Hans Haug- The Chamber Works Featuring the Guitar- An Evolution o

The Florida State UniversityDigiNole Commons Electronic Theses, Treatises and Dissertations The Graduate School 4-8-2011 Hans Haug: The Chamber Works Featuring the Guitar- An Evolution of Style, Texture, and Form. Adam M. Foster The Florida State University Follow this and additional works at: http://diginole.lib.fsu.edu/etd Recommended Citation Foster, Adam M., "Hans Haug: The Chamber Works Featuring the Guitar- An Evolution of Style, Texture, and Form." (2011). Electronic Theses, Treatises and Dissertations. Paper 7137. This Treatise - Open Access is brought to you for free and open access by the The Graduate School at DigiNole Commons. It has been accepted for inclusion in Electronic Theses, Treatises and Dissertations by an authorized administrator of DigiNole Commons. For more information, please contact [email protected]. THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC HANS HAUG: THE CHAMBER WORKS FEATURING THE GUITARAN EVOLUTION OF STYLE, TEXTURE, AND FORM By ADAM FOSTER A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music Degree Awarded: Spring Semester, 2011 The members of the committee approve the treatise of Adam Foster defended on March 24, 2011. _______________________________________ Evan Jones Professor Co-Directing Treatise _______________________________________ Bruce Holzman Professor Co-Directing Treatise _______________________________________ Leo Welch University Representative _______________________________________ Greg Sauer Committee Member The Graduate School has verified and approved the above-named committee members. ii To Stacey and M.T. iii ACKNOWLEDGEMENTS There are many people that need to be acknowledged. Thank you to my committee: Dr. Evan Jones, for his tireless editorial and musicological insights, Dr. Leo Welch, for providing extensive professional advice and mentorship, Professor Greg Sauer for advice and service to this and countless other projects, and to Professor Bruce Holzman, whose mentorship, honesty, integrity, and investment in my growth as a musician will forever be cherished. I must thank Hans Haug‘s daughter, Ms. Martine Haug, for her generosity in providing me the permissions to view Haug‘s unpublished catalogue of scores from the Catalogue du Fonds at the Bibliothèque cantonale et universitaire Lausanne. Much thanks to Mr. Allan Clive Jones and Jacques Tchamkerten who assisted in providing materials from Jean-Louis Matthey and the initial contact with the Lausanne Conservatory. This project was realized in part by the generosity of the faculty at the Bibliothèque cantonale et universitaire de Lausanne, especially the Chair of the Lausanne Conservatory, Mrs. Federica Rusconi Castellani and the Director of the Archives Musicales, Mrs. Verena Monnier. Thanks to the Circulation/Reserves Manager, Ms. Jennifer Talley and the friendly staff at the Warren D. Allen Music Library, who dealt with my numerous special requests through Inter-Library Loan, and to the libraries that provided me with invaluable resources: Yale University, University of Georgia, University of Maryland, Indiana University, University of North Carolina Chapel Hill, University of California Davis, and Northwestern University. A special thank you goes to Maestro Konrad Ragossnig, who was very generous in sharing his knowledge about Hans Haug and in providing a copy of the manuscript of the Capriccio for Flute and Guitar from the library of flautist Dr. Werner Tripp. Another warm thank you goes to Maestro Michel Rochat who shared with me some wonderful insights on Haug as a composer, teacher, and colleague at the Lausanne Conservatory, and provided detailed insights on Haug‘s teachings and theory of the ―Harmony of Gravitation‖. Finally I would like to thank my family for all their love and support throughout the degree. Most importantly, I thank my wife, Stacey Abbott, who has supported me in every aspect of this project, with love, smiles, and an occasional yoga class to keep me in line. iv TABLE OF CONTENTS List of Musical Examples .............................................................................................................. vi List of Figures ............................................................................................................................... vii Abstract ........................................................................................................................................ viii 1. BIOGRAPHICAL AND HISTORICAL CONTEXT .............................................................1 1.1 1.2 1.3 1.4 2. THE HISTORICAL CONTEXT OF CHAMBER MUSIC WITH GUITAR .......................19 2.1 2.2 2.3 2.4 3. Melody .........................................................................................................................35 Harmony ......................................................................................................................39 Rhythm .........................................................................................................................41 THE CONCERT CHAMBER WORKS ...............................................................................44 4.1 4.2 5. The Guitar in Chamber Music—A Nineteenth-Century context .................................19 The Guitar in Chamber Music—Twentieth Century ...................................................23 Towards a Second Viennese ―Guitar School‖ .............................................................28 Haug‘s Solo Works: Evolution of Style and the Influence of Andrés Segovia ...........31 HANS HAUG AND MUSICAL TEXTURE ........................................................................35 3.1 3.2 3.3 4. Biography of Hans Haug ...............................................................................................1 Munich: 1921-1923 ........................................................................................................3 Return to Switzerland: From Folk-Opera to Radio-Plays..............................................8 Lausanne Years: 1942-1967 ........................................................................................14 The Fantasia pour Guitare et Piano (1957) .................................................................44 4.1.1 Melody .............................................................................................................46 4.1.2 Harmony ..........................................................................................................49 4.1.3 Rhythm .............................................................................................................50 4.1.4 The Fantasia in Performance...........................................................................52 The Capriccio pour Flûte et Guitare (1963) ................................................................56 4.2.1 Melody .............................................................................................................59 4.2.2 Harmony ..........................................................................................................63 4.2.3 Rhythm .............................................................................................................65 4.2.4 The Capriccio in Performance .........................................................................67 CODA: A RETROSPECTIVE VIEW OF HAUG ................................................................72 Appendix A: List of Published Works ...........................................................................................75 Appendix B: Permissions and Correspondence .............................................................................77 Selected Bibliography ....................................................................................................................93 Biographical Sketch .......................................................................................................................97 v LIST OF MUSICAL EXAMPLES 3.1 Concertino for Guitar and Orchestra (piano reduction), measures 1-8 .................................36 3.2 Preludio for solo guitar, measures 1-6 ..................................................................................37 3.3 Étude: Rondo Fantastico, measures 45-47 ............................................................................38 3.4 ―Toccata‖ (from Prelude, Tiento, Toccata), measures 1-2 ...................................................38 3.5 Example of Haug‘s ―Harmony of Gravitation‖ by Michel Rochat .......................................39 3.6 Étude: Rondo Fantastico, measures 80-88 ............................................................................41 3.7 ―Tiento‖ (from Prelude, Tiento, Toccata), measures 7-9 ......................................................42 4.1 Fantasia pour Guitare et Piano (score), measures 18-26 ......................................................47 4.2 Fantasia pour Guitare et Piano: ―Ballade‖ (manuscript), measures 169-175 .......................48 4.3 Fantasia pour Guitare et Piano (manuscript), measures 247-250 .........................................49 4.4 Fantasia pour Guitare et Piano (manuscript), measures 261-264 .........................................50 4.5 Fantasia pour Guitare et Piano (manuscript), measures 83-85 .............................................51 4.6 Capriccio pour Flûte et Guitar: ―Sérénade à L‘Inconnue‖ (manuscript), measures 81-86 ...57 4.7 Capriccio pour Flûte et Guitar: ―Sérénade à L‘Inconnue‖ (score), measures 84-87 ............57 4.8 Capriccio pour Flûte et Guitar: ―Sérénade à L‘Inconnue‖ (manuscript), measures 82-88 ...58 4.9 Capriccio pour Flûte et Guitar: ―Prelude‖ (score), measures 1-2 .........................................59 4.10 Capriccio pour Flûte et Guitar: ―Prelude‖ (score), measures 8-11 .......................................60 4.11 Capriccio pour Flûte et Guitar: ―Prelude‖ (score), measures 26-31 .....................................61 4.12 Capriccio pour Flûte et Guitar: ―Gigue‖ (score), measures 19-23 ........................................65 4.13 Capriccio pour Flûte et Guitar: ―Gigue‖ (score), measures 14-18 ........................................66 4.14 Capriccio pour Flûte et Guitar: ―Gigue‖ (score), measures 198-202 ....................................70 4.15 Capriccio pour Flûte et Guitar: ―Gigue‖ (manuscript), measures 197-202 ..........................70 vi LIST OF FIGURES 1.1 Hans Haug, 1923. Courtesy of Jean-Louis Matthey................................................................4 1.2 Hans Haug, 1937. Courtesy of Jean-Louis Matthey..............................................................11 1.3 Hans Haug, 1949. Courtesy of Michel Rochat ......................................................................15 4.1 Geneva Competition Panel, 1956 ..........................................................................................45 5.1 Hans Haug, 1962. Courtesy of Jean-Louis Matthey..............................................................72 vii ABSTRACT Hans Haug was a prominent Swiss composer and conductor who utilized the guitar in his compositions over a thirty-seven-year period. A full-time conductor and teacher who resided principally in French Switzerland, he composed well over 200 works in variety of genres and forms. The purpose of this treatise is to expose the compositional work of Hans Haug‘s chamber music to guitarists, and to other musicians interested in learning about his evolving musical style. First, this treatise serves to illustrate the biographical and historical context of Haug‘s musical training in Basel and Munich, which established his musical style and his philosophy towards music. Second, the focus will largely fall on the textural role the guitar played in all his published solo and chamber music, as well as aspects drawn from other works written concurrently to the two concert chamber works for guitar: the Fantasia pour Guitare et Piano (1957), and the Capriccio pour Flûte et Guitare (1963). The analysis draws from his treatment of tonality which he incorporated into his melodic and harmonic textures—a technique which he called the Harmony of Gravitation. Finally, the analysis of style will elucidate compositional aspects in the contrasting textures introduced, providing a stylistic overview for performing musicians and scholars to understand the musical style of Hans Haug. Discussion of performance techniques will focus largely on the guitarist, although aspects of performance practice for other instrumentalists will be provided in context. viii CHAPTER ONE BIOGRAPHICAL AND HISTORICAL CONTEXT 1.1: Biography of Hans Haug: Early years Hans Haug was born July 27, 1900 in Basel, where his father was an owner of a renowned bakery and confectionary shop.1 During his school years in Basel, he enjoyed dabbling in several art forms, including sculpture, painting, and architecture. As a child, he used to avoid Sunday school to attend museums to view exhibits of art and sculpture. Matthey indicated that Haug‘s early musical training included studies on organ at the protestant church of Châtillens, a town northeast of Lausanne, but doesn‘t indicate whether the family had moved to Lausanne by 1915 or he was sent there for study.2 Apparently, Haug showed a clear aptitude for music and the arts in general, even though his father was apprehensive about his son's artistic leanings towards a career as a musician. In 1915, his father enrolled Haug in an apprenticeship at a bank in Oron, in the Romand countryside. Haug wasn't too keen on a career as a banker, as his heart and mind was still drawn to literature, art and music. This became evident in 1917, when Haug quit the apprenticeship at the bank and enrolled at the Basel Conservatory. His principal teachers included pianists Ernst Levy and Egon Petri, the latter of whom was an important student of Ferruccio Busoni. Busoni was in exile and established his new home in Zürich, Switzerland by 1915. During this time, Busoni had established numerous connections with other exiled musicians, writers, and patrons in exile during the First World War.3 Busoni‘s residency in Switzerland continued his close connection to Egon Petri, Haug‘s principal piano 1 The biographical information found in this chapter was generously provided to me by Mr. Allan Clive Jones, who worked with Jean-Louis Matthey, author of the first biography on Hans Haug. See Jean-Louis Matthey, Catalogues du Fonds dépose à la Bibliothèque cantonale et universitaire de Lausanne, 1968 (Lausanne: Bibliothèque cantonale et universitaire de Lausanne, 1970), 5-20. This is the source for all information found in other written biographies about Haug and the guitar, including the Bèrben publication of Haug‘s solo guitar works (Gilardino, 2003) and the Italian treatise on Hans Haug by Alonso D‘Avino in 2004. 2 Matthey, Catalogues du Fonds, 5. D‘Avino, in his biographical chapter regarding Haug, conjectured that this musical training was his only place of training in 1915 before entering the conservatory in 1917, but there is no evidence to substantiate this claim. See Alfonso D‘Avino, Hans Haug e la sua Musica per Chitarra. ThesisUniversita Degli Studi di Roma Tor Vegata, 2004 [Dissertation on-line]; available from www.scribd.com, http:// www.scribd.com/doc/31366591/Alfonso-D-Avino-Hans-Haug-e-La-Sua-Musica-Per-Chitarra> (accessed September 30, 2010). 2. 3 Della Couling, Ferruccio Busoni: A Musical Ishmael (Lanham, MD: Scarecrow Press, 2005), 291. 1 teacher and mentor. Petri assisted in the editing of many of Busoni‘s solo piano transcriptions of Johann Sebastian Bach, projects which took place during the time Haug was his pupil from 1917 to 1920. In Zürich, Haug took masterclasses on piano from Busoni in 1920, the year of his graduation from the Basel Conservatory. As described by students, these masterclasses of Busoni were quite different that the traditionally music-centered masterclass.4 Musicians were in the minority during these sessions as Busoni always invited numerous authors, painters, and other artists to contribute to his wide-ranging topics of discourse for his students. Busoni would ensure that his students were exposed to a wide range of ideas and perceptive viewpoints. In addition to these lectures, students would bring their own compositions to be performed, and reviewed by the maestro. It is unclear whether Haug‘s compositions were reviewed by Busoni, but it‘s clear that his association with Busoni, through Egon Petri is significant in Haug‘s early development as a musician. Beyond these classes, Busoni‘s highly influential Entwurfeiner neuen Aesthetik der Tonkunst (Outline of a New Aesthetic) of 19075 parallels aspects of Haug‘s published views on music and the artistic process in his Für Feinde klassischer Musik (Enemies for Classical Music) which was published in 1941.6 Even though the intended audience for Haug‘s book is the average music listener, there are quite a few aesthetic similarities between these two writings, which link both artists and inevitably illustrate Busoni‘s influence on Haug‘s musical persona. Busoni‘s treatise is a hybrid text of philosophy and opinion work on music, theater, and the process of a creative artist. In it, Busoni views the process of creativity as one free from hindrances, and openly defines the value of art through its spirit, feeling and human element.7 Although Busoni‘s view of art was open-ended, he still had very strong dualistic opinions on ―good‖ and ―bad‖ music. Even with Busoni‘s anticipation of future twentieth-century musical developments in microtonal music and electronic music, Busoni always revered Bach and Mozart. As a composer, Busoni also had a very keen interest in mysticism; his music room in Berlin for composing and practicing was filled with iconographic statues from Hinduism, 4 Kurt Weill wrote in detail about these classes during his studies with Busoni. See Couling, Ferruccio Busoni, 331332. 5 Ibid., 306-307. 6 Hans Haug, Für Feinde klassischer Musik: Zehn Radioplaudereien (Basel: Verlag Gaiser & Haldimann, 1941). 7 Couling, Ferruccio Busoni, 302-305. 2 Buddhism and ancient Greece. Haug would later mirror this mystical viewpoint, and is quoted in the context of composing modern music: ―Eigentlich gibt es ein sehr einfaches mittel, um gute von schlechter zeitgenossischer music zu unterscheiden und ich kann ihnen zum schlusse nur eine binsenwahrheit sagen: Es gibt keine wirkliche music ohne das wunder der inspiration‖.8 ―Actually, there is a very simple way to distinguish good from bad contemporary music and I can only say in conclusion, a truism: there is no real music without the miracle of inspiration.‖ Busoni‘s residence during Haug‘s student years seems fitting in the larger context of music in Switzerland. Busoni, like many composers during this time, was not unaffected by the political climate during the First World War (which was the cause of Busoni‘s residence in Switzerland in the first place). Busoni always viewed himself as an artist without borders, free to develop highly personalized ideas on music and composition. As a base for musical culture, Switzerland can be viewed through the traditional dichotomy between the German-Swiss and French-Swiss cultures; but regardless of their cultural background, many composers developed a balance between craft and creativity. Haug‘s background in life and in musical training mirrored this aspect: a Swiss father who baked French patisserie in German-Swiss Basel, later being taught by a Dutch pianist and taking masterclasses from an Italian ex-patriot who lived abroad in the United States, and Germany. This musical environment prompted numerous composers, like Frank Martin (1890-1974), Henri Gagnebin (1886-1977), Pierre Wissmer (1915-1992), and Willy Burkhard (1900-1955) to find their own personalized style combining aspects of style that are markedly ―French‖ or ―German.‖ What also makes these composers relevant to the discussion of Haug is they all developed a compositional relationship with the guitar, particularly Pierre Wissmer, although Martin‘s Quatre Pièces Brèves remains one of the only masterworks most guitarists would be able to identify by a Swiss composer. 1.2 Munich: 1921-1923 By the year of Haug‘s graduation, his next step was to further his studies in Germany like many of his established contemporary Swiss compatriots including Willy Burkhard, Othmar 8 Haug, Für Feinde klassischer Musik, 78. 3 Figure 1.1 Hans Haug, 1923. Courtesy of Jean-Louis Matthey. Schoek (1886-1957), and Volkmar Andreae (1879-1962) among many others. His move to Germany also coincided with both Busoni‘s return to Germany at the Hochschule in 1919, as well as Egon Petri‘s return to Berlin in 1921, following Busoni to the same institution.9 After a total of three years of study and a certificate in piano and cello performance from the Basel Conservatory, he moved to Munich in 1921 to study composition, orchestration, and orchestral conducting with Swiss composer Walter Courvoisier (1875-1931) and piano with Joseph Pembaur (1848-1923), the latter of whom was a former student of Franz Liszt. Munich is where Haug‘s compositional technique was developed. The reasons for not following Busoni and Petri to Berlin are unknown. Regardless, Courvoiser provided Haug and many other Swiss-born 9 Della Couling, Ferruccio Busoni, 331-333. 4 composers like Willy Burkhard the fundamental training as a complete musician: performer, conductor, and composer. The compositional style taught in Munich during this time was influenced by the techniques of the neoclassical style. Courvoisier was a Swiss ex-patriot and was very much in tune with the new style, as well as older forms of composition. His students focused on formulating tonally-based music on Baroque and Classical models. In addition to this style, the school maintained teaching of the late German Romantic generations, particularly of Wolf.10 Schoeck and Andrae upheld the strong connection to the nineteenth-century masters, who continued to write large-scale works for orchestra, concerti, and operatic works. Courvoisier‘s influence in Munich was augmented by the preceding influence of Max Reger (1873-1916) who held various teaching posts throughout Germany, whose refined intimate textures and broad rhythmically driven melodies became central to this developing language that bridged nineteenth-century practice with modern developments in musical textures. Even though Schoeck studied briefly with Reger, he developed his personal style that leaned towards a postWagnerian aesthetic, especially through his art song and large-scale works. Composers and teachers like Courvoisier and Reger ushered in (like Hindemith, Stravinsky) a ―new-classical‖ or neoclassical style in which older compositional forms were utilized but the musical textures were highly elaborated, especially in the context of rhythm and harmony. Unlike the rhythmic experiments of Emile Jacques-Dalcroze, in which rhythm was developed in a contrapuntal texture, use of additive rhythm was a driving force in the ebb and flow of melodic texture, particularly in the melodic textures found in Courvoisier‘s solo violin compositions as well as Reger‘s works for solo strings. Divisions of sixteenth notes switching to sextuplets would create a natural sense of accelerando in a musical phrase, whereas metrical rallentandos were common (sixteenth-triplet-eighth-quarter). These rhythmic developments coincided with a harmonic underpinning that shared close relationships with the style of Hugo Wolf, in which harmony and its texture distilled the mood of the text in what Willi Schuh described as ―highly symbolic‖.11 The harmonic textures also retained a close connection to old polyphonic models, free of expressionistic exaggeration. Balancing these contrasting styles of composition became central to Haug‘s perceptions of harmony, melody, and counterpoint. 10 Fritz Muggler, "Haug, Hans," in Grove Music Online. Oxford Music Online, http://www.oxfordmusiconline.com.proxy.lib.fsu.edu/subscriber/article/grove/music/12546 (accessed December 7, 2010). 11 Willi Schuh, Schweizer Musikbuch (Zurich: Verlag Atlantis, 1938), 171. 5 By the early 1920‘s, Schoenberg and his circle‘s developments in harmony had a profound impact on composers in Switzerland and around the world. Every composer, in some form or other, had to process these ―modern‖ compositional elements in the overall conception of their own work, even if only by reacting vehemently against it. Haug rejected many aspects of modern composition and the aesthetic that was associated with the second Viennese school. He would later write in his Für Feinde klassischer Musik of these ―cliques‖ of composers who would ultimately use these models as justification of their work. He viewed modern aspects of atonality as a veil, which once removed, would reveal a severe lack of imagination and skill.12 German musical culture also experienced social changes that reflected in musical style and performance during the time Haug was a student in Munich. A new zeitgeist or German youth movement after World War I saw orchestral music and solo instrumental works as propagating the past, as romanticism fell out of fashion. Musical tastes were rapidly changing. As Haug states, modern music had progressed so rapidly that composers like Strauss over a period of twenty years went from being labeled outlandish to conservative. Many composers after the war were shaken into a new collective of intellectualism that relied less on expressive exaggeration and more on developing new music tempered by compositional devices of Baroque and Classical forms and textures. Composers also found ways to incorporate various ―popular‖ elements to their work in creating accessibility to their work. Hindemith took this process literally and wrote a series of chamber works entitled Gebrauschmusik (―utility music‖). Such music was written expressly to serve the utilitarian role of performance in a private setting, similar to Telemann‘s Tafelmusik of the eighteenth-century or the Biedermeier period in nineteenth-century Vienna. Another example of this is the impact Kurt Weill had on the German operatic scene in the early twenties. Weill utilized his mix of opera with cabaret, which not only was wildly popular with critics and the public, but also suggests a direct impact on Haug‘s style of folk opera developed in Switzerland by the early thirties. A former student of Busoni, Weill was not compositionally emulating the Wagnerian model, and brought a popular element to his operas, similar to older operatic forms of opera buffa, in providing stock characters that would be recognized as character foils of real-life persons. 