era and their lute music in France in Music in Western Civilization, but then go silent on the fretted side of the string family.2 It is not until A History of Western Music, by J. Peter Burkholder, Donald Grout, and Claude Palisca, that we find any mention of guitar being used in conjunction with domestic music (albeit in Spain).3 A History of Western Music is the only music history text that makes mention of the fact that domestic music written for voice and guitar existed during the late eighteenth and early nineteenth centuries.4 At the turn of the nineteenth century, music making in the home was increasing in popularity. Amateur musicians were forming the backbone of a new publishing trend and had demands unique from professional musicians. According to Erich Valentin, this domestic music making should be divided into the categories of salon music and 1 Richard Taruskin, Music and the Nineteenth Century (New York: Oxford, 2010), 75. 2 Craig Wright and Bryan Simms, Music in Western Civilization (Boston: Schirmer Cengage Learning, 2010), 330. 3 J. Peter Burkholder, Donald Grout, and Claude V. Palisca, A History of Western Music (New York: Norton, 2006), 382. 4 Ibid., 500. 1 Hausmusik. Salon music is concerned entirely with keyboard music, where as Hausmusik is concerned with all other instruments. The term Hausmusik is first recorded as being used by Johann Rist in the title of his 1859 collection of worship music for the home, “Frommer und Gottseliger Christen Alltägliche Haußmusik.” Valentin also makes a distinction between Diletattanten and Liebhaber. Diletattanten is the plural of dilettante, which means being an amateur or a dabbler. In contrast, a Liebhaber is an aficionado or an enthusiast. Valentin pairs the Diletattanten with the Hausmusik occurring in central Europe at the start of the nineteenth century.5 Therefore, the term Hausmusik as it is used in the nineteenth century refers to music for amateurs performing on non-keyboard instruments, such as the violin, flute, and guitar. What is needed, then, is an assessment of the guitar and its place Hausmusik. Even with the aforementioned circumspect histories presented by Taruskin, Wright, Simms, Grout, Burkholder, and Palisca, we can establish the standing of the guitar at the start of the nineteenth century by doing a survey of extant publisher catalogs, analyzing the works that were published, and doing a comparative study of two pieces that share source material. These factors, when combined, may provide a more accurate view of the importance of the guitar during this period. Historical texts present a limited view of salon music during the nineteenth century. According to these textbooks, salon music consisted of people gathering in the front room of a house to discuss the important news and politics of the day while enjoying music that was composed specifically for these small, intimate settings. The virginal and Elizabethan lute were the preferred instruments for these types of gatherings 5 Erich Valentin, Musica Domestica: von Geschichte und Wesen der Hausmusik (Trossingen, Germany: Hohner, 1959). 2