Dissertations, Theses, and Capstone Projects

Date of Degree

2011

Document Type

Dissertation

Degree Name

D.M.A.

Program

Music

Advisor

Bruce C. MacIntyre

Committee Members

Norman Carey (Chair)

Sterling Murray

Richard Kramer

Humbert Lucarelli

Subject Categories

Music

Abstract

The oboist Franz Joseph Rosinack worked at the Fürstenberg princely court in Donaueschingen from 1777 to 1823. He had a range of duties, including performing with the Hof-orchester, Harmonie, and other ensembles, as well as supplying music for court occasions. Chapter I presents a survey of the court's musical activities and principal musicians under Princes Joseph Wenzel (r. 1762-83), Joseph Maria Benedict (r. 1783-96), Karl Joachim (1796-1804), and Karl Egon II (r. 1817-54). Fürstenberg ties to the major cultural centers of eighteenth-century Europe supplied repertoire allowing the court orchestra to perform some of the best contemporary operas often within months of their premieres. Rosinack's involvement in these and other performances gave him a familiarity with pieces he would then arrange as chamber music to accompany banquets, hunting parties, and other court festivities.

Over fifty of Rosinack's arrangements are preserved as manuscripts in the Fürstenberg Musicalien Sammlung now housed in the Badische Landesbibliothek in Karlsruhe, Germany. Rosinack arranged music from across the broad spectrum of eighteenth-century genres, from chamber music and symphonies to operas and other works for the stage. Chapter III elucidates the techniques he used to create these works by examining excerpts from three representative pieces. These pieces include versions of Mozart's string quartet K. 575 and wind serenade K. 361, both for oboe, violin, two violas, and cello, as well as an arrangement of Haydn's opera Orlando Paladino for Harmonie octet. Generally, the further afield the genre of the original lay from its arranged form, the more far-reaching were the changes that Rosinack made to bring the music to its new setting. Arrangements of chamber music revolve mostly around issues of texture, tone color, and instrumental capacity. Arrangements of operas, however, can involve changes of form and harmonic structure to bring the music from its original stage genre to a chamber setting. Appendices present a complete list of Rosinack's arrangements as well as a score to the first movement of Rosinack's adaptation of K. 361 for oboe and strings.

Comments

Digital reproduction from the UMI microform.

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