12 Haug, Für Feinde klassischer Musik, 70-75. 6 Jazz music, particularly for use with films was increasingly popular as silent movies would be accompanied by a small upright piano or band. Cinemas, cabaret theaters, and bars became places where popular music could be performed and provided financial support for many musicians, including Haug. These places changed the production of live music outside the conservatory walls and brought music to a new audience, outside of the operatic culture of the concert hall. Much of this music, composed by German musicians was labeled Kunst-Jazz, where the music would suggest the American art form without any strict boundaries in style or form. Most of the music utilized dance models of the Foxtrot, Ragtime, and the Two-Step. These jazz forms were later incorporated into this new classical style. Many composers such as Stravinsky, Hindemith, and Krenek incorporated aspects of jazz form in their works. Bradford Robinson argues that the inclusion of these dance forms conveniently prevented their music from being ―labeled as elitist‖.13 This democratic process of bringing music to the masses influenced Haug (and many other Swiss composers) who would use radio as a vehicle for performance and spreading their compositional work and promoting the agenda of the democratization of art music. In viewing Matthey‘s catalogue, Haug‘s compositions from this period with Courvoisier are primarily instrumental and vocal, reflecting the compositions of Courvoisier and the neoclassical aesthetic.14 His instrumental works include pieces for piano and organ, as well as the production of most of his instrumental chamber music for strings, including his String Quartet in F sharp minor in 1922, and a Sonata for Solo Violin in 1923.15 Haug‘s vocal music included poetic settings by contemporary poet Richard Dehmel (1863-1920) and Joseph von Eichendorff (1788-1857), poets whose works were set by many Germanic composers including Felix Mendelssohn, Robert Schumann, Richard Strauss, and Arnold Schoenberg.16 Deep economic strife during the years Haug was a student in Munich became an issue. The financial instability in the early years of the 1920s proved difficult for many in Germany, 13 Michael Kater, ―Music: Performance and Politics in 20th Century Germany‖ in Central European History, Vol. 29, No. 1 (1996): 95-96. 14 Schuh, Schweizer MusikBuch, 153-155. 15 Matthey, Catalogues du fonds, 5-16. 16 The earliest settings Haug utilized texts by Eichendorf occur in 1918: Winternacht for Tenor and Piano. Text settings of Dehmel include Die Getrennten for Tenor and Orchestra (1922), and Deux chants pour voix d’alto et quatuor à cordes (1925). Other poets largely from the German Romantic generation include Swiss author Alfred Huggenberger (1867-1960), J.W. von Goethe (1749-1832), and the author of Wozzeck, Georg Büchner (1813-1837). Haug‘s interest in text setting for art song also included historical poets including texts by the minnesinger Walther von der Vogelweide (ca. 1170- ca. 1230). 7 especially following the reparation payments and the ill-fated Weimar Republican environment following the Peace Treaty after the First World War. Severe inflation combined with lack of basic necessities proved difficult, especially for students during this time. By 1923, the financial crisis in Germany had further unraveled—the exchange rate to the dollar had risen from 4.2 marks to over 7000 marks by the end of the year, causing much stress on political and social conditions. For Haug, financial strain forced Haug to work as a bar pianist and dug peat in the countryside to support himself. Busoni, who had returned to Berlin by 1919, has been quoted as saying, ―I fancy it is fairly dangerous to ill treat a starving dog,‖ foreshadowing future public outcry and the need for new leadership through the emerging influence of propaganda espoused by the Nazi party by 1933.17 1.3: Return to Switzerland: from Folk-Opera to Radio-Plays By 1924, Haug returned to Switzerland where he began his first of many appointments as a conductor, music director, and teacher. These various appointments laid the foundation for Haug to establish himself as a conductor and composer in Switzerland and abroad. His first appointment in 1924 was in the town of Granges as a music director for the local men‘s and women‘s choirs. These early appointments allowed Haug to fulfill both compositional and conducting roles with the ensemble, which served him both professionally and artistically. He composed choral works for the ensembles and directed many concerts over the course of his tenure. Haug was also focusing on instrumental concert works, including a Violin Concerto in 1924, dedicated to Courvoisier, and a Cello Concerto in 1926. It is uncertain (based on present research) who the performers were for these large-scale works, but these pieces, among many others, only exist in manuscript form. Unfortunately, there is very little reception history of Haug‘s early compositions. Most of the musical reviews about Haug consist mainly of his conducting duties during his career and make very little mention of his compositional work.18 One aspect that changed classical music production and consumption was the advent of radio all across Europe after the First World War. Following the first radio broadcasts in Pittsburgh, Pennsylvania, and the fully formed BBC in England in 1922, Switzerland was quick 17 Couling, Ferruccio Busoni, 329. Music reviews of Haug as a conductor can been located in the England-based journal, Music Review: ―Notes from Abroad‖. See bibliography for detailed sources, including volumes, date of publication, etc. 18 8 to unveil their own radio stations across the country that same year. The first radio station was stationed in Lausanne, broadcasting entirely in French. Other stations soon followed to accommodate Switzerland‘s other chief languages (German, Italian) and regional dialects with stations broadcasting in German out of Basel, Bern, and Zürich, French from Geneva, and St. Gall and Italian from Lugano. Radio also increased the number of orchestras in Switzerland with Radio Orchestras being established in all the major centers where broadcasting occurred. Through a combination of state and private support, orchestras performed extensively throughout Switzerland, becoming a stage for Swiss composers to promote and propagandize Swiss art music. As mentioned, the earlier usage of popular elements in classical music brought a wider span of public consumption of new compositions by composers from the region. According to the statistics of the Radio Diffusion Suisse, classical music labeled ―serious‖ accounted for more than thirty percent of broadcast time. The radio stations developed across Switzerland would become a chief source of professional stability for Haug. In 1928, he moved home to Basel and became assistant conductor at Radio Orchestre de Basel, which not only performed on radio broadcast but also assisted with the dramatic works staged at the Basel Municipal Theater. These appointments opened the door for Haug to compose dramatic works for stage, as well as having a large ensemble and cast at his disposal to perform them. Haug‘s musical style of his dramatic works for stage was characterized as ―deliberately popular in appeal, avoiding contrapuntal and tonal complication.‖ Willi Reich, musicologist and author on Swiss musical composition and contemporary of Haug wrote in 1965, ―Haug's music is of the classicist style which also obtains in many of his instrumental works, is individualized by his special gift for the humorous and the grotesque.‖19 In addition to composing and his assistant conducting duties with the Radio Orchestre de Basel, he also began to concertize as a pianist. Recitals and tours took him to many centers throughout Switzerland, including the famous Aabourg Castle. This particular location is of significance in viewing the movement towards democratizing music in society. The castle in the twenties was a place where juvenile criminals were sent to be provided with order, compulsory education, and above all else, strict discipline. Surely having a concert pianist come to play classical piano music was a rarity, and this gesture places Haug as someone determined to 19 Willi Reich and Ernest Sanders, ―On Swiss Musical Composition of the Present‖, in The Musical Quarterly, Vol. 51, No. 1, Special Fiftieth Anniversary Issue: Contemporary Music in Europe: A Comprehensive Survey (Jan., 1965): 85. 9 enhance the spiritual growth of humanity through music. In his treatise, Für Feinde Klassischer Musik (1941), he would emulate this in writing to his audience, ―Vergessen wir nur eines nicht: Musik ist nicht nur zur Betäubung und Unterhaltung da. Und wir haben in unserem Lande nicht nur uber die Sicherheit materieller Dinge zu wachen, wir haben auch für die Erhaltung geistiger Werte Sorge zu tragen. Die Schönheit und das Erhabene sind an keine Landesgrenzen gebunden, Jeder denkende und jeder fühlende Mensch hat ein Recht auf beides. Musik ist für alle da. Und die allerbeste Musik ist eben falls fur jeden da, arm oder reich, sonst gebildet oder sonst ungebildet, krank oder gesund.‖20 ―Let us remember one thing: Music is not just about being stunned and entertained by it. We have to pay attention to the security of our material things, we have to be concerned and pay for the preservation of spiritual values. [Italics his] The beauty and the sublime are not bound by national borders. Every thinking and every sentient human being has a right to both. Music is for everyone. And the very best music is also there for everyone, rich or poor, or educated or otherwise uneducated, ill or well.‖ This treatise, published in Basel in 1941 was part manifesto, part plea for musical appreciation that stands as a unique voice in the reception and oral history of twentieth-century music in Switzerland during the Second World War. Many of the stage works mirrored the accessibility factor in the musical and dramatic language. Subjects were light-hearted in theme, many of which would resonate with the public and included archetypal themes from ancient literary sources from Ancient Greece, Michelangelo, Cervantes, as well as newly composed texts for stage. His first two operas were performed at the Municipal Theatre, one of which was his Don Juan a l’etranger in 1930, the first known work in which Haug utilized a guitar. This work was premiered at the Municipal Theater in 1930 and remains in manuscript form in the Lausanne Conservatory. Haug utilized the guitar not only in the orchestra, but also in a jazz band that appears in various scenes throughout the opera. Within a span of four years, Haug had produced other works of note for stage including his opera Madrisa (1933, after a Swiss Mountain Legend) and the beginnings of his opera Tartuffe (1931-1937), both of which were premiered under his direction and received international press review. Haug also produced his third string quartet (Quatuor à cordes, 1933), a Sonatina for Violin and Cello (1933), and a symphonic poem in the style of a silent movie entitled Charlie Chaplin (1930). The variety of genres and forms Haug 20 Haug, Für Feinde Klassischer Musik, 15. 10 Figure 1.2: Hans Haug, 1937. Courtesy of Jean-Louis Matthey. presented his work continued alongside his various appointments as a conductor throughout Switzerland. From 1935 to 1944, especially during the war years, Haug continued his productivity as both a composer and conductor throughout Switzerland. He accepted various directorships with numerous ensembles throughout Switzerland, beginning with the French Swiss Radio Orchestra in 1935. This appointment brought him in close contact with fellow conductor Ernst Ansermet (1883-1969) who created the Societé et Orchestre de Suisse Romande in 1918. Ansermet is credited with providing artistic patronage to Stravinsky (based in Gevrey and Montreux in the 1920s) as well as exposing the public to the French masterworks of Debussy and Ravel, as well as Swiss composers Frank Martin and Arthur Honegger. With some consolidation of forces, the French Swiss Radio Orchestra became part of the Suisse Romande Orchestra. This resulted in the founding of the Radio Suisse Orchestre de Romande, which Ansermet took on as artistic director. This forced Haug to resign from his position and accept a new directorial post with the Radio orchestra based in Zürich in 1938.21 It isn‘t noted whether Haug and Ansermet left on bad 21 Schuh, Schweizer Musikbuch, 268. 11 terms but Haug‘s new position in Zürich served him very well as evidenced by the number of premieres of his compositions in that city after 1938. Zürich was one of the largest centers of musical development in Switzerland, and this newly-found position attests to Haug‘s strong reputation as a musical director. From this point after his arrival in Zürich, Haug‘s music began to be premiered across Switzerland, largely due to his connection with the radio orchestras. Haug premiered his Concerto No. 1 for Piano in Solothurn in 1938, with the Orchestre de Radio Solothurn. After his student years with master pianists Petri, Levy, Busoni, Pembaur, and ten years of concertizing as a pianist, he dedicated the work to his composition and conducting mentor Walter Courvoisier. His move to Zürich also proved to be very fruitful for the premieres of many dramatic works for stage, including his secular oratorio Ariadne for soloists, mixed choir and orchestra (1938), and other works for stage including the operettas Leederlig Kleebat (1938), Gilbert de Courgenay (1939), and his opera Barbara (1940). As mentioned, his treatise Für Feinde klassischer Musik was published in 1941. The work makes several philosophical statements that point towards his role as an artist and musician for the people. In addition to his philosophical stance on music reception by the public, he also treats the work as an educational tool. He provided educational examples of instrumental groups and introduced musical elements to aid the average listener in understanding and appreciation of music. For example, he teaches canon (as melodic texture) through reminding the reader of early music educational days singing ―Frère Jacques.‖22 He also addresses modern music (meaning contemporary music of the day) and provides his views on various aspects of the ―new‖ style on music‘s fundamental elements. Highlighting each element serves as an important context for his later compositional style, particularly as his compositional output with the guitar increased dramatically over the last two decades of his life. Overall, his stance by the 1940s was still very much opposed to what he viewed as false modernity where composers placed disharmony at the forefront of their creative process. His opinion on modern music was that these composers could only justify their compositional procedures with a lot of ―clever talk‖ were lacking in ―inspiration and real skill.‖23 Haug viewed melody as a phenomenon, a symbolic representation of a miracle, pulled from the ether of 22 23 Haug, Für Feinde klassischer Musik, 35-36. Ibid., 35. 12 consciousness, a.k.a. ―inspiration‖.24 He went even further to say that he didn‘t believe in the construction of melody, neither from a compositional or educational standpoint. Intuition was real and analysis was only a means to ―try‖ to explain sonic phenomena. He did admit that melodic material can be analyzed, but not created from such academic work. In terms of melodic content in modern music, he reminded the listener (reader) that melodic material remained hidden behind a dense fabric of counterpoint and harmonic ―garb‖ that obscured it for the average listener, making it difficult to digest, which ultimately led to an aversion by many listeners to modern practice. He viewed rhythm as a historical progression where modern music had developed greater variety and complexity from earlier stylistic periods. Of all the musical textures, rhythm was the first level of texture understandable by all listeners, not just the musically trained. Harmony remained a fascinating element to Haug and one about which he remains the most open-minded. Again, his standpoint on harmony was akin to his views on melody: inspiration, not analyzed construction. He kept the conversation light-hearted throughout the treatise as he provides some sly commentary about the harmonic and melodic character of French music (à la Debussy): ―Zudem hat die franzosische Musik die Gabe, auf angenehme Art eigentlich gar nichts sagen zu wollen. Sehr oft gleicht sie einer schonen, gut angezogenen, eleganten und geistreich plaudernden Frau, die nichts Bedeutendes zu sagen weiss, un saber nie langweilt.‖ ―The gift of French music, is the pleasant way in which they can really say anything. Very often it is like a beautiful, well-dressed in white, elegant and witty woman chatting to tell us of nothing significant, but we never get bored.‖25 As we will discuss in further chapters, Haug utilized many rhythmic textures that imply harmony (counterpoint) in his works after the production of his solo works that utilize a broad range of chromatic color without being dodecaphonic. Haug‘s employment of dissonance is tempered through a combination of consonance and a tinge of humor in some cases. In terms of form, Haug clearly employed forms from Baroque and Classical models. Compositionally, he adhered to contemporary practice in utilizing older forms such as suites and divertimenti more than concerti, sonata, etc. He exemplified his compositional approach metaphorically by reversing the word order of the typical catch-phrase, ―old wine in new barrels‖ 24 25 Haug, Für Feinde klassischer Musik, 71-73. Ibid., 75. 13 with ―placing new wine in old barrels.‖26 Haug‘s forms on a large scale were primarily single movement works or suite-inspired movements drawn together to form a whole. Haug still continued to utilize classical forms such as sonata form (the first movement of the Concertino for Guitar) and classical five-part rondo form (the ―Prelude and Rondo‖ for Flute and Piano), but the musical textures of his compositions allowed for a greater freedom within the form such as in the Fantasia for Guitar and Piano (1957). As the treatise serves to provide Haug‘s view on music in his words, he doesn‘t elaborate on any of his own music. From this standpoint, the progression of his musical language comes mainly from his compositional output, where the textures will speak for themselves. Haug would return to Lausanne to continue his career, and would soon begin to write concert works for the guitar. 1.4: Lausanne Years: 1942-1967 In 1942, Haug was to return to Lausanne as a director of the Lausanne Choir, associated with the Lausanne Conservatory, even though he continued to premiere works in Zürich throughout the late forties. It is unknown why he left Zürich and his conducting role but his return to Lausanne may have been precipitated by his desire to return to the Romand countryside. As Matthey suggests, his first bank appointment when he was a teenager brought him in contact with the natural surroundings of the Romand countryside, of Lake Geneva and the surrounding areas around Belmont, where he would later retire.27 Perhaps he viewed Lausanne and the constancy of employment as a teacher through the conservatory as a more secure place financially and personally. This region became Haug‘s final place of musical production as a musical director, composer, and teacher. The Lausanne Choir under Haug‘s direction travelled abroad and developed a fine reputation as a premier ensemble. In 1950, the choir presented a concert in Milan at La Scala celebrating the 200th anniversary of Johann Sebastian Bach‘s death, which met with critical success.28 26 Ibid., 76. Matthey, Catalogue du fonds, 5. 28 Ibid., 6. 27 14 Fig 1.3 Hans Haug, 1949. Courtesy of Michel Rochat.29 Compositionally, Haug focused on large-scale works with chorus and orchestra, including sacred and secular oratorios for chorus and orchestra, and numerous operettas for theatre performances for regional music festivals and for radio. In 1944, he resigned from his directorship of the Lausanne Conservatory Choir and freelanced as a bar pianist, copyist, and arranger—quite possibly techniques he learned back in Munich as a student. Later that year, Haug moved out of Lausanne and into the country in Rivaz on Lake Geneva. Remaining close to his professional obligations, he was closer to nature, and to some of Switzerland‘s finest wine districts. This aspect became ―fruitful‖ for Haug compositionally as 1944 was considered the best vintage year during the Second World War. He paid homage to wine by writing a large ensemble chamber work, La Grand Année Vigneronne (The Great Winemaking Year). The work is scored for small choir, instrumental ensemble including four keyboards (piano, organ, celeste, clavicin), cello, viola, clarinet, flute and bassoon. Each movement after the opening movement is named after a month of the growing season (Générique, Juin, Juillet, Août, Septembre, Octobre). 29 This photo was provided by permission of Michel Rochat. From left to right: Hans Haug, Madeleine Vivot, Jean Koëlla, Michel Perret, Michel Rochat. See Michel Rochat, ―Famille Michel Rochat‖, in Picasa Web Albums, https://picasaweb.google.com/rochat31/FamilleMichelRochat#, (accessed February 9, 2011). 15 Each movement uses different instrumentation, providing extremes in sound-color and texture. This work shows Haug‘s further development of a personalized style, marked especially with a lightness of spirit in reverence of the natural transformation of grape to wine. During these years as a freelance musician, Haug again utilized the guitar as a texture within an ensemble of eight players. In a colorful instrumentation, the chamber work Berceuse pour les canons is scored for child and mother soprano, string quartet, flute, percussion, and guitar. Completed in 1945, Berceuse pour les canons is a work in manuscript form, housed at the Bibliothèque cantonale et universitaire Lausanne. After three years of freelancing, he returned to the Lausanne Conservatory in 1947 as Professor of Conducting. He would later become the mentor to numerous professional musicians of note including the pianist Denyse Rich, composer Jean Balissat, composer/conductor Michel Rochat and conductor Armin Jordan.30 Matthey had noted Haug‘s reception as a teacher, particularly by Denyse Rich as his student who lauded his kind humanism and dedication to culture. She makes especially clear that his ability as a pianist was without equal. 31 His ability to distill material from the piano score and define the compositional structures for students was lauded by Rich. Furthermore, she mentions many works by composers like Schubert, Mozart, Dvořák, and Tchaikovsky, who left not only an indelible mark on her as a student but was singled out by Haug‘s fondness for such models.32 This letter, written to Matthey for the catalogue of Haug‘s works is one of the few published written memoires we have of Haug by a former student. Michel Rochat, a conductor and composer has recently contributed to Haug‘s reception history as a teacher, conductor and composition teacher during his years as a student from 1949 to 1951.33 According to Rochat, Haug developed his courses in theory, composition, and conducting which drew from a wide varying palette of topics both musical and extramusical. He made frequent references to the visual arts and the relationships of color and sound. Haug pushed many of his composition students, making them write out dozens of technique drills in counterpoint, canon, in order to develop their own sense of tonal awareness. Rochat refers to this ―awareness‖ as central to Haug‘s teaching. Haug expanded tonal awareness to each individual tone by developing a theory he called the ―harmony of gravitation‖, where individual 30 Ibid, 4. Ibid,19. 32 Ibid, 19. 33 Personal correspondence with Maestro Michel Rochat via email, from February 14-16, 2011. 31 16 tones could be re-harmonized in triadic harmonies as a root, third, fifth, seventh or ninth of a chord. After the palette of color was created, the resultant chords would be infused into the traditional hierarchy of any key, enlarging the spectrum of harmonies for modulation and transition. He never imposed his view of tonality on a student— he wanted his students to develop their own unique relationship to tonality, or ―absolute hearing‖ which was based on memory recall, relaxation, and concentration. This forced his students to remain entirely focused in his lessons, and students were expected to perform and work very diligently. He would assign individual tests for students, pushing them to develop pieces which he would perform in class for everyone. Afterwards, these pieces would be critiqued, and in some cases, be determined unsatisfactory if the student failed to grasp the technique fully. This environment served many students and formed the foundation for students like Michel Rochat and others who shared their insights on Hans Haug as their mentor. During his compositional career back in Lausanne, Haug focused on both neoclassical forms (suites) and traditional classical forms (Concerti). He also began to supplement his compositional output with numerous scores for film, written in a ―light‖ style, incorporating elements of jazz in an orchestral fabric. Some of these works including the orchestral work Tag ohne Ende, the comic opera Les Fous, and the Variations on a Theme of Offenbach—pieces that would include the guitar, similar to his earlier Don Juan. Most beneficial for guitarists was his submission of the Concertino for Guitar to the guitar composition competition held at the Chigiana in Sienna, Italy, which led to the collaboration and friendship with Andrés Segovia. This led to the beginnings of Haug‘s compositional output for guitar, starting with the Concertino, followed by numerous solo works written up to 1961. He continued to include the guitar in more film, operetta, and festival music scores as well. Haug retired from the Lausanne Conservatory in 1960, and moved to Belmont for the remaining seven years of his life. Much of his music by the mid-1950s was now being produced not only in Switzerland through radio, festivals and concert organizations, but internationally as well, including Paris, Vienna, Buenos Aires, and New York.34 The compositional developments as they relate to his chamber music featuring the guitar are dealt with more extensively in the following segments. In viewing the style of these later works, a chromatic and contrapuntal texture begins to emerge which further exemplifies a highly 34 Matthey, Catalogue du fonds, 5. 