An Interpretive Approach to Two Wind Partitas of Franz Vincent Krommer: Partita in F, Op. 57 (1808) and Partita in E-flat, Op. 79 (1810)

by Matthew Mailman - DMA (Conducting) Dissertation: University of North Texas, August 1995. 76 p. Order No: AAI9543266, Volume: 56-10

Franz Vincent Krommer was an important composer during the late eighteenth/early nineteenth centuries. He served three major European courts as Kapellmeister, including Emperor Franz I of Austria. Krommer composed many works for Harmonie that were very difficult technically, indicating that he wrote for the best players of his time. KrommerÕs compositions have a correctness of form with well-worked-out ideas, and although his instrumental compositions bear visible traces of the influence of Haydn and Mozart, Krommer endeavored to carry their principles of composition to a personal level using his own individual procedures. His works are an important body of literature in the wind repertoire and are only now regaining recognition and popularity.

This study is an interpretive approach to performing two works by Franz Krommer for wind ensemble. It includes a short history of Harmoniemusik, with origins, development, and chronology of the instruments and repertoire, the roles of "better-known" composers of Harmoniemusik, and its importance in both general music history and history of the wind band. It includes an account of known biographical detail concerning Franz Krommer, his life, his musical involvement and career in Europe, his place in music history, and an overview of his compositions for wind groups other than the Harmoniemusik, including his symphonic music and concertos. There are detailed analyses of two octet-partitas by Franz Krommer, Partita in F, Op. 57 and Partita in E-flat, Op. 79, with discussion of thematic, harmonic, melodic, articulation, and formal characteristics illustrated through score examples and an examination of issues for a conductor to consider when approaching a performance of these works such as instrumentation (modern vs. period instruments, selecting sixteen-foot instrument), taking (or not taking) repeats with respect to form, interpreting articulations, determining metronomic tempos, ensemble balance, and style based on wind music of the Classical period. Also, the study discusses how this music can (and why it should) be used by wind conductors as both a teaching supplement and a compositional model for pieces from the Classical period. The conclusion includes a call for further research on Franz Krommer and his works.