Introduction to Böddecker's "La Monica"Sonata by Terry B. Ewell. This includes a discussion of the Universal/Waterhouse edition and considerations for performing the work. BDP #343. 2reed.net.
[music: Ewell's version of the opening to Böddecker's Sonata]
Hello this is Terry Ewell. I am so pleased that the International Double Reed Society has included the Böddecker Sonata as a selection for the Gillet/Fox competition on Bassoon in 2022. I had planned to perform the work and produce a few videos on the work during the 2020 COVID period, but I didn’t have the time to complete them. Seeing the piece on the list, however, has prompted me to quickly present a couple of videos to help those preparing for the competition.
This video will present an overview of the Sonata
and the next video will focus on ways in which to perform and practice
the difficult meter change in the third variation.
Let’s begin with a close look at the
introduction to the Universal Edition of the work by William
Waterhouse. William Waterhouse is one of the greatest scholars we have
had performing the bassoon and his notes are very important for this
work.
Notice that Böddecker wrote the Sonata as a chamber work for
violin, bassoon, and continuo. Continuo is a group of instruments,
which would include harpsichord and cello or harpsichord and bass. It
was not composed originally for just bassoon and piano.
In the Universal edition, the piano part has
double duty providing the continuo line in the left hand with some
harmonies in the left and right and the “La Monica” melody
in the upper voice in the right hand. The bassoon part originally
starts on the upbeat to measure 13 but in this version provides the
melody in the beginning.
I hope that someday you will be able to perform the version as
originally conceived. It is marvelous that way! The violin would play
the “La Monica” melody throughout the work with the bassoon
providing an elaborate accompaniment. The continuo—cello and
harpsichord—would then perform the bass line and the harpsichord
would provide the additional harmonies. I have provided some
accompaniments on 2reed.net that give my version of the Sonata with
violin and continuo. I hope that you enjoy that.
Böddecker’s Sonata is one of the
earliest works written for bassoon and it comes from the Baroque
period. As is the case with works from that period you will need to
consider to what extent you want to recognize performance practices at
the time. Will you perform with vibrato, for instance? Bassoonists that
that time did not make use of the continual vibrato we associate with
bassoon performance today. My preference for Baroque period works is to
shape notes through dynamics and articulation than vibrato.
Another question: will you provide ornamentation?
Most Baroque works expected added diminutions or ornaments supplied by
the performer. In this work, however, with the rhythmic complexities
and saturation of 16th and 32nd notes there are just a few
opportunities for ornaments. Places to consider ornamentation would be
during repetitions of the melody in the opening. Also, you could
consider ornaments in the repetitious figures such as those in mm.
52-53, 55-59; and several areas in Variation IV, which is measures
85-102.
One characteristic of Baroque performance practice
is that each performer was expected to bring something unique to the
performance. In addition to those items mentioned above, articulations
in the work provide great opportunity for self-expression.
The Facsimile page provides the music starting in
measure 88 and ending in measure 110. Notice that not a single
articulation mark is included in the solo part in the facsimile, the
original music. In his forward, Waterhouse notes that articulations in
the solo part of the Universal edition are given by him. You should
feel free to perform with different articulations, provided that they
meet practices of the Baroque period.
For instance, in measures 80-82 Waterhouse
provides articulations with two slurred and two tongued notes, which is
more of a Classical than Baroque articulation. I prefer three slurred
and one tongued in those areas with three stepwise notes. In the
Baroque period it is more common to slur adjacent notes particularly
three notes together.
You should consider varying the articulation in
measures 52-60. For instance, alternating measures with staccato notes
with slurs from the 16ths to the dotted 8ths are a possible idea. Even
without ornamentation added, this provides some extra interest to a
section that is rather unimaginative.
I have already created many materials that could
aid you in the performance of this and other Baroque works. There are
links to dozens of videos, instructions on ornamentation, sample
cadenzas, and a few of my performance editions for Baroque music.
Please have a look at 2reed.net or further information.