17 personalized style. This new style had evolved consistently from his earlier compositional style found in his staged works, which were largely tonally ―uncomplicated‖. Like anything that ages, a compositional style can mature or change, just like a barrel of fine wine. For Haug, the compositional process in writing for the guitar was carefully constructed, designed and distilled through careful study of the instrument‘s capability and unique voice. Haug continued to compose until his death in 1967 after a brief illness. One of his last pieces he wrote for the guitar was an unpublished Concerto for Flute and Guitar (1967), presumably written for Dr. Werner Tripp and Konrad Ragossnig. This stands as the first concerto for flute and guitar since Ferdinando Carulli wrote his Concerto for Flute and Guitar, perhaps suggesting a nod to the classical era form which provided the structural barrel for Haug to fill with ―new wine.‖ 18 CHAPTER TWO THE HISTORICAL CONTEXT OF CHAMBER MUSIC WITH GUITAR 2.1: The Guitar in Chamber Music Settings- A Nineteenth-Century Context The musical culture in central Europe, particularly in the European centers of Vienna and (to a much lesser extent) Munich played a major role in the popularity of the guitar in the first quarter of the nineteenth century. Outside of central Europe, Paris and London were unsurpassed in the production and reception of guitar music. Numerous virtuosi visited or based themselves in these musical centers to compose, perform, teach and spread the art of the guitar to fill the demand and popularity the guitar experienced in those centers. Central to the emergence and popularity of the guitar was the sheer volume of chamber music produced for it. Musically, the guitar was pushed by the virtuosi in terms of technique and compositional devices employed in their compositions. These devices that emerged set the standard for idiomatic textures for the guitar well into the twentieth century. These techniques also served as a pedagogical basis for students of the guitar. More than half of the entire canon of didactic music and concert music produced in the nineteenth century is chamber music, as opposed to the solo repertoire that is heard more frequently today. It‘s important to view the historical context of guitar chamber music as a defining influence for composers who began to include the guitar in chamber music by the twentieth century as a textural component to their work, including Hans Haug. We shall first provide the historical context to these developments by viewing the nineteenth-century examples which laid the foundation. In the context of Vienna at the beginning of the nineteenth century, the guitar flourished through a combination of wealthy patronage and the publications of numerous pieces with guitar, aimed at the skilled amateur. Publishing houses like Artaria promoted the sale and publication of guitar music to a large middle-class audience. This musical center (like other centers in Europe) experienced a shift in class structure where emerging middle-class values revolved around selfimprovement through activity that included amateur music-making. The guitar served as a 19 suitable instrument for amateur music making not only in Vienna but also Paris and London where publishing, guitar education, and music could be created, distributed and performed during the first half of the nineteenth century. Notable guitarists in Vienna such as Simon Molitor (1766-1848) developed much of the early methodology in guitar tutoring in Vienna.35 Numerous guitarists from around central Europe flocked to Vienna both before and during the height of the Biedermeier cultural phenomena which during and after the first quarter of the nineteenth-century. The guitar served a vital role in domestic concerts and provided relative artistic stability to many guitarists including the Italian Mauro Giuliani (1781-1829), who wrote numerous chamber works for guitar and piano, guitar and string quartet, guitar and violin/flute, and vocal music with guitar. Giuliani is important as a developer of guitar chamber music due to the extreme skill and versatility in which he included the guitar. More importantly, his association with esteemed and influential musicians of the time aided his acceptance in Viennese musical circles. His associations with Johann Nepomuk Hummel (1778-1837) and Anton Diabelli (1781-1858) were especially fruitful. Hummel and Diabelli collaborated on many of Giuliani‘s chamber works with piano. His association with Anton Diabelli led to numerous publications. Some composers including Carl Maria von Weber (1786-1826) included the guitar in works for stage, including narrative ballads with guitar accompaniment, as well as easy divertimenti for piano and guitar between the years 1811 to 1819. The guitar was also used in the opera Barber of Seville, by Rossini. Another prominent guitarist in the nineteenth-century musical canon who contributed greatly to chamber music with guitar is Wenzel Matiegka (17731830), whose Trio for Flute, Viola and Guitar became the model for Schubert‘s Quartet for Flute, Viola, Guitar and Cello. Munich, the place where Haug was a student from 1921 to 1923 remained an important center for guitar activity and the Schubert Quartet received its inaugural performance in the twentieth century in Munich in 1926.36 Munich also fostered the guitar in chamber music by the numerous publications of trios in the flute, viola, guitar format. Publications from many Viennabased guitarist-composers were found in Munich including trios by Leonhard von Call (17671815), Johann Küffner (1776-1856), Mauro Giuliani, and Wenzel Matiegka, reflecting a strong guitar culture within Munich as well as a sincere demand for chamber music with guitar. Many 35 Fritz Buek, Die Gitarre und Ihre Meister (Berlin: Schlesinger‘sche Buch und Musikhandlung, 1926), 19-20. Reinhard Van Hoorickx, ―Schubert's Guitar Quartet‖, in Revue belge de Musicologie / Belgisch Tijdschrift voor Muziekwetenschap (Vol. 31, 1977): 119. 36 20 of these works were easily performable by skilled amateurs and suitable for light entertainment pieces in performance. In Germany, much of the guitar activity trickled down from Viennese and Parisian centers as evidenced by various publications for amateur guitar enthusiasts. One such publication was Die Gitarre in der Haus, und Kammermusik, which was published between 1800 and 1840 which circulated widely throughout Munich, even though it was published in Frankfurt. In it, numerous pieces for performance in the home was provided, similar to what Hindemith would provide eighty years later in his Kammermusik series. Pieces such as the Matiegka Trio, and arrangements of Schubert lieder would appear in this publication alongside didactic works for solo guitar as well. The development of virtuosic chamber works in the concertante tradition emerged through this period as well. Compositionally, many of the concertante works of the Italian-born composers (many examples by Niccolo Paganini and Mauro Giuliani) for more advanced performers provided a balanced texture amongst the thematic and harmonic material of the music. These works provided clear evidence of the guitar as an equal, an integral part of a chamber setting in providing melodic and harmonic content. Another Italian guitarist who contributed to the genre of concertante tradition with his guitar and piano works in the nineteenth century is Ferdinando Carulli (1770-1841), who unlike Giuliani based himself in Paris. Paris, like Vienna, developed a strong guitar culture known as Guitaromanie, or ―Guitar Mania‖. Carulli enjoyed a solid reputation and developed, like Giuliani in Vienna, many of the ―new‖ techniques that the guitar would begin to utilize in both solo and chamber music. These techniques included many borrowed from or imitating violin or piano repertoire. These include rapid alternating figuration in thirds, sixths, octaves and tenths, legato techniques, greater inclusion of the ―annular‖ finger (ring finger of the right hand), portamenti and harmonics. Carulli also developed an influential method that focused on both technique and musical style as taught through solo and chamber music examples. His development of chamber music with guitar is large; including works for guitar duo, and incorporates arrangements of Haydn and Mozart for guitar duo, or guitar and voice. Other guitarists from Italy also in the Parisian scene include Matteo Carcassi (1792-1853) and Francesco Molino (1775-1847). By 1836, the Spaniards Fernando Sor (1778-1839) and Dionisio Aguado (1784-1849) emerged on the Parisian scene and became the most prominent exponents of guitar culture. Sor‘s Methode pour Guitare (Paris, 1830, followed by the second edition printed in London, 1836) 21 was revered across Western Europe as being one of the finest books on guitar instruction. Sor‘s cosmopolitan career brought him to Paris, London and St. Petersburg to perform and premiere many concert works with and without the guitar. Sor also contributed to the canon of chamber music for guitar, although much of it unfortunately is lost.37 Extant are numerous pieces for voice and guitar (Seguidillas is the most prominent set of vocal works, amongst other singular pieces in Spanish and French), and pieces for two guitars. Sor is an important connection to the compositional development of the guitar as his musical output was far more varied than most of his contemporaries who wrote chiefly for the guitar. His ability to combine deep knowledge of the instrument and a strong compositional background provided a much higher standard for future guitarist-composers to emulate. Other French-born guitarists to develop chamber music for the guitar include Antoine de Lhoyer (1768-1852), Napoléon Coste (1805-1883), and François de Fossa (1775-1849). Switzerland, unlike the rest of Europe, was still reeling from the exclusion of music from chapel settings following the Reformist movements of John Calvin (1509-1564) in Geneva and Huldrych Zwingli (1484-1531) in Zürich in the middle of the sixteenth century. Sacred musicmaking from that time, up until the nineteenth century, consisted of unaccompanied psalmody and forbade the use of organs. Zwingli banned the use of music in church altogether in Zürich. Understanding that the church provided the chief financial and educational means to music making created a dearth of music until the emergence of music education in schools by the early eighteenth century. Music was still taught in schools and instrumental music was still performed in centers, but much of the music was influenced greatly from abroad in both German and French speaking areas of the country. By the nineteenth century, music had reached all levels of society in Switzerland through a combination of continuing education of youth in school programs as well as strong art organizations. Choir music became very prominent through the compositions and writings of Hans Nägeli (1773-1836)38 as well as promotion of German music through the Helvetia Society of Geneva that promoted the works of Beethoven, Mendelssohn, and Handel. Many of these choirs were central to the democratization of music in Switzerland, a profound influence on the 37 Notable besides some of Sor‘s operas, ballets, string quartets and two symphonies is the Concertante, presumably a work in the concerto style for guitar and string trio, all lost. See Brian Jeffery, "Sor, Fernando," in Oxford Music Online, http://www.oxfordmusiconline.com.proxy.lib.fsu.edu/subscriber/article/grove/music/26246, (accessed January 26, 2011). 38 Schuh, SchweizerMusikbuch, 107. 22 expanding musical culture as both amateur and professional choirs became a large portion of musical activity in the production of new choral works, oratorios and festival music.39 The guitar history in nineteenth-century Switzerland was still in a nascent stage due to the musical culture of Switzerland during this time. Switzerland‘s main musical culture rested in the choral and orchestral world in ―art music‖ along with horn choirs, Ländler bands, and Alpine horn choirs amongst the ―popular‖ styles. Only a few guitarist-composers make reference to Swiss regions, like Napoléon Coste‘s Souvenir du Jura: Andante Polonaise, Op. 44, which serves as a musical postcard of his travels to the Jura region that contains the borders between eastern France and western Switzerland. An interesting tidbit of trivia is Alberik Zwyssig (18081854), the composer of Switzerland‘s national anthem (Trisst im Morgenrot Daher), a monk who studied piano, organ, violin and guitar within the Aargau monasteries, who regarded the guitar as his favorite instrument.40 If this is any indication, the guitar did have a place in musical culture in Switzerland, but due to the public taste, social conditions and other political issues surrounding Swiss musical culture, the history of the guitar in Switzerland is limited in comparison to Italy, Austria, France and Germany. In closing, guitar in the nineteenth century provided the compositional forms, techniques and styles that would be re-defined in the twentieth century through the inclusion of the guitar in orchestral settings, chamber music settings and the neo-classical language that borrow the models of this era. As the twentieth century was ushered in, composers who had very little prior working knowledge of the guitar began to write pieces with the guitar. 2.2: The Guitar in Chamber Music Settings: Twentieth-Century The guitar had always been intricately intertwined with chamber music, as championed by many of the guitar composers and societies that promoted the guitar at the end of the nineteenth century and the first third of the twentieth century. Guitar composers, performers, and amateur musicians who consumed this music played a vital role in the inclusion of guitar 39 Fritz Muggler, Musique et vie en musicale Suisse (Zürich: Fondation Suisse de la Culture Pro Helvetia, 1984), 11. Luise Marretta-Schär, "Zwyssig, Alberik," in Grove Music Online. Oxford Music Online, http://www.oxfordmusiconline.com.proxy.lib.fsu.edu/subscriber/article/grove/music/31091, (accessed January 26, 2011). 40 23 alongside the orchestral instruments of the day. Unlike the nineteenth century, performing guitarists would emerge as a vital link between composers and the provision of new works for the guitar. Musical style after the First World War experienced a shift in emphasis from largescale orchestral music to a more prominent role of music in chamber settings, and the guitar became a popular vehicle for such changes in musical tastes. For many composers (who didn‘t fit the mold of the guitarist-composer), the guitar was an orchestral color, a chinoiserie effect or exoticism that provided color to a new instrumental medium. Composers who had little or no formal training in guitar began to incorporate the guitar within their compositions as a textural vehicle or work with a performing guitarist to create new repertoire for the instrument. A brief overview of these main developments will aid in the discussion and role of the guitar in Haug‘s early chamber music works with guitar. The first example of the guitar in an orchestral texture is in the fourth movement of Symphony No. 7 by Gustav Mahler (1860-1911). The title of the movement, ―Nachtmusik‖, incorporates not only the guitar, but also the mandolin, providing a dream-like texture evoking a plectrum band serenading the summer-night sky of Mahler‘s imagination. Transparency in the masterful orchestration allows for these soft textures to be heard throughout the movement as the guitar is intricately connected between the harp and clarinet in the opening measures. An audience would clearly hear this new color (and see the guitarist in the orchestra!) as an exotic effect. Written in Vienna within the years of 1904 to 1905, it seems a natural coincidence due to the long history the guitar had in Vienna‘s cultural and musical sphere. As the century progressed, the guitar was utilized by all three proponents of the so-called Second Viennese School: Arnold Schoenberg (1874-1951), Anton Webern (1883-1945), and Alban Berg (1885-1935).41 Anton Webern utilized the guitar in two orchestral sets: Orchestral Pieces (1913) and Three Orchestral Songs (1914). Webern continued to incorporate the guitar with his Five Orchestral Pieces, Op. 10 (1935) in the same year as Schoenberg‘s masterful Serenade, Opus 24 (1923), firmly establishing the guitar within the instrumental arsenal of modern chamber music. The Serenade, written in a dodecaphonic style throughout, is an early development in Schoenberg‘s earlier usage of serial technique. The reduced instrumentation of the Serenade from Webern‘s early orchestral pieces includes both the mandolin and guitar and 41 For more detailed discussion and listing of modern chamber music for the guitar in the twentieth-century, see John Schneider, The Contemporary Guitar (Berkeley: University of California Press, 1985), 211-212. 24 features a combination of instrumental dances, a variation movement, a Sonnet of Petrarch and a ―Lied (ohne wort)‖ with voice. The textural role of the guitar (and mandolin) is different from the usage of the guitar in Mahler‘s setting as Schoenberg incorporates the guitar as an integrally equal voice to the other instruments. The short, rhythmic character of the sounds of the guitar fit the dance-like texture and this became central to the modern usage of the guitar in chamber settings by this compositional school. In stark contrast to the works of Schoenberg and the dodecaphonists, the guitar would be solely utilized by Paul Hindemith (1895-1963) in his Rondo for three guitars (1925). Here, the guitar is the sole instrumental color where the textures are primarily linear and contrapuntal in nature, providing usage of all the chromatic pitches but organized in diatonic sections that shift up or down a half-step. Pieces such as these continued to develop the textures of melody, rhythm and harmony that utilized classical forms of the seventeenth and eighteenth-century canon. This technique of melodic shifting by step was an important technique utilized compositionally by Haug in many of his guitar works, as well as works for other instruments (flute, piano, oboe, etc). The guitar culture of the mid-to late nineteenth century shifted historically to Spain with the emergence of guitarists Francisco Tarrega (1852-1909) and Miguel Llobet (1878-1938). These two guitarists prompted much change in guitar technique, style, and approach to performance and enhancement of the guitar canon by future guitarists. Tarrega was known mainly as a composer of miniatures (preludes, dance pieces), but his technical studies and arrangement process brought many of the ―great composers‖ to the guitar (similar to midnineteenth-century practice of other guitar-composers). Tarrega arranged works by Bach, Wagner, Mendelssohn, Brahms, and Chopin. His student, Miguel Llobet, concertized throughout Europe and was responsible for connecting with Manuel de Falla (1876-1946), who wrote the famous Homenaje (Tombeau de Debussy) in 1920. Interestingly enough, Fritz Buek mentions that Llobet was concertizing throughout Germany as early as 1913 and as late as 1921, where he performed in Munich in those years, the latter of which Haug was a resident of Munich.42 Soon to follow, Andrés Segovia (1893-1987) would emerge as one of the most influential guitarists of an entire generation, whose strong personal and artistic convictions propelled the guitar onto the musical stage. Segovia‘s mission was to bring the guitar to the concert hall, 42 Buek, Die Gitarre und Ihre Meister, 133-134. 25 which he viewed as reserved for the piano, violin and the major instruments of the nineteenthcentury canon. Segovia developed long term relationships with many composers who contributed much solo repertoire, as well as chamber music. One composer who figured prominently with Segovia in the production of chamber works was Mario Castelnuovo-Tedesco (1895-1968) who wrote Fantasia (1950), the first guitar/piano duo of the twentieth century, as well as the Concerto in D (1939), and the Guitar Quintet (1950) among many others. The Concerto in D was very important from the standpoint of orchestration as the guitar was able to be heard throughout and advocated the legitimacy of guitar as a solo instrument with orchestra. Castelnuovo-Tedesco wrote chamber music for numerous other guitarists as well during his career including a set of twenty-four Preludes and Fugues for the duo of Ida Presti (1924-1967) and Alexandre Lagoya (1929-1999). Following the Concerto in D by Castelnuovo-Tedesco was Joaquin Rodrigo‘s (1901-1999) Concierto d’Aranjuez, which was premiered in 1940 by Regino Sanz de la Maza (1896-1981). Manuel Ponce (1882-1948) also produced the magnificent Concerto del Sur (1941) for Segovia as well as the Sonata for Guitar and Harpsichord (1926), and Preludio for Guitar and Harpsichord (1936). The list of composers who wrote works for Segovia is vast; many works remained unpublished until the emergence of the Segovia Archive, where amongst Segovia‘s papers, some of Haug‘s music had been ―discovered‖. Segovia also developed a good relationship with Haug. Aside from the Concertino for Guitar (1951) however, Segovia only prompted solo works from Haug. Haug‘s chamber music output would rely on the work of guitarists Luise Walker (1916-1998) and Konrad Ragossnig (b. 1932). Composers who were also guitarists wrote in a style very much central to the overall musical and compositional development of the guitar in the twentieth century. Before the Second World War, the one composer that stands out was Heitor Villa-Lobos (1887-1959) who‘s work Sexteto Místico (1917) provided the guitar with substantial musical material integral to the motivic and formal patterns of the composition. This type of composer who provided new works for guitar with an extensive background with the instrument, alongside a deeply developed compositional ability was rare in the larger context of new compositions for guitar in the first half of the twentieth century as performing guitarists provided most of the impetus and motivation for ―non-guitarist‖ composers. Villa-Lobos is the most important composer since Fernando Sor in the development of guitar literature in the twentieth century by a composer/guitarist, whose technique, style and textures few have rivaled in terms of sonority, 26 originality and style. Composers who wrote for the guitar in chamber music settings after the First World War in central Europe include prominent composers Alban Berg, Roberto Gerhard (1896-1970), Igor Stravinsky (1882-1971) and lesser-known composers like Alfred Uhl (19091992), and Ferdinand Rebay (1880-1953). By mid-century, the guitar had reached a significant growth in repertoire with guitarists championing new works and promoting the creation of new works by non-guitarist composers. In central Europe, the guitar had a very large following throughout, especially in Munich during the time Haug was a student at the Hochschule für Musik. It is doubtful that the activity of the guitar did have direct influence on Haug to include the guitar in his chamber works; but, it is useful to provide the context of the guitar and its usage in chamber settings at this time in history. As mentioned earlier, one of the most prominent centers for guitar activity in Germany during this time was Munich. The Munich Guitar Society, headed by Fritz Buek, chronicled the guitar and the styles prevalent during the first twenty years of the twentieth century in all regions of Europe.43 One interesting aspect of the guitar in Munich was the formation of the first guitar quartet, known as the Munich Guitar Quartet, whose most important member was Heinrich Albert (1870-1950). Albert is the most significant in terms of his musical output as a guitaristcomposer and chamber musician. Since 1900, he was the chamber guitarist at the Munich Royal Theatre and performed extensively throughout south Germany. With the emergence of the Quartet for Flute, Violin, Guitar, and Cello by Franz Schubert, Albert was the guitarist for the twentieth-century premiere in 1925 near Cologne. Aside from Albert and the Munich Guitar Quartet, other performing guitarists in central Europe began performing, teaching, and developing new works for solo guitar and chamber music works. Regionally, Vienna remained very strong as a guitar culture for performers, teachers, and developing not only new works, but advocating for the performance of preClassical works on lute, rather than guitar. Guitarists who flourished in the first quarter of the twentieth century (specific dates unknown) such as Josef Zuth, Jakob Ortner, and Viktor Kolon would become the teachers of prominent Vienna-based guitarists Luise Walker (1910-1998) and Karl Scheit (1909-1993).44 The emergence of performing guitarists in Vienna is a defining 43 See Chapter Seven of Buek, Die Gitarre und Ihre Meister, 115-147. For a detailed discussion of Heinrich Albert‘s influence as it relates to the early guitar quartet and guitar activity in the first half of twentieth-century Germany and Austria, see Albert Harris, ―Heinrich Albert and the First Guitar 44 27 influence on guitar culture in central Europe as well Swiss musical culture as it relates to the guitar. 2.3: Towards a Second Viennese “Guitar School” By the early part of the twentieth century, the emergence of the ―Tarrega school‖ as advocated through his students developed a fundamental shift in musical approach by performing guitarists. Unlike past pedagogical methods that perpetuated typical textures of the nineteenthcentury virtuosi, Tarrega pushed the boundaries of transcription to include works of Bach, Wagner, Mendelssohn and Chopin for solo guitar. This shift in emphasis on transcription challenged guitarists to redefine technical approach as performing guitarists began incorporating new challenging textures to their repertoire. This includes much technical development imitating the techniques of the violin, as evidenced by his arrangements of violin studies by Alard and Cramer. In light of the emphasis on transcription by Francisco Tarrega and the techniques ushered in by his former students, many guitarists began to develop new works in close contact with composers, remaining faithful to the composer‘s written intentions of the score as much as possible. Unlike the Segovia process of editing compositional textures, Karl Scheit provided a more practical rather than scholarly method in editing of a composer‘s work by making minimal changes only when technically neccessary. Unfortunately, many of Scheit‘s editiorial decisions of a given work didn‘t recall the changes in the score as an urtext score would provide. Regardless of the reception history as an editor for Universal Editions, he was an influential guitarist who promoted the production of chamber works with guitar throughout the twentieth century. A contemporary of Hans Haug, he directed composers in the creation of new works especially in chamber music settings. Some notable examples include the Trios of Johann Nepomuk David (1895-1977) and Paul Angerer (b. 1927). Both of these composers, alongside many others wrote large-scale works in a trio format of two melody instruments with guitar (for example: Flute, Violin, Guitar) written in a neoclassical style, similar to the style Haug wrote his chamber works featuring the guitar. In addition to the development of new works for guitar in a Quartet‖, in Guitar and Lute Issues, An Online Magazine of Editions Orphée, http://www.guitarandluteissues.com/morris/heinrich.html, (accessed January 21, 2011). 28 chamber setting, Scheit also compiled a complete technique manual featuring all of Tarrega‘s scale studies. Scheit was one of many guitarists to develop and contribute to what became known as the ―Tarrega school‖ even though Tarrega himself never developed his method in his own lifetime. His students which include Emilio Pujol (1886-1980), Pascual Roch (1864-1921), Daniel Fortea (1878-1953), and Miguel Llobet would in varying ways develop the techniques, philosophies and style that Tarrega espoused during his teachings. With the emergence of the Tarrega model in guitar education in Vienna by the 1920s and Spanish repertoire that went with it, Scheit provided detailed fingerings for the guitarist to learn the technical approach of Tarrega‘s scales in his compilation. Later editions of Scheit‘s, like this particular example, provided editorial changes only when technically necessary. Scheit‘s students include the guitarist Konrad Ragossnig, who mirrored this approach to editing, and it is Ragossnig would have direct contact with musical life in Switzerland and Hans Haug. Other guitarists in Switzerland include José de Azpiazu (1912-1986), a close student of Segovia based in Zürich, and Hermann Leeb (1906-1979), a guitarist and lutenist. Both guitarists collaborated with various composers in premiering and editing their works for guitar. Azpiazu was very important in the production of numerous editions of works by composers including Jacques Ibert (1890-1962), Fernande Peyrot (1888-1978), as well as Frank Martin (1890-1974), and would develop a very close bond to Hans Haug. Hermann Leeb was a Swiss guitarist and lutenist who also collaborated with Martin and had close interactions with many composers throughout Switzerland, as well as the rest of Europe. Probably the most well known association with both of these guitarists is with Frank Martin. In the production of Martin‘s Quatre Pièces Brèves, originally written for Segovia in 1933, Hermann Leeb provided an early 1938 performing edition of Martin‘s work before Azpiazu and Scheit provided later versions resulting in the first printed edition of the Quatre Pièces Brèves with Universal Editions in Vienna in 1955.45 Leeb was also responsible for an early recording of Fernande Peyrot‘s Petite Suite for Guitar, recorded and distributed by Suisse Radio Diffusion.46 Leeb had also produced numerous recordings of sixteenth-century lute song. In the context of Hans Haug, he was part of the jury 45 For a detailed account of these works, see Jan de Kloe, ―Martin‘s Quatre Pieces Breves: A Comparable Study in Available Sources‖ in Soundboard (Vol. 20, No. 1 and 2, 1993), No. 1 (19-27), No. 2 (21-27). 46 Samuel Ducommun, et al. ostlude pour orgue a uel Duco un Concert pour violins et piano Alo s ornerod orlane D nazade astroquet en er er. Petite suite pour guitar / Fernande Peyrot. Chant de la nuit / Mathieu Vibert. Quadrege / Pierre Wissmer. [Switzerland]: B.I.E.M., 19**, vinyl recording. 29 for the Geneva Competition in 1956, which also included Segovia, Azpiazu, and Walker.47 Even though Azpiazu or Leeb did not have Haug write a piece for either of them, their involvement in Swiss musical culture with the guitar and lute, especially in Zürich where they was based, is significant. Furthermore, the significance of guitarists such as Azpiazu and Leeb in providing the working knowledge of the guitar to composers who contributed to the guitar canon is an area in need of further investigation and research. Even more significant is the work of Konrad Ragossnig in relation to the development of Haug‘s chamber music with guitar. Laureate of the 1961 ―Concours International de Guitare" in Paris, Ragossnig followed with Scheit‘s model as a guitarist and lutenist as well as a detailed arranger and editor of numerous works for solo guitar and guitar pieces in chamber settings, including the editorial work on Haug‘s Capriccio for Flute and Guitar (see Chapter Four). Ragossnig‘s editorial and recording credits with flautists Dr. Werner Tripp, Peter Lukas-Graf, as well as tenor Peter Schreier, produced numerous works with guitar including spanning four centuries of musical style. In addition to his work with Hans Haug, he also premiered works by other Swiss composers including Pierre Wissmer (1915-1992) and Robert Suter (1919-2008).48 Ragossnig, alongside guitarists Herman Leeb and José de Azpiazu who were based in Switzerland, provided a greater context of guitar dissemination through radio broadcast, not to mention the orchestras and concert halls that presented international concert artists. Radio broadcasts and tours by many other leading guitarists including Julian Bream, Andrés Segovia, Ida Presti, and Alexandre Lagoya, presented the guitar to the largest possible audiences of both the concert hall and radio, providing an international presentation of musical artistry on the guitar by mid-century. Alongside the profusion of guitar activity, other Swiss composers of Haug‘s generation to write for chamber works for the guitar include Frank Martin, Willy Burkhard, and Pierre Wissmer.49 Of all of these composers, Martin and Wissmer were initially influenced by Segovia 47 Han Jonkers, ―Booklet: A Swiss Homage to Andrés Segovia.‖ in A Swiss Homage to Andrés Segovia: Works by Martin, Gagnebin, Haug and Widmer (Cadenza-Records CAD 800905, 1996), 11-12, compact disc. 48 For all details on the career of Konrad Ragossnig, see Konrad Ragossnig, ―Konrad Ragossnig: Gitarrist und Lautenist‖, Konrad Ragossnig, http://www.konradragossnig.com, (accessed November 7th, 2010). 49 Frank Martin would later produce two vocal chamber works with guitar: Quant n’ont assez fait do-do (C. d‘Orléans), for Tenor, and guitar (1947), and the Poèmes de la mort (F. Villon) for Tenor, clarinet, and three electric guitars (1969–71). Willy Burkhard, a student of Courvoisier in Munich with Haug, wrote his Sérénade, Op. 71, No. 3 for flute and guitar (ca. 1945). Pierre Wissmer (1910-1992) was the most prolific of the three Swiss composers with numerous chamber works in a variety of settings for a variety of guitarists including Ida Presti, Alexandre 30 to write for the guitar, but collaborated extensively with other guitarists in the production, and reception of their works. The production of these works mainly relied upon the performing guitarist not only as a vehicle for influence, but also as a means towards performance and recording. The development of solo and chamber music repertoire in the twentieth century had relied increasingly on the role of performing guitarists in the twentieth century to provide a vehicle for composers to add to the repertoire of the classical guitar. One of the most influential (and most chronicled) exponents of the art of the guitar was Andrés Segovia, whose artistry and persona was Haug‘s main reason to begin to write concert work s for solo guitar. By viewing the output of the solo guitar material, the textures of Haug‘s style emerges through these works, and into the concert chamber pieces which both coincide and follow the production of these works. Apects of melody, harmony, and rhythm remain intact with the idiomatic and textures of the guitar, but Haug utilizes many of the same melodic, harmonic, and rhythmic textures for many of the extant published chamber music for oboe, flute, piano, trumpet, and strings. The role Segovia ―played‖ in viewing Haug‘s musical style should therefore be viewed objectively through the published output surrounding Haug‘s guitar works. Haug‘s compositional philosophy was applied to all of his compositions, and less emphasis should be placed on the subjective aspects of their friendship, and the influence Segovia would have on Haug‘s compositional style. 2.4: Haug’s Solo Works: Evolution of Style and the Influence of Andrés Segovia The catalyst for the development of concert guitar works was a composition competition hosted by the Academy Chigiana in Siena Italy in 1952 with Andrés Segovia leading the search for new works.50 There were three categories for submission to the competition: solo guitar, guitar and string quartet, and guitar concerto. The prize for each work included a premiere by Andrés Segovia and a publication to his series with Schott publishers in London. After all the compositions were reviewed, the solo guitar division awarded first prize to the suite entitled Cavatina by Alexander Tansman, no composition was selected for the guitar string quartet division, and Haug‘s Concertino was chosen in the concerto category. As promised in the Lagoya, and Konrad Ragossnig: Guitar Concerto (1954), Prestilagoyana for two guitars (1959), Barbaresques for two guitars (1961), and the Sonatine for flute and guitar (1962). 50 Han Jonkers has provided the most detailed accounts of this competition in relation to his recording on Swiss Guitar music. See Han Jonkers, A Swiss Homage to Andrés Segovia: Works by Martin, Gagnebin, Haug and Widmer, (Cadenza-Records CAD 800905, 1996), compact disc. 31 competition guidelines, Segovia performed Tansman‘s winning composition, and Schott published the work in 1952. Unfortunately, Segovia and the competition jury never follow through with their promise on Haug‘s Concertino. Haug always had a reason to write his works as it seems he had performing musicians and organizations at his disposal to perform them. The resultant denial of premiere and publication following the composition competition presented an interesting turning point for Haug. Many composers had written pieces for Segovia, who never experienced the realization of the work in performance, and never wrote another note for the guitar.51 Haug, on the other hand, continued his relations with Segovia but augmented his associations with other contemporary guitarists— primarily with José de Azpiazu, Luise Walker, and later, Konrad Ragossnig. It is through these guitarists, in addition to Segovia, that we can view Haug‘s relationships with performers his compositions, especially the concert chamber works, not the narrower view of a ―Segoviana‖ guitar composer. In addition to Segovia‘s inspiration and friendship, Azpiazu was ―instrumental‖ in enhancing Haug's working knowledge of the guitar. Haug even took lessons on the instrument from October 28, 1953 to January 27, 1954.52 In those three months we can assume that Haug's working knowledge of the fingerboard, range of pitches, understanding the instrument‘s freedoms and limitations were aided to Azpiazu‘s tuition. We should view however Azpiazu‘s involvement and relationship with Haug as a refinement of technique, as Haug must have studied aspects of the guitar as evidenced by the idiomatic writing found in most of the guitar part of the concerto. As mentioned, Haug first utilized the guitar in 1930, and by 1954, Haug‘s maturity as a composer and understanding of the instrument‘s unique complexities in terms of harmony, melody, and texture had matured. If we assume Haug‘s first concert work featuring the guitar was the Concertino, then Haug wrote pieces for solo guitar over a ten-year period, from 1952 to 1962. Some notable aspects should be pointed out here about the solo works: the earliest dated work is an unfinished Rondo, subtitled ―La guitarra‖, dated August 8, 1952, approximately 14 51 The Segovia archive is testament to the sheer number of works that were not performed by Segovia. Other composers had written works for Segovia but were performed later by other guitarists include Frank Martin, Darius Milhaud, and Hans Haug. In the context of Haug‘s Concertino, Alexandre Lagoya premiered the work with the Lausanne Conservatory Orchestra but there is no date written as to when the premiere took place. See Han Jonkers, A Swiss Homage to Andrés Segovia, 24. 52 Ibid, 7-8. This information was supplied to Mr. Jonkers for his recording by Maria Azpiazu, who provided Mr. Azpiazu‘s journal and agenda at that time. 32 months before his lessons with Azpiazu. This manuscript according to Gilardino remains unpublished and is housed at the Centro de Documentación Musical Casa Museo Andrés Segovia, otherwise known as the Segovia archive. Haug‘s Preludio and Alba were the only pieces recorded by Segovia, in 1956. There is no extant manuscript of the Alba score; as both performance editions are based on an audio transcription done in one afternoon in 1970 by Angelo Gilardino from Segovia‘s 1956 recording, by permission of Segovia.53 The Preludio also contains no date but the facsimile of the manuscript shows different manuscript paper than all his other solo works which are dated 1955 through 1962. Therefore, we can assume that these two pieces were possibly written between the unfinished Rondo of 1952 and 1954. A letter from Segovia to Swiss composer Henri Gagnebin can potentially narrow the dates of these works. This letter written to Gagnebin, dated September 19, 1954, was essentially pleading for patience as his schedule had at this point in his career become very demanding. Here is a fragment from that letter: Maître Henri Gagnebin; ―I am sending you these lines to let you know that I am slowly progressing in my work with your beautiful compositions. Slowly, but decisively. I believe that I can include them in my programs for the next season….Please be aware that I am also behind in my work on the other pieces by Villa-Lobos, Tansman, Haug, Rodrigo, Torroba, Castelnuovo, etc. You will not see any premieres at all on the programs of my next concerts…‖ If we assume the next season Segovia is referring to is the 1955 season, then it is possible that Segovia had these pieces in his possession by the writing of this letter, a full year and a half before the recording of Preludio and Alba. The Étude: Rondo Fantastico of 1955 and the Passacaglia of 1956 were found along Segovia‘s many unperformed manuscripts in 2001, now housed at the Centro de Documentación Musical Casa Museo Andrés Segovia. These two works vary in style quite a bit from the Preludio and Alba as the harmonies and textures are far more chromatic and progressive than the earlier works. These works were not performed by Segovia but nonetheless; they contribute great insight to Haug‘s variety of style and show an evolving 53 Gilardino states chronology of events of first publication of Alba in the 2003 publication of Haug‘s solo guitar music. See Hans Haug, Hans Haug: The Complete Works for Solo Guitar, ed. Angelo Gilardino and Luigi Biscaldi (Ancona: Edizioni Musicali Bèrben, 2003), 8-10. 33 style with the guitar, which is exemplified in his entire concert music output, as well as his chamber music for guitar. In regards to the letter to Gagnebin, Segovia‘s schedule and demands for learning new works while maintaining his current repertoire could have warded off any future attributions or pressure on Segovia in light of the Concertino‘s fate as unpublished and un-performed by this time. Even then, the Haug continued to write solo pieces for him up to 1961. Haug was still in touch with Segovia during this time as evidenced by the completion of the triptych Prelude, Tiento, Toccata in Santiago de Compostella. Here, masterclasses held annually during the summer months allowed guitarists to work with Segovia and also to work with Haug on aspects of theory and composition. It is interesting to note that Segovia was very particular about modern composers and their ability to write for the guitar. The fact that Haug was asked to preside with him during those summer months is a testament to their professional relationship, as well as Segovia‘s trust in Haug‘s knowledge of theory and composition as it related to the guitar. In closing, with developments in guitar repertoire from the nineteenth-century virtuosi through the developments of solo and chamber repertoire through the active patronage and efforts of performing guitarists, the guitar canon grew, becoming very much an integral part of the twentieth century musical fabric. For Hans Haug, whose compositional style aligned well with the tastes of Segovia, it is clear that Haug as a composer, like a bottle of wine, evolved which brought changes to his textural approach to melody, harmony, and rhythm. For Haug, the guitar by itself had been developed and he had learned and distilled its voice through the collaboration with Segovia, Azpiazu, Walker, and Ragossnig. By incorporating the guitar in a chamber setting thrusts it onto a larger canvas—wider possibilities, greater space for variety and contrast in the overall texture, and a fundamental change in approach to writing for the guitar. In viewing the next two chapters, the second chapter will explore the melodic, harmonic and rhythmic features the solo guitar works, as well as provide a context of Haug‘s theory on the Harmony of Gravitation in his solo guitar works and the published chamber works written concurrently to the concert chamber works featuring the guitar. 34 CHAPTER THREE HANS HAUG AND MUSICAL TEXTURE Music textures occurring in Haug‘s chamber music that feature the guitar can be clearly traced through the solo guitar works and other published concert works. Furthermore, a concept that Haug called the Harmony of Gravitation is developed extensively throughout all of his musical textures, both harmonically and texturally. The textures of the solo guitar music, especially the Passacaglia and the Étude: Rondo Fantastico for solo guitar, develops the use of his theories of harmonic gravitation by way of re-harmonization, deceptive cadences, and harmonic structures such as triads with the addition of sevenths, and ninths. These two pieces, in connection with his other solo works, are developed in ways that are similar to his other concert pieces for flute, piano, and oboe. The theoretical principles behind his melodic and harmonic textures can be adduced from primary evidence of his teachings from former students of his courses on music analysis, composition, and music theory.54 By tracing common textures in the guitar music, as well as textures found in his non-guitar music, a stylistic dichotomy between the Fantasia for Guitar and Piano and the Capriccio for Flute and Guitar can be traced. Similar aspects of style can be found between the two, but the musical elements begin a shift in emphasis from a rhapsodic style to a more rhythmically organized, contrapuntal style. This chapter will outline the various textures found in orchestral and chamber music featuring the guitar, the Concertino, the solo guitar works, and the concert works for flute and oboe as a basis for demonstrating the divergent textures utilized in both concert works featuring the guitar. 3.1: Melody Melody is a defining texture that permeates all of Haug‘s music. Haug creates and develops his melodies in three ways: diatonically (either strictly tonal, or modal), chromatically, and motivically. These developments occur in divergent ways; Haug may combine both diatonic 54 Denyse Rich was the only reference to Haug‘s teaching at the Lausanne Conservatory. The contributions by composer/conductor Michel Rochat to Haug‘s reception history are presented here for the first time, via email correspondence with me from February 14-16, 2011. 35 and chromatic material in some pieces or he composes his melodic material to establish a highly chromatic fabric. The Concertino for Guitar, written expressly for Segovia, utilizes a combination of chromatic and diatonic melodic figures that evoke the melodic and harmonic Spanish-isms that would have appealed to the maestro. Clearly, Haug‘s usage of these aspects (the use of phrygian mode and cadential figures) exemplify his awareness of Segovia‘s preference and taste. After all, Segovia was already a prominent musical personality who had begun concertizing across Europe, including Switzerland by the late twenties, and had firmly established a strong reputation and persona by the time the Concertino was written in 1951. The second Piano Concerto conversely, develops the main themes in a strict, motivic style that is also heard in his Concertino for Trumpet of 1967. Much of Haug‘s melodic material emerges rhythmically, either to formulate a clear theme or to develop in an imitative style where thematic material is shared between instruments in any given piece. The opening theme of the Concertino for Guitar emerges through a rhythmically elaborated variation of the theme by the clarinet and bassoon. The theme emerges in an unvaried form in the strings with the entrance of the Example 3.1: Concertino for Guitar and Orchestra (piano reduction), measures 1-8.55 55 Hans Haug, Concertino per chitarra e piccolo orchestra, reduzione per chitarra e pianoforte (Ancona: Edizioni Musicali Bèrben, 1987), 3. 36 guitar at measure eight. The thematic material is heard as a repetition but chromatically elaborated and rhythmically ornamented through subtle variation of eighth note, triplet, and sixteenth-note divisions. With this variation, Haug develops a greater range of pitch classes in his melodies, providing ripe musical material for development in a melodic and harmonic context. Melodic material in later solo guitar works becomes increasingly defined in the solo works, particularly in the solo works Alba and Tiento. In fact, these two examples provide Haug‘s greatest use of diatonic material; even though the harmonic fabric that grounds the melodic material is triadic in construction, but modulatory by key relationship. The melodic material is easily definable but the tonal palette is extended and more colorful. Haug is applying the techniques behind his theory of Harmonic Gravitation to individual pitches of the melody. Chromatic elaboration is a common characteristic in Haug‘s melodic writing. The use of chromaticism is organized in such a way that, after breaking apart the melodic material in sections, a completely diatonic conception emerges in the use of chromatic alteration and organization of pitches. Haug utilizes these chromatic gestures to emphasize direction towards individual notes that outline the harmonic structure. In the Preludio for solo guitar, Haug develops the gravitational point on an E natural (the sixth string E). In a range of two octaves, Example 3.2: Preludio for solo guitar, measures 1-6.56 56 Hans Haug, Hans Haug: The Complete Works for Solo Guitar, ed. Angelo Gilardino and Luigi Biscaldi, Preludio (Ancona: Edizioni Musicali Bèrben, 2003), 45. 37 Haug outlines the melodic material within the outer E strings on the guitar, with melodic material comprised of minor seconds and minor thirds, implying a diminished sonority. Fermatas emphasize brief gravitational movement to the pitch classes of B flat, F natural and E natural. The transitional nature of this material undulates through forward motion to develop contrasting the underlying tertian sonorities. Through this expansion of sonority (and harmonic grounding) Haug seamlessly modulates between a G-minor sixth sonority and D major, the tonal underpinning of the melodic material. Here, what seemingly is a chromatic language is ―tonicized‖ through a consistent arpeggiation of a harmonic progression that effectively grounds the melodic material. Another aspect of melody is Haug‘s usage of tonal planing. Planing is a technique derived from the musical textures of the French Impressionists (Debussy, Ravel) where melodies are harmonized with two other voices in strict parallel motion, maintaining the intervallic relationships surrounding each note of the melody. Haug utilizes this texture frequently in all his guitar music, especially with a first-inversion major triad on the first string group (the treble Example 3.3: Étude: Rondo Fantastico, measures 45-47.57 Example 3.4: ―Toccata‖ (from Prelude, Tiento, Toccata), measures 1-2.58 57 Hans Haug, Hans Haug: The Complete Works for Solo Guitar, ed. Angelo Gilardino and Luigi Biscaldi, Étude:Rondo Fantastico (Ancona: Edizioni Musicali Bèrben, 2003), 13. 58 Hans Haug, Hans Haug: The Complete Works for Solo Guitar, ed. Angelo Gilardino and Luigi Biscaldi, ―Toccata‖ from Prelude, Tiento, Toccata (Ancona: Edizioni Musicali Bèrben, 2003), 39. 38 strings of the guitar, where the root of the chord is inverted to the highest string). This texture is treated musically in differing ways. In the Preludio, the material is presented as an interruption of the melodic material. In the Étude: Rondo Fantastico, it serves a transitional function. In the Toccata of the triptych Prelude, Tiento, Toccata, the material serves as the texture harmonizing the opening theme. This richness of sonority is the most identifiable melodic texture in Haug‘s guitar writing. Furthermore, the awareness of this triadic shape exemplifies Haug‘s pragmatic sensibility towards writing idiomatic textures where the material is carefully thought out for performance, making the music performable without the necessity of reducing the material. 3.2: Harmony Harmony is developed in many ways, similar to the melodic texture. His theory, the Harmony of Gravitation focuses largely on singular pitches and the numerous ways a note can be harmonized. An example of this comes from the harmonic techniques employed by Debussy in providing the divergent possibilities of expanding the tonal palette in a given key. In any given key, the total range of harmonic possibilities for each note of the scale (or melody) provides an overall fabric to work with that could be developed in a highly chromatic way, or an entirely tonal way. The impetus and the creative process of the technique still requires creative means of organizing pitch structures for melodic material, as opposed to being confined to a serialized Example 3.5: Example of Haug‘s ―Harmony of Gravitation‖ by Michel Rochat.59 59 Example provided via email correspondence from February 14-16, 2011 with Mr. Michel Rochat. 39 process of ordered pitches. If anything, this theory allows the musical fabric to be highly chromatic, yet, still retains the hierarchy and the harmonic grounding of a piece of music. Haug put this theory to use in supporting his melodic material with divergent harmonic progressions. These progressions occur either through traditional key relationships, use of modal mixture, or tertian relationships, as shown in Example 3.5. In many cases, his harmonic fabric is established only by way of pedal points. These aspects define Haug‘s harmonic language as a way to develop and reinterpret his melodic material. Pedal points are utilized as a gravitational axis in many ways, not only to stabilize, but also to de-stabilize the harmonic fabric. One usage of this is the opening measures of the Élégie Pastorale for Oboe and Piano where the pedal texture begins on a G natural in the piano, outlining a dominant sonority with a flat third and flat second. The shifting pedal points (G, D, F, B, D, B flat, A flat) descend downwards to an E flat, emphasizing an E flat augmented sonority with the oboe holding a B natural as the common pitch between the two sonorities. Again, the harmonic fabric transitions by way of common-tone modulation due to the gravitational force of the B natural. The oboe emphasizes the central axis point by repeating the B-natural and outlining the melodic contours around that pitch. Modulations continue in similar fashion by continual movement to various pedal points which change the emphasis on the point of gravitation. This technique is utilized in the Capriccio for Flute and Guitar in the last movement (―Gigue‖), where the harmonic fabric is contrapuntal in nature where individual pitches serve as an axis point for both melody instruments. The voices move away from each other, and converge on singular pitches throughout to stabilize the chromatic language of the movement. Another piece that utilizes harmonic gravitation on a single pitch is the Étude: Rondo Fantastico where the E natural of the melodic fabric is harmonized in the context of a root, a third, a fifth, a seventh, and a ninth of a chord. At the end of the piece, in measures 80-88, the harmonization of the E natural provides a very effective build-up to the end of the work by acting as an extended ―dominant‖ melodic pedal, resolving to an A natural, and ending the entire work in the key of A minor. The pitch E natural is harmonized by the following progression: C (third)-Am (fifth)- E (root)-Fmaj7 (seventh)-Dm9 (ninth)-Am (fifth). Through the reharmonization of the E pedal, its ―dominant‖ sonority serves as a point of tension through the harmonic sequence. The pitch E resolves by launching upwards to the tonic pitch of A. This expansion of harmony is developed solely from Haug‘s gravitational pitch of E natural, in which 40 all the chords function within the key of A minor but assist in providing a wider spectrum of harmonic color within a given piece of music. Aspects of these techniques are found in the Example 3.6: Étude: Rondo Fantastico, measures 80-88.60 harmonic language of the concert chamber works for guitar, but the approach and style in which Haug utilizes these techniques is continually modified through the textural changes that occur melodically, harmonically, and rhythmically. 3.3: Rhythm Various aspects of rhythm can be clearly identified throughout Haug‘s writing and his preference for certain rhythmic figures. Phrasing of melodic material is clearly defined by the rhythmic groupings, as well as the use of hemiola within the rhythmic syntax of a given time signature. Haug develops the phrase structure of his melodies by using additive rhythm, sequential repetition and anacrusis. Crescendi and accelerando techniques coincide with additive 60 Hans Haug, Hans Haug: The Complete Works for Solo Guitar, ed. Angelo Gilardino and Luigi Biscaldi, Étude: Rondo Fantastico (Ancona: Edizioni Musicali Bèrben, 2003), 15. 41 rhythm to heighten the sense of direction, and ultimately to create a sense of attraction towards a point of resolution. This process can be illustrated visually by imagining an object in space being pulled into the gravitational field of a star or planetary system. As the object moves closer to the center of the gravitational force, the object accelerates toward that point of attraction. Musically, Haug uses this technique in many of his melodies, especially in slow tempo sections where the material is indicated as ―very free.‖ In these sections, divisions of eighth notes, triplets, sixteenth notes, and sextuplets emphasize this rhythmic acceleration to one point or pitch in a musical phrase. Sequential repetition, usually a three-note melodic group imposed over a four-note rhythmic grouping, is very common in his melodic writing, as shown in Example 3.7. Haug also has a preference for the dotted eighth to sixteenth note group, heard in many examples of his solo works, as well as in the Prelude of the Capriccio for Flute and Guitar. All of these rhythmic gestures are characteristic of the rhythmic organization of his melodies. The rhythmic texturing of his harmony is developed through arpeggiations as well as through contrapuntal relationships between voices. Haug also begins to experiment with odd groupings in Example 3.7: ―Tiento‖ (from Prelude, Tiento, Toccata), measures 7-9.61 many of his works, particularly in his usage of hemiola. In the Capriccio, Haug utilizes an alternating duple and triple feel in the second movement (―Sérénade a L‘Inconnue‖), provided by the guitar part. The Prelude et Rondo for Flute and Piano, written in 1958 (published one year after the Fantasia for Guitar and Piano), utilize many of the same rhythmic figurations, including ties over the barline and use of additive rhythm to develop gravitational movement. Haug also uses hemiola in the Élégie Pastorale which is copied verbatim in textural style in the ―Gigue‖ of the Capriccio for Flute and Guitar. 61 Hans Haug, Hans Haug: The Complete Works for Solo Guitar, ed. Angelo Gilardino and Luigi Biscaldi, ―Tiento‖ from Prelude, Tiento, Toccata (Ancona: Edizioni Musicali Bèrben, 2003), 15 42 These aspects of textural unity across his compositions for flute and oboe point towards a greater sense of unified style in his writing. What makes Haug‘s music unique, particularly as it relates to the concert chamber works, is that as his textures evolved, he still maintained an integral sense of idiomatic style when writing for the guitar. The melodic, harmonic, and rhythmic fabric became much more transparent in his later works, particularly with the extensive contrapuntal orientation of the Capriccio versus the rich, orchestral style of the Fantasia. His experiences with writing solo guitar pieces served as a significant basis for writing the chamber works, all the while maintaining integrity to his textural changes even through his late concert works. 43 CHAPTER FOUR THE CONCERT CHAMBER WORKS Unlike the provenance of his solo works, the origins and style of Haug‘s chamber music settings are unique. The two published works, the Fantasia for Guitar and Piano, and the Capriccio for Flute and Guitar, were written with guitarists other than Segovia in mind. This isn‘t to say that Haug would have opposed Segovia performing them, but the stylistic aspects of these works exemplify a greater use of chromatic texture and dissonant treatment of melodic material: a style that Segovia clearly avoided during his career. The two concert chamber works, Fantasia for Guitar and Piano (1957) and the Capriccio for Flute and Guitar (1963), were written for guitarists Luise Walker and Konrad Ragossnig respectively. Although Walker emerges as a guitarist between the Vienna school and the Segovia clique, Ragossnig is a performer of the new generation of Vienna-based guitarists after the influence of Karl Scheit. Both of these works stand in stark contrast to the solo works in form and style, but also stand apart from each other in style, texture and form. 4.1: The Fantasia pour Guitare et Piano (1957) The Fantasia pour Guitare et Piano was written for Louise Walker, a Viennese guitarist whom Haug first met in Geneva at the Geneva International Music Competition in 1956. This was the inaugural year of the guitar in the competition, two years before the first guitar competition in Paris for Radio France. Composers and guitarists intermingled in a potent combination, as evidenced by many new works during this time, particularly by Swiss composers, including a concerto and solo guitar pieces by Pierre Wissmer and solo guitar works by Henri Gagnebin as well. Luise Walker grew up with a close connection to Miguel Llobet, a Spanish guitarist and contemporary of Segovia who travelled throughout Europe, and was frequently visiting Germany and Austria following the First World War. Walker‘s father was a friend of Llobet and invited him to teach his daughter. Walker emerged alongside Maria Livio San Marcos as the two of finest female performing guitarists who studied with Llobet. 44 Fig. 4.1: Geneva International Competition, 1962.62 The Fantasia‘s compositional fabric is connected to many of Haug‘s earlier concertostyle works and instrumental works produced during the late 1950s. The piece is written in a style where both instruments provide an equal presentation of all the musical elements: melody, rhythm, and harmony throughout the work. Unified aspects of style can be traced through his solo guitar work as well as his published non-guitar chamber works during this time, which provide great analytical insight to the Fantasia. Melodic and harmonic techniques of the nineteenth century (chromaticism, deceptive cadences, etc.) provide greater impetus for development and transition, while varied rhythmic textures provides contrast within and between sections. Musically, the techniques of the past generations are never neglected but rather incorporated into a restrained, motivically developed texture within a virtuosic framework. 62 Seated Left to Right: José de Azpiazu, Hermann Leeb, Alexandre Tansman, Luise Walker, Henri Gagnebin, Andrés Segovia, Hans Haug. Photo found in Han Jonkers, A Swiss Homage to Andrés Segovia, 15. Also available online. See Han Jonkers, ―Pubications-CD Booklets: A Swiss Homage to Andrés Segovia―. Han Jonkers, http://www.hanjonkers.com/english/booklet.htm, (accessed November 11, 2010). Courtesy of Han Jonkers. 45 4.1.1: Melody The melodic content of the Fantasia is developed from a combination of quasiimprovisational material to concentrated motivic material. Much of the improvisatory material is enhanced by slow harmonic rhythm where ostinato and chromatic progressions dominate. Haug always develops contrast in the motive-derived melodic texture by the use of a repeating melodic sequence underneath a steady harmonic rhythm, similar to Baroque textures found in trio sonatas of Handel or Bach. Overall, melody provides harmonic stability, yet also destabilizes tonality through chromatic alteration. In the introduction, Haug utilizes an alternation between piano and guitar where thick chordal pulsations create a dramatic opening statement where the melodic material is predominantly in E phrygian. The piano provides the introductory melodic material with parallel octaves harmonized with a parallel fifth, providing a texture reminiscent of parallel organum. After the tight, rhythmic tension is developed between the two instruments, the improvisatory element takes over in the guitar part. The melodic material is primarily diatonic but sequences chromatically downwards before arpeggiating upwards, implying a half diminished seventh harmony before the alternation texture returns to resolve up a fourth in A minor. Again, through chromatic alteration of the theme by raising the D natural to D sharp, the pitch alteration thrusts the melodic material to tonicize E minor. As Haug moves forward through the sequence, he again uses quasi-improvisatory material not only to destabilize the current textures (harmonic, rhythmic) but to move the piece forward formally to a new section of the work. The fantasia-like nature of these melodic outbursts keep the form developing in an ever-changing way, even though the piece doesn‘t follow the more strict variation style. The sections are connected linearly and develop in various re-organized textures throughout the piece. After the main introduction, the melodic material becomes more transparent, due to the melody of the guitar being doubled by the piano. The creation of this melodic fragment is developed chromatically forcing harmonic shifts between major and minor harmonies. This melodic material is then thrust into a transition section where the guitar sequences using a combination of arpeggiation and diatonic material over a chromatically shifting harmonic sequence in the piano. The instability of this section is very similar again to the textures found in Baroque textures where the melody instrument maintains a constant sixteenth-note texture, highlighting the steady harmonic rhythm of the continuo material. Haug also utilizes melodic 46 material found in the first movement of the Concertino by using a three-note motive in a sixteenth-note texture where the motive phases repetitiously within the rhythm. This provides tension towards the final transition to the new section of the work, marked quasi-scherzo. The melodic material from the previous section is now rhythmically charged to a dancelike phrasing in the Allegro vivo (quasi Scherzo). Chromaticism plays a major role in the light playfulness between the two instruments, as the piano develops a larger role in the development Example 4.1: Fantasia pour Guitare et Piano (score), measures 18-26.63 of a counter-theme against the guitar part. After a brief recapitulation of the opening sequence of the quasi-scherzo, chromatic harmonies descend in the piano with a diatonic sequence found from the introduction. Here, the regularity of the melodic motive moves in a completely diatonic way, developing an increasingly tonal texture. Inevitably, the material resolves toward the Ballade theme, the central theme of the work in an entirely tonal fabric. 63 Hans Haug, Fantasia pour Guitare et Piano (Ancona: Edizioni Musicali Bèrben, 1973), 3. 47 The melodic contours of the Ballade (marked as a ―Chant d‘un Troubadour‖) were foreshadowed by the melodic fragments in the first main section after the introduction. The form of this section is free and does not follow the medieval ballade form of AAB. Both guitar and piano balance melody and harmony, where the conversation and balance of the textures are equally displayed between both parts. Here, the texture is shifted towards a cadenza in the guitar part interspersed with chromatic sequencing in the piano. Eventually, the transition occurs by an arpeggiated sequence where the melodic material is largely determined by the regular harmonic rhythm. Haug returns to the introductory material and opening refrain as a recapitulation and rounding out of the previous material. Formally, Haug approaches the coda with the textures similar to the transition material before the recapitulation. The use of a whole tone sequence is Example 4.2: Fantasia pour Guitare et Piano: ―Ballade‖ (manuscript), measures 169-175.64 utilized before the final arrival of the Allegro section, which closes the piece. The texture of the introductory material is repeated but entirely transformed, alternating chords between guitar and piano in E major, rather than E minor. The implied melodic material is also transformed from E Phrygian to an implied E major to fully integrate with the harmony. The melodic and harmonic material, both stabilizing and destabilizing each other throughout the piece, have found a place of rest through the E major tonality. Haug ties the opening improvisatory material found at the 64 Hans Haug, ―Fantasia pour Guitare et Piano.‖ Digital copy of manuscript. BCU-Lausanne, MUH 26. Bibliothèque cantonale et universitaire de Lausanne, 1957. Courtesy of Mrs. Verena Monnier, and Mrs. Martine Haug. 48 beginning with a short, descending flourish, bringing the work to a final cadence on E major to close the work. 4.1.2: Harmony The melodic and harmonic textures are very closely intertwined in this piece, but a few aspects of style should be noted in outlining Haug‘s usage of harmony as a textural development in a composition. One of the defining aspects of Haug‘s harmony is the transitional nature of his sonority through his continued usage of dominant and diminished (both fully and half) seventh chords. These harmonies are used frequently in many pieces that are written in a quasiimprovisatory style. Many of the seventh harmonies provided fleeting tonicizations of key, only to be shifted through chromatic, diatonic, or deceptive means. Chromatic movement follows with similar techniques utilized in nineteenth century practice. Diatonic movement is in Debussy‘s style with tonal planing, where parallel chord structures (triads primarily) are used to highlight melodic content. Haug elides dominant-tonic cadences by denying resolutions either in the classical sense of a deceptive cadence (V-vi) or by use of tertian relationships between pitch classes in the harmonic progressions. As mentioned, many of these techniques of Haug‘s Harmony of Gravitation are found in the Fantasia as well as other non-guitar chamber works of the late ‗50s, exemplifying a greater unified approach to musical texture. The skill of Haug‘s compositional skill not only stems from the variety of styles he used, but also the pragmatic skill of employing his musical ideas on the guitar. In the Fantasia, thick, chordal textures of six voices for the guitar are utilized in the Example 4.3: Fantasia pour Guitare et Piano (manuscript), measures 247-250.65 65 Hans Haug, ―Fantasia pour pour Guitare et Piano.‖ Digital copy of manuscript. BCU-Lausanne, MUH 26. Bibliothèque cantonale et universitaire de Lausanne, Archives Musicales, 1957, 12. Courtesy of Mrs. Verena Monnier, and Mrs. Martine Haug. 49 Example 4.4: Fantasia pour Guitare et Piano (manuscript), measures 261-264.66 introduction, the transitional harmonies in the cadenza material before the recapitulation, and the coda. Haug uses this texture to provide harmonic stability due to its refrain-like nature. Threevoice triadic textures are utilized by highlighting melodic movement either by block chord, or by arpeggiation. Here (Example 4.3), the style of these chordal textures on a musical level is fanfare-like, calling attention to the motivic shape of the melodic content in which Haug will develop throughout the composition. Arpeggiation serves as a major function of harmonic movement rhythmically, but the harmonies themselves can be identified as triadic harmonies strung together in a rhythmic sequence (Example 4.4). In the transitional material towards the recapitulation and in the coda, these harmonic progressions are a common thread in Haug‘s harmonic development. 4.1.3: Rhythm Rhythmic texture in the Fantasia is always varied and provides a blended mix of thick horizontal texture as well as arpeggiated texture. Most importantly, Haug highlights the overall form of the Fantasia by the usage of contrasting texture and metric dissonance as transition to a new section within the work, as well as the use of tempo change. Contrasting rhythmic texture is easily discernable in the Fantasia as the broad horizontal chords of the introduction are sharply contrasted in the following section by the opening melodic refrain supported by an arpeggiated eighth-note texture. The sonority of these sections remains full and rich regardless of the change, yet they also allow the guitar to be heard through the doubling of the melody by the piano as well as the broken texture utilized. 66 Hans Haug, ―Fantasia pour Guitare et Piano.‖ Digital copy of manuscript. BCU-Lausanne, MUH 26. Bibliothèque cantonale et universitaire de Lausanne, Archives Musicales, 1957, 12. Courtesy of Mrs. Verena Monnier, and Mrs. Martine Haug. 50 Metrical dissonance is utilized melodically with short three- note motives as a way to provide transition in the Fantasia as well as other works including the Concertino for Guitar and the Concertino for Flute. The term ―metrical dissonance‖ refers to the displacement or regrouping of metrical elements common in Romantic period music as well as some of the metrical techniques that were developed by Emile Jacques-Dalcroze in Geneva who had a profound effect on Frank Martin‘s rhythmic developments as a composer.67 Haug also utilizes ties over strong beats to provide lack of rhythmic grounding in the quasi-improvisational sections. This is Example 4.5: Fantasia pour Guitare et Piano (manuscript), measures 83-85.68 common throughout his compositional output and remains a distinct technique in both his earlier and later works for guitar. Finally, he also utilizes additive rhythmic techniques by use of a metric accelerando to heighten phrase structure and provides a rhapsodic quality to the melodic material. Again, these techniques show themselves being utilized in many works for flute, oboe, 67 For a complete overview of metrical dissonance, see Harald Krebs, Fantasy Pieces: Metrical Dissonance in the Music of Robert Schumann, (New York/London, Oxford University Press, 2003). See also Mervyn Cooke, ―Frank Martin‘s Early Development‖, The Musical Times, Vol. 131, No. 1771 (Sep., 1990), 473-478. Although flawed in his views of the Quatre Pièces Brèves stylistically (he viewed work as being a mishmash of serial/dodecaphonic style with Spanish leanings. Martin‘s language takes greater borrowings from French Baroque style than anything inherently Spanish), but the article however does provides a strong overview of Martin‘s early development which shares many features in Haug‘s developing musical style and reduction of textural forces in his later works. 68 Hans Haug, ―Fantasia pour Guitare et Piano.‖ Digital copy of manuscript. BCU-Lausanne, MUH 26. Bibliothèque cantonale et universitaire de Lausanne, Archives Musicales, 1957, 5. Courtesy of Mrs. Verena Monnier, and Mrs. Martine Haug. 51 as well as the guitar, showing a technique of compositional style, rather than an isolated idiomatic characteristic. 4.1.4: The Fantasia in performance The Fantasia, when first published by Bèrben Ancona in 1973, was provided as an urtext score. This format allowed the guitarist (and pianist) to come up with individualized solutions to fingerings, reflecting an alternative view of editorial practice as well as a more scholarly view. The editor (Angelo Gilardino) generously provided the score with the composer‘s urtext rather than an adapted performance edition which, as far as guitar editions go, frequently view the urtext of composer through a filter. Much debate has been raised about Segovia‘s (and many other) editorial practices that skew compositional aspects of the composer‘s urtext. Gilardino, thankfully, was one of the first (and still is) one of the few editors who, in the case of Haug, provided urtext scores ―un-edited‖ as publication, so the guitarist could realize their own solutions. In terms of performance, some pragmatic issues of the published score need to be addressed. First of all, providing a score makes the ensemble process more cumbersome as it essentially requires the guitarist to memorize the music in performance. The layout is awkward in page turns for pianist, especially in light of the recapitulation as well as the transition to the Coda. Furthermore, the placement of the D.S. al Coda in the manuscript and publication has created confusion for performers to understand what material to perform at the recapitulation, as evidenced by numerous interpretations in recorded versions of this work. Here are some suggestions that will aid in the performance of the score for both guitarist and pianist, allowing for easier rehearsal and performance of the work. First, the guitarist should make a separate part for the performance (the reason for this lack of parts in the published edition is unknown). The total score, if cut and pasted (or translated into a notation software), will provide five pages for the entire score (without recapitulation). Still, the guitarist would be required to memorize the recapitulated material of the introduction and opening melodic refrain before the coda. Most guitarists, the present author included, prefer to memorize these works as the concerted style of these works will aid in the overall control of the frequent shifting of registers in the guitar part from first up to tenth position, thus possibly explaining the lack of separate parts in the published version. 52 Secondly, regardless of the pervasively purist mentality of this aspect in performance, the guitarist should be slightly amplified. This aspect will make it much easier for the pianist to hear the guitarist in many of the rhythmic textures that mask the guitar acoustically throughout the Fantasia. The pianist should also perform with the lid raised to the lowest setting. Closing the lid would actually make it harder for the pianist to hear his or her own part and to respond to their touch, while staying with the guitarist during the performance. On the occasions where the present author has performed this work, the combination of both of these acoustic factors made things much easier for both performers in concert. For the pianist, exaggerating the contrast of the softer dynamic ranges will make the forte‘s seem louder than they are. The rhythmic texture of the introduction and coda can be performed with vigor, but restraint is suggested in the transition sections where the guitar is arpeggiating in its midrange. In terms of balance, the midrange is the hardest to project as the pitches fall into the same range of the accompanying texture. For the most part, however, Haug separates the textures of the accompaniment enough to allow the guitar to be heard acoustically. For the guitarist, listening to recordings can provide some insight to tempo, keeping in mind aspects of individual interpretations.69 One chief characteristic that should be noted is the variety of tempo markings in the score. The opening Allegro moderato should not be performed too slowly; otherwise, the music sounds pedantic. On the contrary, if the tempo is too fast, the rhythmic textures will sound rushed. Be sure to not slow down the melodic material in measure 10, as Haug intends the additive rhythm to remain in tempo. His markings of ritardando in the score are clearly defined and should be adhered to. The opening refrain should have a slight lilt and should be performed slightly slower than the opening. This is due to two factors: the tempo marking of Allegro moderato is provided during the repeated opening material, and Haug consistently uses tempo changes to denote changes in musical texture as well as changes in the formal sections of the work. The current published edition does not mention this, even though performers of this work have done so in recording. Obviously, recordings are not proof of this, nor are they needed in this case, as Haug is consistent with pieces that utilized this musical technique in many different instances in chamber music written concurrently to the Fantasia. The marking espressivo is given but with no tempo indication. By a slight slowing (5-10 MM) of 69 See the complete recording list in bibliography for commercial recordings of the Fantasia. 53 the tempo, it allows for the accelerando in measures 33-35 to be more pronounced. By measure 40, the tempo indication is confusing as it is indicated ―a tempo‖ not ―Tempo I‖ of the introductory material. This author‘s interpretation is that these tempo markings are both one and the same thing. This makes sense when returning to the espressivo material by measure 49. Haug seems to utilize tempo contrast rather than enlarged rubato to maintain an organized sense of phrasing, so these indications are important to the sense of musical timing in the work. Obviously, in the molto espressivo in measure 52, the tempo should slow down, slightly, to mark very clearly the motivic nature of the melodic material in the guitar. The stringendo serves as transition to the opening chordal refrain. Be sure not to accelerate the pulse faster than Tempo I, so it doesn‘t sound un-natural. The tempo indication which marks the Allegro vivo (quasi-scherzo) shows the indication of quarter equaling the half note pulse in cut time. This indication is clearly written in both the manuscript and the publication. This doesn‘t mean that there can‘t be exceptions to this aspect, but it doesn‘t follow his later practice of tempo changes that occur to mark formal sections. The tempo should be Allegro vivo, and felt in two, but the overall tempo of the quarter note in transition to the half-note pulse in cut time can be performed slightly faster. This slight increase in tempo creates a greater contrast from section to section, and the sound result is much lighter and scherzo-like. The four bars marked molto meno should be between the tempo of the Allegro vivo and the upcoming Andante section. Overall, the feeling of the music should lean toward the Andante tempo due to the open sonority of the textures, providing some respite from the angular Allegro vivo. The Andante section should remind the listener of the espressivo tempo of the melodic refrain heard after the opening chordal section. This reminds the listener that this material still remains an integral part to the formal structure of the Fantasia as the Andante section segues into the Ballade. The frequent tempo changes of the Ballade exemplify Haug‘s usage of tempo indication rather than excessive rubato to denote his musical indication sehr frei (―very free‖). Performance should adhere to the expressive quality of tempo but adhere to the metric quality of the musical line indicated. In terms of ensemble, it will be easier for the pianist to follow these indications rather than trying to follow a fleeting guitarist! The pianist, when rolling the chords in the meno vivo sections, should be sure to allow the top voice in the right hand to align with the melodic note of the guitarist so the ensemble is rhythmically tight. The pianist should 54 therefore imagine the piano as a troubadour‘s lute, where the chords are strummed to highlight the vocal line. Block chords should be utilized when indicated to provide textural contrast between the più vivo and meno vivo alternation throughout this section of the work. Ideally, when the Tempo I returns with the theme of the Ballade an octave higher, this refers to the opening section of the Ballade, not the Tempo I of the beginning of the work. Ironically the tempos are relatively close together as the chordal textures in the piano part should remind the listener of the opening textures performed by both instruments in the beginning. The cadenza which begins after the fermata in measure 216 is the only section where both parts are free to provide their own tempo, relative to the Ballade tempi and the upcoming Allegro vivo at measure 238, which is marked in cut time. The tempo should be dictated by the guitarist‘s ability to render contrast between the short motivic material and the large-scale flourishes which quite honestly are free to interpretation. Different recordings take varying tempi (based somewhat on the technical skill of the guitarist), but either way, the dynamic marking of pianissimo should definitely be adhered to. Haug uses a large crescendo and accelerando to transition out of the ―free‖ cadenza material and back into the Allegro vivo tempo at measure 238. The return of the Allegro vivo section serves as the final transition to the main choral refrain that starts the work. This part of the score deserves some attention, particularly in the E minor triad marked in Tempo I at measure 252. Haug indicates the D.S. al Coda sign at measure 60, after the recapitulation with an E-minor triad in twelfth position. The sound of this transition is rather awkward and there is an alternative approach to performing this transitional material at the recapitulation and the entrance to the coda. The first E minor chord that marks the recapitulation should be the chord in twelfth position, creating a smoother voice-leading from the B major triad in eleventh position in the penultimate measure. After the recapitulation of the opening material reaches the D.S. al Coda sign, the E minor chord that should be performed is not the E minor chord in twelfth position indicated in 252 but rather the first position E minor, as found in the opening of the work. This E minor voicing allow for smooth voice leading from the 55 preceding harmonies, allowing a smooth transition into both the recapitulation and the final coda.70 In the coda, tempo markings again occur, denoting an increase in tempo towards the final Allegro. Here, the increase in tempo will allow for greater musical impact of the opening chordal refrain‘s transformation from E minor to E major. The celebratory nature of this final statement should be played with panache, and slightly faster than the opening of the work to impact the overall intensity of the final cadence. In closing, the Fantasia utilizes many aspects of contrast, imposing unique shifts in melody, harmony, and rhythm. Haug develops many of these characteristics, but through an increasingly dissonant melodic fabric. The compositional sound of his later chamber works became highly contrapuntal, resulting in a transparent sound due to the linear textures utilized. Many of these developments can be seen in Haug‘s compositions after his retirement in 1960 from the Conservatory, in which he brings together the musical techniques developed in his flute and guitar compositions: providing the genesis of his Capriccio pour Flûte et Guitare. 4.2: The Capriccio pour Flûte et Guitare (1963) The Capriccio pour Flûte et Guitare was developed in conjunction with flautist Dr.Werner Tripp and guitarist Konrad Ragossnig. Ragossnig was based in Basel and Haug had since retired to Belmont, located in the countryside outside of Lausanne, and was free to travel more as his teaching and directing responsibilities were greatly reduced, allowing him to focus on composition. Ragossnig, as mentioned, was from Vienna, and came from a rich tradition of chamber music with guitar as evidenced by numerous works in duo, trio and quartet repertoire for mixed ensembles that included the guitar. According to my interviews with Mr. Ragossnig via email, he informed me that Haug was the first Swiss composer he had worked with. They first met in 1962 and struck up a strong friendship. Ragossnig recalled Haug‘s friendly demeanor and noted especially on the precision of his articulations.71 In viewing the manuscript, Ragossnig informed 70 It is important to note that the suggestion presented here is the author‘s, and not of the composer Hans Haug, nor the editor of the printed score, Angelo Gilardino. The printed score is entirely correct in the indication as proven by the manuscript copy provided to me by the Bibliothèque cantonale et universitaire de Lausanne. 71 Personal correspondence with Konrad Ragossnig, email: November 7, 2010. 56 me of two measures at the end of the second movement that did not appear in the manuscript score but in the manuscript of the flute part which ended up in the performance edition by Max Eschig. He informed me that Haug wrote the melodic material in the separate flute part which was meant to serve as an attacca directly into the ―Gigue‖ after the fermata on the B flat major chord. The manuscript also includes a quintuplet scale after the B flat which serves as an anacrusis to the ―Gigue‖. The manuscript shows a different pencil marking (other than the pen Example 4.6: Capriccio pour Flûte et Guitare: ―Sérénade à L‘Inconnue‖, (manuscript), measures 81-86.72 Example 4.7: Capriccio pour Flûte et Guitare: ―Sérénade à L‘Inconnue‖, (score), measures 84-87.73 used to notate the score which scratches out the anacrusis figure, leaving the movement to end on the B flat as seen in the performance edition. In the manuscript score, the movement ends on the first beat of measure 86 on the pitch class A. The guitar part that appears in the performance 72 Hans Haug, ―Capriccio pour Flûte et Guitare.‖ Photocopy of manuscript. BCU-Lausanne, MUH 25. Bibliothèque cantonale et universitaire Lausanne, Archives Musicales, 1963, 12. Courtesy of the Library of Dr. Werner Tripp and Konrad Ragossnig. Permissions provided by the Mrs. Verena Monnier, Director of the Bibliothèque cantonale et universitaire Lausanne, Archives Musicales, and Mrs. Martine Haug. 73 Hans Haug, Capriccio pour Flute et Guitare (Paris: Editions Max Eschig, 1967), 8. 57 edition after that measure, according to Ragossnig was actually written by the copyist at MaxEschig prior to final review before publication. Interestingly, Haug did utilize an attacca in the Concertino for Flute and Small Orchestra, so it would not be entirely un-stylistic of Haug to utilize such a musical technique. It does create interesting options for ending the movement: as written in the performance edition, cadencing on the first beat of measure 86 as indicated in the Example 4.8: Capriccio pour Flûte et Guitare: ―Sérénade à L‘Inconnue‖, measures 82-88.74 manuscript score, or allowing the flute to provide the melodic material in the performance score with the added anacrusis, serving as a quasi-cadenza for flute solo to segue into the ―Gigue‖. The last option seems the closest to Haug‘s original idea of the piece where the guitar is tacet after measure 86, to allow for the flute to segue into the third movement. Again, these options are merely options, as Ragossnig insisted that Haug was aware and approved of any changes they made to the score when recording and providing notes for the performance version to Max Eschig. The Capriccio was completed in 1963, recorded in 1964 on the RCA Label, and premiered in Salle Gaveau in Paris in 1965. The work was published by Max Eschig two years later in 1967. For Haug, the work of Ragossnig was the first time a guitarist was able to assist in premiering, recording and publishing his work of his outside of Switzerland. Haug also wrote a Concerto for Flute and Guitar in 1967, the year of his death, for Tripp and Ragossnig, but the work is copyright protected by the Fondation Suisse, the Lausanne Conservatory and publication 74 Hans Haug, ―Capriccio pour Flûte et Guitare.‖ Photocopy of manuscript of flute part. BCU Lausanne, MUH 25. Bibliothèque cantonale et universitaire de Lausanne, Archives Musicales, 1963, 5. Courtesy of the Library of Dr. Werner Tripp and Konrad Ragossnig. Permissions provided by the Mrs. Verena Monnier, Director of the Bibliothèque cantonale et universitaire Lausanne, Archives Musicales, and Mrs. Martine Haug. 58 rights are owned by the family heirs of Haug‘s catalogue. Nonetheless, the Capriccio stands as a work exemplifying what could be called a ―late style‖, where musical material relies heavily on chromatic and contrapuntal textures, reducing the overall texture to independent melodic lines between guitar and flute. Occasionally, the guitar provides triad-based chord sequences, reminiscent of earlier guitar pieces as found in the Preludio for solo guitar, or even the Fantasia; but, these tonal triads are mysterious in context, rather than fanfare-like in the solo works or the Fantasia. Haug also divides the Capriccio into three movements, where the central movement, titled ―Sérénade à L‘Inconnue‖ (Serenade of the Unknown), acts as a playful central theme, and is surrounded by the two angular and chromatic outer movements. 4.2.1: Melody The melodic content follows the evocative style found in the many of his chamber pieces—moody, diatonic but increasingly chromatic to provide a misterioso sonority. The prelude exemplifies this sonority through providing a rhythmically free-sounding melody over a dodecaphonic ostinato. The ostinato utilizes 11 of the 12 notes of the chromatic scale (all except C sharp are present, the F natural occurs twice). One would assume that the C sharp would be the gravitational pitch surrounding these other pitches, but in the Capriccio, this is not the case. Haug breaks up the order of the notes by providing alternating leaps between the pitches, allowing for the ostinato to have an arpeggiated texture rather than a linear one. The ostinato isn‘t treated in a serial manner at all; Haug just repeats the ostinato with the melody, which implies an E minor tonality. Furthermore, the broken texture also creates a diatonic melodic strain that is heard on the second, fourth, and sixth beat of each measure. This creates a diatonic line which begins on G, decending down to F, then leaping up to a C natural, B natural, A natural (Example 4.9). The melodic strain is repeated every two measures, which highlights a phrygian Example 4.9: Capriccio pour Flûte et Guitare: ―Prelude‖ (score), measures 1-2.75 75 Hans Haug, Capriccio pour Flûte et Guitare (Paris: Editions Max Eschig, 1967), 1. 59 modality against the E bass. The F sharp clashes creating a phrygian/minor dichotomy between both parts that doesn‘t resolve until the guitar provides the main melodic material. One structural aspect utilized in this movement is the technique of imitation between the voices. Haug alters the roles of melody and ostinato between the instruments, striking an even balance of sonority. The imitative entrances of the voices are not strict in a fugal sense (transposed), or a strict canonic sense either, as he manipulates the entrances of the voices rhythmically from one another. This allows a quasi-improvisatory element to this technique, which typically is developed in a strictly measured way. Measure nine is a clear example of this as the ostinato enters the flute part with an ornamented E natural up to G natural. Example 4.10: Capriccio pour Flûte et Guitare: ―Prelude‖ (score), measures 8-11.76 Haug also incorporates free counterpoint in one voice before the other voice imitates and elaborates the subject or thematic material. The counterpoint remains relatively free in terms of typical two-voice motion (parallel, oblique, and contrary), but Haug breaks the contrapuntal texture through his typical use of a melodic sequence as a way to transition into a new section and a new texture (Example 4.11). The prelude provides this contrast by a quasi-recitativo section where the harmonic textures thicken to triadic sonorities in the guitar. Haug also makes use of the whole-tone scale as well in the Andante section in measure 27 of the flute part. Continually changing musical expectation, a rapid sixteenth-note sequence occurs, employing strict parallel motion of the voices in major thirds starting at measure 30, which transitions to the opening material employed at the beginning of the quasi-recitativo. The flute breaks the monotony by use of a trill, allowing the guitarists to sequence in descending motion to arrive on a F major-seventh sonority with an E natural in the bass. These contrasting textures transition 76 Hans Haug, Capriccio pour Flûte et Guitare (Paris: Editions Max Eschig, 1967), 1. 60 utilizing the same techniques as found in the Fantasia (accelerando, sequence), but the textures are distilled, spatial, and esoteric in their sonority. Haug‘s sense of melodic phrasing in his later Example 4.11: Capriccio pour Flûte et Guitare: ―Prelude‖ (score), measures 26-31.77 works is rhapsodic; but, the melodic intent is of mystery and evocation. The ―Sérénade à L‘Inconnue‖ breaks down the evocative textures and the light, central movement creates some respite from the rather dissonant evocations of the ―Prelude‖. The flute is the melody-maker in this work which has an Iberian tinge to it. The ―Sérénade‖ outlines melodic material in an A phrygian mode, which is juxtaposed against shifting modal harmonies around D major in measures 4 through 7, creating musical textures similarly found in Iberian folk music. The melodic and harmonic juxtaposition evokes this imaginary sense of the inconnue or ―unknown‖ place of Iberia—a place and spirit foreign to typical Swiss temperament. Virtuosity plays a greater role for the flutist in this movement, creating wild, rhapsodic Cante Jondo intensity alongside the guitar‘s rhythmic accompaniment patterns that shift around in modal harmonies throughout the work. The parallel thirds return in a dolce context with the guitar at the Andante in an A minorseventh harmony. The melodic pitches outline the A dorian mode, suitable for this harmonic realm, and typical of Haug‘s knowledge of jazz harmonization for his film scores. When the flute 77 Hans Haug, Capriccio pour Flûte et Guitare (Paris: Editions Max Eschig, 1967), 2. 61 enters, the mode outlined is A natural minor with the lowering of the F sharp to F natural in measure 34. Again, Haug consistently varies melodic material through contrasting tempo, texture, but the melodic content of the Capriccio is super-imposed over the harmonies in more exotic ways. As discussed in the textures of the Fantasia, melody and harmony juxtaposed each other, causing constant battles and changes towards stability. In the Capriccio, stability is provided through the juxtaposition of seemingly unlike elements, allowing greater freedom of dissonance, without being dissonant for its own sake. Again, returning to Haug‘s Für Feinde klassischer Musik, he was extremely wary of composers utilizing dissonance for the sake of dissonance and felt that inspiration of melodic material defined skill over academic reason. Maybe Haug‘s internal ―serenade of the unknown‖ is melodic inspiration—playful, ethereal, and free from following strict rules of traditional harmonies. The freer formulation of melodic material comes from this place, and the counterpoint that surrounds it provides the necessary space for it to crystallize in the sonority of the movement, and in Haug‘s mind. The ―Gigue‖ takes all of the techniques introduced in the ―Prelude‖ and creates a perpetuum mobile for both voices. The reduction of the melodic texture to parallel octaves at the beginning is a new texture for the guitar found only in this work. The theme consistently returns throughout, as do the parallel textures. Haug employs strict contrapuntal movement, especially his use of contrary motion to outline melodic phrase structures. The opening thematic material of the ―Gigue‖ transitions towards a section in triple meter, recapitulating the dance-like material of the second movement with the guitar outlining in parallel octaves an A major sonority with a minor second (B flat). Again, the associations with Cante Jondo are not so far-fetched when considering that the modal scales utilized in mixed mode harmonies (such as a phrygian/major) are standard fare as evidenced in traditional flamenco-music performance and theory.78 Alternating modal movement continues as the thematic material returns and dissipates before the final Presto in measure 97. Here, the voices move in contrary motion together and the guitar reintroduces the opening ostinato of the first movement in diminution (2:1) to round out the entire piece and tie some of the thematic material from the first movement into the last few measures of 78 See Lola Fernandez, Flamenco Music Theory: Rhythm, Harmony, Melody, Form, trans. by Nancy R. Rodemann (Madrid: Acordes Concert, 2004), 58-61. Fernandez outlines traditional modes as established by the evolution of the ecclesiastical modes, through the typical usage of modes in flamenco. She also points to the larger usage of this mode in much other ―world music‖ including the Turkish ―Hiyas‖ mode, an equivalent mode transposed from the typical E phrygian mode to A phrygian with the B flat, the same mode Haug utilizes in the second movement and the Moderato section of the ―Gigue‖. 62 the work. Overall, the melodic contours between the two instruments are easily discernable and equal in texture. As opposed to many of Haug‘s earlier works where melodic texture and harmonic texture were easily differentiated, the more contrapuntal nature of this work exemplifies a contrast in textural writing for both the flute and the guitar. 4.2.2: Harmony As mentioned, much of Haug‘s harmony is implied due to the highly organized structures that counterpoint imposes on a musical sonority. Haug continues to write harmonically for the guitar, especially in the ―Prelude‖ and ―Sérénade‖, with occasional chordal textures in the ―Gigue‖. Aspects of harmony found in the Capriccio are shared compositionally in other guitar works, as well as other non-guitar works as well. Most obvious is the triadic planing utilized in the ―Prelude‖ in the Lento section at measure 23. This technique is found throughout the solo works, showing continuity in compositional style in this regard. Haug never shows an abandonment of idiomatic practicality, even though the textures he incorporates the guitar in with the Capriccio are quite different from many of the earlier compositions. In fact, in many instances, the Capriccio serves as a reduction of texture overall, due to the melodic treatment of the guitar voice against the flute. The ―Sérénade‖ provides the most harmonic stability throughout the work, an aspect shared with the ―Ballade‖ section of the Fantasia. The Capriccio‘s harmonic grounding is colored by the modal juxtaposition of the phrygian/major mode as well as a persistent minorseventh sonority that recurs in the Andante sections of the movement. The A major progression is always pitted against an A phrygian mode in the flute voice, whereas the A minor-seventh tonality is underneath an A dorian modality. These aspects could cause some interesting cross relations, especially with the F natural, F sharp in both instances. Haug avoids cross relations within the same measure to avoid these potential crunches in sonority. There are a few instances where the cross relations do occur, especially in measure 19 where the flute holds a G natural and the guitar has an E seven/flat 9 sonority with a G sharp, and F natural in the top voice of the chord. The voicing of the guitar makes the cross-relations less harsh due to the G sharp being contained as an inner voice. The harmonic sonority in itself has a phrygian-like sonority as it is, so the G natural of the flute just adds that extra bit of spice to the mix. 63 Haug also superimposes the A phrygian mode over a D phrygian/major sonority as well. The subdominant relation to the principal tonality of A phrygian/major creates greater harmonic depth and excitement. Another aspect of the tonal progression of the work is the lack of clear dominant/tonic grounding. Haug achieves this in two ways: he substitutes a supertonic G minor seventh sonority for the dominant E harmony, and by providing a continual dominant and minor seventh sonorities, he keeps the tonicizations shifting to different realms. As mentioned, the last few measures at the end of the movement were not originally in the manuscript score. If following the published score, Haug surprises the listener with a final cadence in the B flat major sonority, which equates to a flat II chord in A major. The surprising ending adds another element of mysteriousness to it, as if the inconnue or ―unknown‖ is harnessed within the flat II sonority and the Phrygian modality. Again, Haug believed in the inspiration of melody; the evocative, Iberian/southern Mediterranean sounds of the phrygian mode used by Haug may have intended to infuse an Andalucían spirit as the central ―gravitational‖ character of the work, which is surrounded by two angular, chromatic outer movements. The third movement has some recurring material from the second movement in A major. The vast majority of the movement from the beginning is implied harmony through the linear texture employed in both voices. For instance, in measure six, the arpeggiation highlights an A major triad, followed by an E-flat triad in first inversion. Most of the other tonicizations occur through the counterpoint by way of a sequence or a chromatic line which resolves on an octave or unison. This is especially effective when both voices move in contrary motion and arrive together again. A striking example of this is measure 14 where the voices cross each other only to arrive back on an A natural (written as a unison but sounding an octave apart). Cross relations occur in the last movement but the material has a comical edge to it, especially in measure 22 where the melodic sequence is repeated not an octave apart but a diminished fifth apart (Example 4.12). The disharmony created between the two voices continues to eventually resolve itself on an F sharp. Here, the dissonance of the texture provides transition formally to new material, as evidenced by the tempo change poco meno indicated at measure 27. Transition to the main theme of the movement is provided by utilizing textures found in previous movements. In measure 109, the parallel third sonority returns as in the first movement as a point 64 Example 4.12: Capriccio pour Flûte et Guitare: ―Gigue‖ (score), measures 19-23.79 of transition to the main theme. Haug ties in musical elements from the first movement here and brings back the creeping chromaticism that pervaded the earlier atmosphere of the piece. Another example of transition is the way the più presto at measure 166 provides alternating block chords in the guitar which evoke the contour of the first movement ostinato. Again, the shape of the block chord sonorities reminds the listener of the ostinato, now provided in a thicker texture to emphasize the developmental nature of the musical material. The recapitulation of the theme occurs in measure 174. The ostinato material again returns at the very end of the work, this time in its original form but in diminution (2:1) from the first movement. 4.2.3: Rhythm The development of rhythmic textures from the earlier pieces for guitar is exemplified in the Capriccio, as well as other pieces that were written concurrently to it. Haug utilizes techniques found in earlier pieces such as additive rhythm, syncopation through the use of ties, and contrasting time signatures. What separates the Capriccio rhythmically from his earlier works is the continual use of hemiola, rhythmic groupings, and strict use of articulation to provide contrast within the motivic and melodic textures between guitar and flute. The first movement, set in a slow compound duple meter of 6/4, is offset by the duple sounding ostinato, making the work sound a slow simple triple meter in 3/4. Rhythmic groupings are similar to Haug‘s use of motivic sequencing in that he writes chains of rhythmic groups to fill a measure. One such grouping is found in measure 13 in the guitar part, which again emphasizes the hemiola of three groups of two, instead of the compound two groups of three. The contrasts between sections are also highlighted texturally by rhythmic changes and tempo change as well. 79 Hans Haug, Capriccio pour Flûte et Guitare (Paris: Editions Max Eschig, 1967), 9. 65 The first movement is equally balanced between the strict ostinato and imitative textures of the Moderato sections and the quasi-recitativo sections, which utilize many of the rhythmic techniques used in earlier works. The first recitative, provided by the guitar, is reminiscent of the Preludio (solo guitar) with the use of rhapsodic arpeggiation and metric diminuendos, highlighting a quasi-improvised sound. Hemiola continues in the latter two movements as well. The ―Sérénade‖ accompaniment figure in the guitar highlights an alternation between compound duple of 6/8 and the simple triple feel of 3/4. Furthermore, Haug creates a unique contrast of both these mensurations by providing the bass part in 3/4 with the accompanying chords in 6/8. The rhythmic vitality underscores what has already been said about the juxtaposition between the harmonic and melodic modality of the movement. The ―Gigue‖ utilizes this hemiola pattern through broken textures, written rhythmic articulation and variance in legato and staccato articulation of the eighth-note groupings. Haug is very exact in his markings, which are in accordance with the articulations of the manuscript as well. The use of written articulations is found especially in the Example 4.13: Capriccio pour Flûte et Guitare: ―Gigue‖ (score), measures 14-18.80 Élégie Pastorale for Oboe and Piano in 1959, signifying a consistent usage of these musical textures in his later chamber music. Another prominent rhythmic grouping that frequently occurs on the micro-level is the use of dotted rhythms. Haug primarily uses these dotted cells over a single suspended pitch, chord, or trill in the other voice. The first movement is replete with these cells in both contrasting sections, creating a rhythmic regularity in pattern and motive not found in earlier rhythmic textures utilized in the guitar repertoire. Haug balances these short rhythmic cells with the same usage of additive rhythm as found in earlier works. 80 Hans Haug, Capriccio pour Flûte et Guitare (Paris: Editions Max Eschig, 1967), 9. 66 Articulation is very important to the verve of the work, especially in the scherzo-esque ―Gigue‖, which has plenty of markings in both parts. The opening ostinato shows a legato marking showing the rhythmic grouping of the phrase but there should also be laissez vibrer markings notated in the guitar part as well (as indicated in the manuscript).81 This articulation marking allows the ostinato to have a greater harmonic effect through the articulation of the voices. The flute counters the ostinato with accent markings that offset the hemiola pattern. Long arching phrase markings indicate how the melodic material should be interpreted, indicating places to breathe for the flute player. The marcato markings in the guitar denote a change in articulation from the legato articulations. The final movement contains the greatest variety of articulation changes between legato and staccato. Many of the articulations create both hemiola and syncopation. Many of the articulation markings provided in this movement are in accord with the manuscript, but a few of the slur markings by Ragossnig are editorial. This doesn‘t mean that one should avoid or change his fingerings in the performance edition as he did work with Haug in rehearsal before the recording and premiere of the work, which was mentioned earlier. Dotted slur markings occur in the publication to adhere to the markings in the manuscript where the slurs are idiomatically not possible on the guitar. These articulations were retained, in an effort to provide accurate markings of rhythmic grouping and articulation for the performing guitarist. 4.2.4: The Capriccio in Performance There are some chief aspects of editorial practice that differ between the published score of the Fantasia and the published score of the Capriccio. As mentioned, Gilardino provided an urtext score copy of the Fantasia, which allowed the musicians to render their own fingering solutions. The Capriccio on the other hand is a performance edition through the editorial additions of Konrad Ragossnig, resulting in a detailed fingering of the guitar part throughout the entire work. The advantages with this aspect of a performance score is the realization of a piece with the assistance of performing artists who had the benefit of premiering the piece and working 81 Hans Haug, ―Capriccio pour Flûte et Guitare.‖ Photocopy of manuscript of flute part. BCU-Lausanne, MUH 25. Bibliothèque cantonale et universitaire de Lausanne, Archives Musicales, 1963, 15. Courtesy of the Library of Dr. Werner Tripp and Konrad Ragossnig. Permissions provided by the Mrs. Verena Monnier, Director of the Bibliothèque cantonale et universitaire de Lausanne, Archives Musicales, and Mrs. Martine Haug. 67 with the composer who wrote the work. In the context of the Capriccio, Haug by this point knew the limitations of the instrument and by this point, had been writing for the guitar pretty steadily up to the creation of this work. The author can also attest to the transfer from manuscript to the published edition as it required no subtraction of texture or re-voicing of harmonies which is so commonly seen, even in works by composers who have a larger collection of guitar pieces.82 This aspect makes it much easier for a guitarist to realize fingerings when no alterations to these chamber pieces need to be employed. However, this in no way makes the piece easy! Even with the overall reduction of texture in the guitar, the piece does require some significant work to match the tempi indications, especially in the ―Gigue‖ of the Capriccio. For the ensemble as a whole, the balance between flute and guitar is much easier to manage acoustically than the issues that arise with the Fantasia. The main aspect that is important is to find places in the long musical phrases for the flute player (and the guitarist) to breathe. Ideally, the flute line should remain entirely legato when notated, but in some instances, a breath may be necessary for the flautist depending on the range of pitches and the length of phrase. One place that may require this is in the first movement from measure 17 through 19. Here, the flautist should take a breath between beat five and six (before the C sharp), to coincide with the accelerando required in measure 18. Unless the flautist has the lungs of a linebacker, a breath at this juncture would sound natural in the arching phrase structure. The guitarist should be sure to mark those breath-marks so the ensemble‘s articulation remains tight. The marcato articulations in the guitar part at the quasi-recitativo should be performed either with a heavy free-stroke or rest-stroke depending on the amount of dynamic contrast the guitarist needs to articulate the musical line. If using rest-stroke, be sure to make the transition sound smooth from free-stroke to rest-stroke or the musical line will sound disjointed and sloppy. Ragossnig‘s fingerings throughout the first movement are quite secure, and provide the ample texture needed to contrast the flute. His closed fingerings work well in the texture. There 82 One only has to look at the published urtext scores of Mario Castelnuovo-Tedesco‘s Platero Y Yo, or the Escarramán suite of dances: later works in his compositional output for guitar which still require many alterations of chord voicing and textures that are considered ―unplayable‖. Gilardino prefaces some of his later editions either by providing a series of ossias (Escarramán) or providing a written preface to the edition (warning the performer to make changes as necessary). Ossias provided in Mario Castelnuovo-Tedesco, Escarramán: a suite of dances from the XVI century (after Cervantes), Op. 177, edited by Angelo Gilardino (Ancona: Edizioni Musicali Bèrben, 1979). See Forward in Mario Castelnuovo-Tedesco, Platero Y Yo, edited by Angelo Gilardino, Vol. 1-4 (Ancona: Edizioni Musicali Bèrben, 1975), 3. 68 are some mistakes (on the part of the copyist) that should be noted. The rhythm on beat three of rehearsal marking B should be an eighth-note D followed by the C natural and E natural as sixteenth notes. This correlates with the manuscript. Secondly, the chord two measures after rehearsal marking F natural (the first beat of the 3/2 measure) should also be rolled, like it is indicated in the manuscript. The flautist should note that the staccato marking on E natural is incorrect and should be legato. Every other articulation conforms to the manuscript. The two chords in the penultimate measure, marked Lento, are correct as unbroken, and the guitarist should perform them as such. The second movement should follow the musical markings as well as the hemiola articulations inherent in the texture. The bass voices of the guitar part should be emphasized as there is very little foundation for the higher tessitura of the flute part. Again, long melodic phrases occur in the flute part so careful consideration should be made to mark breathing points. Another aspect that was changed in the performing edition was the accompaniment figure for the guitar part in measure five. The chords on the second and fifth beat are broken into two sixteenth note figures with the G natural and E flat grouped together, followed by the B flat on the second sixteenth note. This occurs in every repetition of the accompaniment figure in the second movement. For the guitarist, the last movement fingering is subjective. Ragossnig‘s approach uses many techniques such as guide fingers and chromatic shifting with one finger to avoid extensions of the left hand. It should be noted that his finger choice does really well to adhere to the phrase structure and the articulations present in the third movement. Some freedom of choice is still apparent, though, and guitarists should feel free to come up with alternative fingerings as long as the articulation markings are adhered to. The left-hand fingerings of the third movement do require some shifts which in some cases can be avoided if one desires to change them. For example, the fingering at rehearsal marking A (marked solo) for the guitar has some chordal fingering as well as shifting half-step movements which avoids stretching the fingerboard patterns beyond four frets. A suggested fingering alternative could be the use of campanella fingerings with an open string B natural in measure 11 to lessen the amount of shifting. The sonority would benefit from this and sound fuller. The downside to this fingering is the danger of the B natural string resonating against the consecutive pitches, so the guitarist must dampen the B natural with the index finger. 69 The only other change in the guitar part that occurred between the manuscript and the performance edition was to the last cadence of the work. The performance edition has two chords performed in a rasgueado style where there are two sixteenth-notes on beat six followed by a downbeat A minor chord to finish the work. The manuscript score does not indicate this texture and instead shows at G sharp descending to a B flat in the sixteenth note rhythm, followed by a single pitch A natural at the end of work—no minor chord! Example 4.14: Capriccio pour Flûte et Guitare: ―Gigue‖ (score), measures 198-202.83 Example 4.15: Capriccio pour Flûte et Guitare: ―Gigue‖ (manuscript), measures 197-202.84 Again, the author is cautious about suggesting these changes as Haug would have approved the published version. Judging from the textures provided, both options work well. The chordal ending has more panache to it, makes it sound more exciting, whereas the manuscript 83 Hans Haug, Capriccio pour Flute et Guitare (Paris: Editions Max Eschig, 1967), 16. Hans Haug, ―Capriccio pour Flûte et Guitare.‖ Photocopy of manuscript of flute part. BCU Lausanne, MUH 25. Bibliothèque cantonale et universitaire de Lausanne, Archives Musicales, 1963, 15. Courtesy of the Library of Dr. Werner Tripp and Konrad Ragossnig. Permissions provided by the Mrs. Verena Monnier, Director of the Bibliothèque cantonale et universitaire de Lausanne, Archives Musicales, and Mrs. Martine Haug. 84 70 ending seems more ―Haug-esque.‖ Admittedly, composers are allowed to change their minds, especially if performers convince them of changes that serve the sonority and feeling of the composition as a whole. The nature of the collaboration makes these aspects of performance mere options and the manuscript serves as a sketch of the final draft. In closing, the Capriccio utilizes melodic texture and counterpoint to highlight formal and harmonic contrast throughout the work. Instead of writing a through-composed work with contrasting sections like the Fantasia, Haug breaks up the work into three movements where the central movement serves as the tonally grounded movement, surrounded by two angular, chromatic outer movements. The evocative nature of this work is unique within the body of twentieth-century flute and guitar duo repertoire, and one of the most extended multi-movement works that incorporate unified thematic material and musical language that is both musical satisfying for the musicians as well as immediately accessible for an audience member. By viewing Haug‘s chamber music for guitar, we can clearly see an evolution of musical textures that correlate with his concurrent chamber pieces for other instruments. Developing his works using his theory of Harmonic Gravitation, his music generated a tonality that was highly personalized and essentially his own. His compositional style, as evidenced by his other chamber music showed a clear aptitude for writing for the instrument from an early stage in his career, which was aided by the collaboration with many guitarists, not just Segovia. In viewing Haug‘s catalogue for guitar, we can securely place his contributions to the twentieth-century guitar canon as one of the most prolific by a Swiss composer. 71 CHAPTER FIVE CODA: A RETROSPECTIVE VIEW OF HAUG Fig. 5.1: Hans Haug, 1962. Courtesy of Jean-Louis Matthey. During Haug‘s career, his music was produced and performed by the ensembles he directed and the performers he met and collaborated with. Judging from the catalogues of his work, especially the Matthey catalogue of the Lausanne Conservatory collections85, much music 85 The complete listing of all manuscript collections can be viewed online. See BCU Catalogues, ―Lists des fonds d‘Archives musicale,” Bi liotheque cantonale et universitaire de Lausanne, http://www.unil.ch/bcu/page19735.html (accessed April 3, 2011). 72 still remains to be performed, analyzed and incorporated into the concert programs of orchestras, chamber groups, and solo recitalists. Of all these performing bodies (symphonic organizations, opera companies, etc.), the guitar community has contributed the most posthumous development, reception history, and scholarship devoted to Haug‘s music. Through his catalogue, there is still much work that could be done by many diverse instrumentalists, chamber music ensembles, symphonic, and opera organizations. His solo piano works of the 1920s incorporate Baroque forms found in works by Cesar Franck or Vincent D‘Indy. The three string quartets, as well as the Variations et double fugue would provide an ample view of post-World War I string repertoire, not to mention a wonderful recording project. Cellists would find much repertoire: a Sonata for Cello and Piano, various chamber pieces with strings and a Concerto that would match the size and depth of the Cello Concerto of fellow Swiss composer Othmar Schoeck. Wind players will find a quintet, and soloists (especially for flute and oboe) will discover substantial works including the Élégie Pastorale for Oboe, or the various works for flute including the Prelude et Rondo, and the Concertino. Symphonic organizations would have transcriptions of Bach and Albeniz to choose from, as well as a variety of single movement works, festival pieces for pops programs, and the extensive Symphonie Romantique in D. His lieder as well as his orchestral lieder for tenor voice would be a wonderful performance project that would contribute to the canon of early twentiethcentury vocal works by Swiss composers. Operatic companies and university opera programs would have a wide variety of works to perform, especially his comic operas which received successful performances and provided most of Haug‘s reception history in the press and in music journals during his lifetime. All this is to say that the purpose of the catalogues is to provide musical organizations the opportunity to see pieces that could appear on future programs. The forty-year anniversary of the publication of Matthey‘s catalogue as arrived; yet only a few smatterings of his compositional work have been published, recorded or even encountered by performing musicians. There are contributing factors to this quandary; the main aspect is of course, copyright as well as performance permissions from Fondation Suisse, the Bibliothèque cantonale et universitaire de Lausanne, and the family of Hans Haug (currently Ms. Martine Haug, daughter 73 of Hans Haug), heir of the Haug catalogue. The catalogue of Matthey only exists in twelve libraries worldwide, and only five in the United States.86 Much of Haug‘s work is housed at the Lausanne Conservatory but many of the publishing rights are owned by various publishing houses including Henn-Chapuis in Geneva. Furthermore, as it presently stands, any manuscript that is viewed by scholars for academic production (aside from performing rights) must receive permissions from all the above-mentioned parties. All correspondence must go through the Bibliothèque cantonale et universitaire de Lausanne and the Fondation Suisse for permissions. As generous, friendly, willing, and as helpful as the organizations, the personnel and the family of Hans Haug have been in the production of this document, the efforts to obtain rights to view scores required significant time—effort many performing organizations and performers may not have the time and patience for. For fellow guitarists, we are lucky to have the work of Hans Haug available, largely due to the relationship developed between François Haug-Budry and Angelo Gilardino in providing the urtext scores to this music. It is no surprise that the availability of a musical score has a direct correlation to the potential of it being performed and recorded. Hopefully, Haug‘s music will become available through the work of many concert organizations, future published editions, and continual editorial work on his musical output. 86 Currently, the only five libraries that have the catalogue are the Library of Congress and the University libraries of Georgia, Indiana, Baylor, and Chicago. This information is provided by World Cat which houses information of library catalogue holdings internationally. Information freely available at World Cat Online: http://www.worldcat.org/search?qt=worldcat_org_all&q=hans+haug+matthey+catalogue, (accessed February 3, 2011). 74 APPENDIX A LIST OF PUBLISHED WORKS Title Concertino for Guitar Concertino for Guitar Preludio Alba Prelude, Tiento, Toccata Fantasia Capriccio Complete Works (Etude: Rondo Fantastico, Passacaglia, Preludio, Alba, Prelude, Tiento, Toccata) Title Une Femme disparaît Suite Enfantine Hoffmans Erzaehlungen Hoelle auf Erden Title Aria Improvisation Vision de Hellade Prélude et Rondo Élégie Pastorale Aubade Title Concertino pour flûte Fantasie concertante Concerto No. 2 for Piano GUITAR WORKS Instrumentation Guitar and Orchestra Guitar and Piano Reduction Guitar Solo Guitar Solo Guitar Solo Guitar and Piano Flute and Guitar Solo Guitar Publisher/Date Ancona: Ed. Bèrben, 1976 Ancona: Ed. Bèrben, 1986. Ancona: Ed. Bèrben, 1970. Ancona: Ed. Bèrben, 1970. Ancona: Ed. Bèrben, 1970 Ancona: Ed. Bèrben, 1973. Paris: Max Eschig, 1967. Ancona: Ed. Bèrben, 2003. ORCHESTRAL WORKS Instrument Publisher/Date Orchestra Geneva: Societé d‘éditions musicale, 1945. Orchestra Basel: Reiss, no date. Orchestra Basel: Reiss, 1953. Orchestra Basel: Reiss, 1964. CHAMBER WORKS Instrument(s) Publisher/Date Cello or Violin and Zürich: Hug, 1927. Piano or Organ Trombone/Piano Geneva: Multi-offset, 1944. Flute/Violin/Cello/Harp Geneva: Publications Cine-Radio, 1950. Flute/Piano Paris: A. Leduc, 1958. Oboe/Piano Geneva: Henn-Chapuis, 1959. Flute/Piano Lausanne: M. et P. Foetisch, 1960. CONCERTO Instrument Publisher/Date Flute Basel: Symphonia-Verlag A.G., 1953. Viola Milan: Edizioni Curci, 1965. Piano Milan: Edizioni Curci, 1964. 75 Concerto for Trumpet Concerto for Trumpet Trumpet/Orch Trumpet/Piano Title L‘Indifferent (after Watteau) BALLET Instrument Publisher/Date Cast of Seven Basel: Leemann, 1950. Dancers/Orchestra Title Cantate gastronomique Flandrische Totentanz CHORAL WORKS Instrument Publisher/Date Soloist/Choir/Orch Munich: Edition Moderne, 1959. Men‘s Choir/2 fl/2 Basel: Ernst Vogel, 1937. ob/2 trpt/perc. Title Madrisa Tartuffe Der Unsterbliche Kranke Orphée Liederlig Kleeblatt Gilberte de Courgenay Annely us der Linde Barbara Leute von der Strasse Vuarmarens, CH: Editions BIM, 1987. Vuarmarens, CH: Editions BIM, 1987. OPERA/OPERETTA Type Folk Opera in Three Acts Opera after Molière in Two Acts Comic Opera after Molière Opera/Ballet after Ovid Operetta in Three Acts Military Opera Folk Opera Opera in Three Acts Operetta 76 Publisher/Date Basel: Ernst Vogel, 1934 Basel: Reiss, 1937 Basel: Reiss, 1946. Basel: F.A. Leemann, 1955 Basel: Reiss, 1938 Basel: Reiss, 1940 Basel: Reiss, 1940 Basel: Reiss, 1942 Basel: Reiss, 1944 APPENDIX B PERMISSIONS AND CORRESPONDENCE Date: Mon, Dec 6, 2010 at 8:15 AM Subject: Re: Archives musicales Lausanne - Hans Haug chamber music with guitar From: Adam Foster To: Verena Monnier Dear Ms. Monnier, Thank you for your reply, and congratulations on your appointment to the Music Archive. I am a doctoral student who is completing a treatise on Hans Haug, particularly his chamber music that features the guitar and I am interested in viewing how he utilized it over a 37 year period. This project serves to provide a stylistic overview for musicians and scholars to be further exposed to his work as there is very little reception histories and studies on his work. I am interested in obtaining copies for analysis of the Fantasia for Guitar and Piano (MUH 26), the Concerto for Flute and Guitar (MUH 66), Berceuse pour les Canons (MUH 122), as well as sections which feature the guitar from: Don Juan (MUH 80), Les Fous (MUH 86), Variations of a Theme of Offenbach (MUH 70), Tag Ohne Ende (MUH 134), and Justice du Roi (MUH 121). Please let me know if this is feasible, as these scores will be of immense help. Thank you again for your time and assistance in this matter. Best regards, Adam Foster -Adam M. Foster, Classical Guitarist Doctoral Candidate-ABD The Florida State University College of Music www.adamfosterguitar.com 77 Date: Fri, Feb 25, 2011 at 7:28 AM Subject: Fwd: Recherche de M. Adam Foster (permissions for use of score examples of Hans Haug manuscripts) From: Adam Foster To: Fondation Suisse Greetings, I am writing today to request for permission to use score excerpts of Hans Haug's manuscript collection featuring the guitar from the Bibliotheque Cantonale Universitaire in Lausanne. The purpose is to contribute to the knowledge of his chamber music, his compositional style in a scholarly treatise that has collaborated with musicians and former students that worked with Hans Haug including Konrad Ragossnig, and Michel Rochat. I am a doctoral candidate who is writing about the compositional style of Haug's chamber music output and his usage of the guitar in concert works (solo, chamber), concerti (Concertino, Flute/Guitar Concerto), and miscellaneous orchestral works. I have received permission from Verena Monnier from the Bibliotheque, and Ms. Martine Haug, daughter of Hans Haug who is based in Canada. If granted, I would like permission in writing (email response ok). Thank you! Adam Foster Doctoral Candidate ABD Florida State University www.adamfosterguitar.com 78 Date : Mon, 21 Feb 2011 14:40:11 -0500 De : Martine Haug Pour : Verena Monnier CC: Adam Foster Chère Madame, premièrement je suis désolée pour le retard à vous répondre, mais je n'étais pas proche d'un e-mail depuis 2 semaines. Je souhaite, bien sûr, accepter la demande de M. Foster concernant les oeuvres de mon père. Ma seule question est à l'effet de leur utilisation et s'il y un lien à faire avec la Suisa concernant les droits d'auteur. Je comprends qu'il n'est pas question de droits et n'ai aucun problème avec cela. Auriez-vous la gentillesse de m' informer? Bien à vous, Martine Haug 79 ---------- Forwarded message ---------Date: 2011/2/24 Subject: Fwd: Recherche de M. Adam Foster To: Herr Brutsch (Fondation Suisse) CC: Adam Foster Sehr geehrter Herr Brütsch, Ein amerikanischer Wissenschaftler möchte Auszüge aus Notenmanuskripten des Schweizer Komponisten Hans Haug (noch geschützt), dessen Nachlass wir im Musikarchiv der BCU Lausanne verwalten, veröffentlichen. Ich habe von der Enkeltochter von Hans Haug eine Genehmigung erhalten, die gewünschten Noten zur Verfügung zu stellen, aber Sie stellt sich die Frage, ob für die Veröffentlichung der Noten (in Ausschnitten) eine Vergütung an die SUISA bezahlt werden muss. (s. untenstehendes mail). Meines Wissens fällt eine Veröffenlichung von Werkauszügen für den wissenschaftlichen Gebrauch unter die Schranke Zitate, aber ich möchte Frau Haug keine falsche Auskunft erteilen. Könnten Sie mir mitteilen, wie sich das Musikarchiv bzw. der betroffene Forscher korrekt zu verhalten hat? (wäre dann gleich ein Präzedenzfall für unser Archiv). Mit herzlichem Dank und freundlichen Grüssen Verena Monnier 80 Date : Tue, 1 Mar 2011 10:40:30 +0100 De : Bernhard Wittweiler Pour : Verena Monnier Copie à : Hansruedi Bruetsch Sehr geehrte Frau Monnier Herr Brütsch hat Ihre Anfrage an mich zur Beantwortung weitergeleitet. Wenn ein Wissenschafter Auszüge aus Notenmanuskripten in einer wissenschaftlichen Arbeit veröffentlicht, kann das nach Schweizer Rechtsauffassung durchaus unter das Zitatrecht fallen. Die Auszüge dürfen nur kurz sein und müssen der Erläuterung der Aussage im wissenschaftlichen Text dienen. Ausserdem muss die Quelle angegeben werden. Zitiert werden darf ohne eine Entschädigung bezahlen zu müssen. Dies ist die Schweizer Rechtslage. Wenn Herr Foster in den USA veröffentlicht, ist allerdings nicht das Schweizer, sondern das US-amerikanische Urheberrecht anwendbar. Dort ist meines Wissens in bezug auf Zitate die sog. fair use-Doktrin massgebend, die ich aber hinsichtlich solcher wissenschaftlicher Zitate nicht kenne. Herr Foster muss sich wohl selbst erkundigen, ob sein Vorhaben ohne Erlaubnis der Rechtsinhaber an den Werken von Haug legal ist oder ob er eben einer ausdrücklichen (am besten schriftlichen) Erlaubnis bedarf. Noch ein Hinweis zu einer Bemerkung von Frau Martine Haug: Selbst wenn in einem konkreten Fall für den Abdruck von Noten(-auszügen) eine Entschädigung geschuldet wäre, wäre diese nicht der SUISA, sondern den Rechtsinhabern (Verlag oder Erben von Haug) zu bezahlen. Die SUISA hat mit den sog. graphischen Rechten (Notenabdruck) nichts zu tun. Ich hoffe, diese Auskünfte helfen Ihnen weiter. Mit freundlichen Grüssen SUISA Dr. Bernhard Wittweiler Leiter Rechtsdienst 81 Contrat pour la publication de photos, d’extraits de partitions et autres documents des Archives musicales de la Bibliothèque cantonale et universitaire Lausanne Lorsque des documents consultés aux archives musicales sont utilisés pour une publication la personne soussignée s‘engage à  faire les démarches d‘autorisation de publication auprès des ayants droit  faire les démarches d‘autorisation de publication auprès des auteurs des photos. Si ces derniers ne sont pas connus la mention « droits réservés » peut être utilisée  remettre gratuitement un exemplaire de la publication aux archives musicales de la Bibliothèque cantonale et universitaire de Lausanne Les photos destinées à la publication doivent être numérisées par le service de photographie de la BCUL et légendées « Bibliothèque cantonale et universitaire Lausanne (nom du photographe) » Les documents publiés doivent être libellés «Bibliothèque cantonale et universitaire Lausanne, Fonds (…)». Lausanne, le … 82 Date: Thu, Nov 18, 2010 at 9:26 AM From: Human Subjects Staff Review To: Adam Foster Human Subjects Application - For Full IRB and Expedited Exempt Review PI Name: Adam Michael Foster Project Title: The Guitar Chamber Works of Hans Haug HSC Number: 2010.4929 Your application has been received by our office. Upon review, it has been determined that your protocol is an oral history, which in general, does not fit the definition of "research" pursuant to the federal regulations governing the protection of research subjects. Please be mindful that there may be other requirements such as releases, copyright issues, etc. that may impact your oral history endeavor, but are beyond the purview of this office. 83 Date: Fri, Feb 4, 2011 at 12:30 PM Subject: Request for permission to include musical examples. From: Adam Foster To: Bèrben Ancona Greetings, My name is Adam Foster and I am writing to request permission to include musical examples from the following publications for my treatise on Hans Haug: Fantasia for Guitar and Piano Concertino for Guitar and Orchestra Concertino for Guitar and Piano Reduction Hans Haug: The Complete Solo Works for Guitar (facsimile as well as performance edition copies if possible) Alba Preludio Prelude, Tiento, Toccata I am writing about the textures utilized in Haug's solo guitar compositions and the influence on the chamber works he wrote late in his career. If you agree to permit me to use less than 10% of the score as copyright law requires, I would require a digital copy of a letter stating your approval which will appear in the appendix of my treatise. Berben Ancona would also receive commentary with each musical example: Courtesy of Edizioni Berben Ancona. Thank you for your time and I look forward to your response. -Adam M. Foster, Classical Guitarist Doctoral Candidate-ABD The Florida State University College of Music www.adamfosterguitar.com 84 Date: Sun, Feb 6, 2011 at 4:12 AM Subject: Re: Request for permission to include musical examples. From: BÈRBEN s.r.l. To: Adam Foster Dear Mr. Foster, thank you for your message. We are please to giving you our permission to include musical examples from our publications by Hans Haug in your forthcoming treatise. Sincerely yours, Fabio Boccosi BÈRBEN s.r.l. publishing house 85 Date : le 04/02/2011 Subject: Request for permission to include musical examples From: Adam Foster To: David Bray Greetings, My name is Adam Foster and I am writing to request permission to include musical examples from the following publications for my treatise on Hans Haug: Capriccio for Flute and Guitar I am writing about the textures utilized in Haug's compositions and the influence on the chamber works he wrote late in his career. If you agree to permit me to use less than 10% of the score as copyright law requires, I would require a digital copy of a letter stating your approval which will appear in the appendix of my treatise. Max Eschig would also receive commentary with each musical example: Courtesy of Editions Max Eschig. Thank you for your time and I look forward to your response. -Adam M. Foster, Classical Guitarist Doctoral Candidate-ABD The Florida State University College of Music www.adamfosterguitar.com 86 Date: Mon, Feb 7, 2011 at 5:09 AM Subject: RE: [COPYRIGHT] Permissions for Hans Haug music examples From: David Bray To: Adam Foster Dear Mr Foster Thank you for your message. We are very happy to grant you the permission that you request. Yours sincerely David BRAY Chef du service éditorial Durand-Salabert-Eschig (Universal Music Publishing Classical) www.durand-salabert-eschig.com 16 rue des Fossés Saint-Jacques – 75005 Paris 87 Date: Mon, Feb 14, 2011 at 10:32 AM Subject: Re Permissions for use of photo of Hans Haug From: Michel Rochat To: Adam Foster Dear Sir, I am very sensitive to your work concerning Hans Haug and it is with pleasure that I became acquainted owing to the fact that you discovered in my archives a document concerning this musician. As you ask it to me I authorize you to publish the photographs of Hans Haug. I allow myself to join another photograph taken to the same date. These documents were taken in front of the Conservatoire de Musique (Music College) of Lausanne in 1949. (Rue du Midi). On photo No 1(from left to right) Hans Haug, Madeleine Vivot (student of the Singing class) the piano teacher Jean Koëlla, Michel Perret (student of the piano class) and myself Michel Rochat (student of the class of clarinet). On photo No 2: (from left to right) Hans Haug, Madeleine Vivot, Jean Koëlla, a student of the class of piano and myself Michel Rochat. It should be noted that all the students belong to the class of Hans Haug who was our teacher for harmony, counterpoint and music analysis. Hans Haug was a professor of an exceptional and universal culture. This composer had worked out his own courses. Each one of us was marked by the high level of the lessons which in my case was the basic of all my life of musician. Very rigorous in its teaching Hans Haug approached all the kinds and impregnated them with its personal experiences. He often compared various arts between them, in particular painting and the music and I remember particularly his study on what it called the ―harmony of gravitation‖, science that I continued to apply in my compositions. I had the great chance to play with Hans Haug as conductor as a clarinettist, in particular for ―Passage d‘une étoile‖ work which was created in the ―Théâtre du Jorat‖ in Mézières (Switzerland). I also remembered of a very upsetting chorus conductor who, in charge of the ―Choeur d‘oratorio de Lausanne, presented the important works like the Requiem of Verdi, which at that the time consisted of a great event. 88 I had the hope in my career of conductor to play one or the other of his works, but the financial problems did not allow such a realization. I hope that this testimony will bring an interesting element i for your work and delighted me to have some news of it. In the hope to have answered your waiting Sincerely Michel Rochat www.michelrochat.ch 89 Date: Sun, Nov 7, 2010 at 9:33 AM Subject: RE: Greetings and a question (Re: Hans Haug Capriccio) From : Konrad Ragossnig To: Adam Foster Dear Mr. Foster, The Mss. of the Capricio by Hans Haug was in the library of Werner Tripp I made a copy wich I will send you. Please tell me where to send it. Yes, I knew Hans Haug personally very well. I met him for the first time in Basel in 1962 and we became very good friends. He was the first swiss composer with whom I worked together. He wrote this piece for Werner Tripp and I in 1963. In Mai 1964 we recorded the ―Capriccio‖ for RCA Victor. First performance was in Paris 1965 in Salle Gaveau. As for the differences you will notice between the edition and the Mss.: Hans Haug, who was a very nice and very precise person, was present at our rehearsals. All the small differences you will notice were done with his absolute aproval. I myself took noticed these changes directly in my guitar part. As for the 2 bars at the end of the 2nd. movement, they are written in the flute part but not in the score. I think the following happened: When we started the rehearsals the score was completely and very nicely written (as you will see). (The flute part is not the handwriting of Hans Haug, but from a copyist). The changes I made afterwards in the guitar part were of no musical essential importance, I suppose that this is the reason why Hans Haug did not changed it in the score which was already written. The same happened probably with the 2 bars in the flute part. One thing I know for sure: We (Werner Tripp and myself) would NEVER have changed any notes in this work without the permission of the composer. But also I cannot tell you for sure anymore what happened because, you must understand, this is 47 years ago! And the rehearsals were also nice evenings with a good dinner and a good bottle of wine…… so I really don‘t remember these details. But as I mentioned before we never made changes on our own, this is for sure. I hope this information is of some help for you. Best regards and all the best with you work! Konrad Ragossnig 90 Date: Sun, Apr 3, 2011 at 11:00 AM Subject: RE: Hans Haug project From: Adam Foster To: Han Jonkers Greetings Mr. Jonkers, Thank you again for your response in regards to my project on Hans Haug and the recordings on the Capriccio. I am wrapping up final edits of my treatise and I was inquiring for your permission to include a photo from the Geneva Competition with the competition panel in my treatise. Your approval would include citation referencing your name, website, and CD booklet of Swiss Homage. I hope everything is well, and I look forward to your response. Kind regards, Adam Foster 91 Date: Wed, Apr 6, 2011 at 10:40 AM Subject: RE: Hans Haug project From: Han Jonkers To: Adam Foster Dear Adam Foster Yes, you can use the photo of the Geneva Competition. Please, send me a copy of your treatise. I am looking forward to read it. Cheers Han Jonkers 92 SELECTED BIBLIOGRAPHY Published Sources and Biographical Sources Bone, Philip James. The Guitar and Mandolin: Biographies of Celebrated Players and Composers. London: Schott & Co., 1972. D‘Avino, Alfonso and Hans Haug. ―Hans Haug e la sua Musica per Chitarra.‖ Thesis-Universita Degli Studi di Roma Tor Vegata, 2004 [Dissertation on-line]; available from www.scribd.com. http:// www.scribd.com/doc/31366591/Alfonso-D-Avino-Hans-Haug-e-La-Sua-Musica-PerChitarra, (accessed September 30, 2010). Haug, Hans. Für Feinde klassischer Musik: Zehn Radioplaudereien. Basel: Verlag Gaiser & Haldimann, 1941. __________. ―Fantasia pour guitare et piano‖ Digital copy of manuscript. BCU Lausanne, MUH 26. Bibliothèque cantonale et universitaire de Lausanne, 1957. __________. ―Capriccio pour Flûte et Guitare‖ Facsimile of manuscript score and parts. BCU Lausanne, MUH 25. Bibliothèque cantonale et universitaire de Lausanne, 1957. __________. Capriccio pour Flûte et Guitare. Paris: Editions Max Eschig, 1967. __________. Fantasia pour guitare et piano. Ancona: Edizioni Musicali Bèrben, 1973. __________. Concerto per chitarra e piccolo orchestra. Ancona: Edizioni Musicali Bèrben, 1976. __________. Concertino per chitarra e piccolo orchestra: riduzione per chitarra e pianoforte. Ancona: Edizioni Musicali Bèrben, 1987. __________. Hans Haug: The Complete Works for Solo Guitar. Edited by Angelo Gilardino and Luigi Biscaldi, and Allan Clive Jones. Ancona: Edizioni Musicali Bèrben, 2003. Van Hoorickx, Reinhard. Schubert's Guitar Quartet. Revue belge de Musicologie / Belgisch Tijdschrift voor Muziekwetenschap, Vol. 31 (1977), 111-135. Jonkers, Han. ―Booklet: A Swiss Homage to Andrés Segovia.‖ In A Swiss Homage to Andrés Segovia: Works by Martin, Gagnebin, Haug and Widmer. Cadenza-Records CAD 800905, 1996. Kater, Michael. ―Music: Performance and Politics in 20th Century Germany.‖ In Central European History, Vol. 29, No. 1 (1996), 93-106. Matthey, Jean-Louis Olivier. Hans Haug: Catalogue de l’œuvre de Hans Haug (Lausanne : Bibliotheque Cantonale et Universitaire), 1970. 93 Muggler, Fritz. "Haug, Hans." In Grove Music Online. Oxford Music Online, http://www.oxfordmusiconline.com/subscriber/article/grove/music/12546 (accessed April 6, 2010). Reich, Willi and Ernest Sanders. ―On Swiss Musical Composition of the Present.‖ The Musical Quarterly, Vol. 51, No. 1, Special Fiftieth Anniversary Issue: Contemporary Music in Europe: A Comprehensive Survey (Jan., 1965), 78-91. Schuh, Willi, and Edgar Refardt. Schweizer Musikbuch. Zürich: Atlantis Verlag, 1939. Schuh, Willi. Schweizer Musiker-Lexikon, 1964. Zürich: Atlantis Verlag, 1964. Steinbeck, Hans. Schweizer Musik auf Schallplatten / Musique suisse sur disques / Swiss Music on Records. Zürich: Schweizerisches Musik-Archiv, 1978. Haug recordings featuring guitar Fantasia for Guitar and Piano Berthold, Beatrice and Luis Orlandini. Duo Concertante: Tedesco, Haug, Moscheles/Giuliani. Munich: Solo Musica, SM 102, 2006. Compact disc recording. Halász, Franz, and Débora Halász. Shostakovich, Haug, Castelnuovo-Tedesco, Santorsola. Djursholm, Sweden: BIS, 1995. Compact disc recording. Ooka, Duo. 1992. Duo Ooka. [S.l.]: Biem, 1992. Compact disc recording. Yamamoto, Naoto, Eriko Nakajima-Yamamoto. Guitar & Piano: 20th Century Works. Detmold: Audite, 2002. Compact disc recording. Capriccio for Flute and Guitar Lieberknecht, Andrea and Frank Bungarten. Serenade to the Dawn. Detmold: MDG Scene, 2008. Compact disc recording. Olsen, Stein-Erik and Gro Sandvik. Diptych [sound recording]. Oslo: Simax, 1994. Compact disc recording. Ragossnig, Konrad and Werner Tripp. "L'Anthologie de la Guitare IV." RCA Victor 440.182. Vinyl recording. Solo Works (Title indicated) Fowler, François. Nocturne: Music of Head, Haug, and Hetu. [U.S.A]: François Fowler, 2005. Compact disc recording. (Prelude, Tiento, Toccata) 94 Gilardino, Angelo. Angelo Gilardino plays Haug, Wissmer, Duarte, Tansman, Berkeley. Italy : Bèrben, 1980. Vinyl recording. (Alba) Kenniff, Christopher. 1997. Artist Diploma Recital. [Bloomington]: Indiana University. Cassette tape recording. (Prelude, Tiento, Toccata) Mills, John. 20th Century Guitar Music: Music from the student repertoire. [London]: 1977. Vinyl recording. (Alba) Russell, David, et al. Something Unique. [Vancouver, B.C.]: Overture Records, 1979. Vinyl recording. (Prelude Tiento Toccata) Segovia, Andrés. Andrés Segovia with the Strings of the Quintetto Chigiana. [London]: Decca DL 9832, 1950. Vinyl recording. (Alba: given subtitle Legende by Segovia, Preludio: retitled Postlude) _____________. Andr s egovia 1950s American recordings, Volume 5. Great guitarists. [E.U.]: Naxos 8.111313, 2008. Compact disc recording. (Re-issue of Alba, Preludio.) _____________, et al. Segovia Plays. [Long Island City, NY]: Alto, 2008. Compact disc recording. (Re-issue of Alba, Preludio.) Yamashita, Kazuhito. Kazuhito Yamashita Plays His Favorites 2. [Japan]: Crown Classics Records, CRCC-29, 1998. Compact disc recording. (Alba) Hans Haug as composer- non-guitar recordings Balissat, Jean and Hans Haug. infonietta pour orchestre cordes. Lausanne: Communauté de travail pour la diffusion de la musique Suisse, 1966. Vinyl recording. Bohr, Laszlo et al. International Contest Pieces for Oboe. Harriman, N.Y.: Spectrum, 1980. Vinyl recording. Diaconu, Maria et al. 1987 International Competition for Musical Performers, Geneva the firstprize winners. Musica Helvetica. Berne: Swiss Radio International Transcriptions. 1988. Haug, Hans, and Jean-Marie Auberson. 1966. Tema variato tema variato pour Grand orchestre. Communaute de Travail Pour la Diffusion de la Musique Suisse Cts 49. Vinyl recording. (Theme and Variations for large orchestra). Hess, Ernst, and Hans Haug. Streichquartett, op. 50: (1958). Switzerland: Elite Special, 1960. Vinyl recording. Haug as conductor- orchestral recordings Liebeskind, Josef, and Hans Haug. Symphonie No. 1 In A-moll Op. 4. 4. Satz: Finale (Allegro Vivace) 1. Teil. Vinyl recording. 95 Marescotti, André-François, et al. Deuxi e concert carougeois. Schweizer Komponisten. Lausanne, Suisse : Communauté de travail pour la diffusion de la musique Suisse, 1964. Vinyl recording. Marschner, Heinrich and Hans Haug. Hans Heiling & Der Vampyr. S.l: MRF Records, 1970.Vinyl recording. Roy, Alphonse, and Hans Haug. Ballade pour orchestra, 1964. Vinyl recording. Strauss, Johann, and Hans Haug. Voix du printemps; Roses du Sud: valse. S.l: Elite Special. Vinyl recording. Reviews Anderson, W.R. ―Wireless Notes.‖ The Musical Times, Vol. 77, No. 1125 (Nov., 1936), 994998. Calvocoressi, M.D. ―Music in the Foreign Press.‖ The Musical Times, Vol. 78, No. 1134 (Aug., 1937), 705-707. Criswick, Mary. ―Review: Guitars.‖ The Musical Times, Vol. 116, No. 1583 (Jan., 1975), 60. Elvin, Rene. ―Reports from Abroad: The Zürich Festival.‖ The Musical Times, Vol. 101, No. 1410 (Aug., 1960), 504-507. José dos Santos, Silvio. ―Review‖. Notes, Second Series, Vol. 63, No. 1 (Sep., 2006), 201-207. Poladian, Sirvart. ―Index to Music Necrology.‖ Notes, Second Series, Vol. 24, No. 4, 680-685. Reich, Willi. ―Activity in Switzerland.‖ Tempo, No. 11 (Jun., 1945), 11-12. _________. ―Musical Notes from Abroad.‖ The Musical Times, Vol. 80, No. 1154 (Apr., 1939), 306-308. _________. ―A Musical Diary.‖ Tempo, No. 3 (May, 1939), 6-7. _________. ―Musical Notes from Abroad.‖ The Musical Times, Vol. 81, No. 1164 (Feb., 1940), 89-90. _________. ―Musical Notes from Abroad.‖ The Musical Times, Vol. 82, No. 1184 (Oct., 1941), 382-383. _________. ―Musical Notes from Abroad.‖ The Musical Times, Vol. 82, No. 1185 (Nov., 1941), 416. 96 BIOGRAPHICAL SKETCH Canadian-born classical guitarist Adam Foster has been heard in concert throughout Canada and the United States as a soloist and chamber recitalist. As a soloist, he has been featured on KNPR Radio 98.5 FM in Las Vegas, Nevada in 2005, and has garnered awards and scholarships through his performances including 2nd place in the 2001 Northwest Guitar Competition and a grant from the Calgary New Sun Foundation and the British Columbia Council of the Arts. As a chamber musician, he has performed in numerous groupings with guitar, including his own pre-recorded version of Steve Reich‘s Electric Counterpoint and the American premiere of Stephen Dodgson‘s Quintet for Guitar and Strings. His principal teachers include Dr. Alexander Dunn, Ricardo Cobo and Bruce Holzman. A dedicated teacher, he was instructor of guitar at the University of Nevada Las Vegas from 2003 to 2007, developing the guitar curriculum for performance, composition and education majors, as well as class-guitar courses for non-majors. His successful teaching and implementation of the curriculum resulted in being awarded the 2006 College of Fine Arts Part Time Instructor of the Year. With the completion of his Doctor of Music degree in guitar performance at Florida State University, he is dedicated to the history of plucked-string performance practice and holds a graduate certificate in Early Music. In addition to the guitar, he studies tenor viol da gamba with Prof. Pamela Andrews, director of the FSU Viols, and performs on lute and theorbo under the guidance of Dr. Jeffery Kite-Powell and Dr. Charles Brewer of the Early Music Ensembles. He has collaborated on two recordings and has a forthcoming published arrangement of Haydn‘s String Quartet Op. 9, No. 6 for guitar quartet in collaboration with Dr. Leo Welch and editor-in-chief Nancy Marsters for Class Guitar Resources. He currently lives in Tallahassee, FL with his wife Stacey Abbott. When not engaged in musical activities, he enjoys being outdoors, yoga, reading with his cat, Bruce, and enjoying the ―study‖ of fine wines from around the world. 97