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Ignaz Holzbauer: The Periodical Overture in 8 Parts – XXIX

When Robert Bremner (1725–1789) began publishing “Opera V” of the Periodical Overtures in June 1769, he proceeded to issue four works in a row by composers with direct ties to Great Britain. Two were citizens—Thomas Alexander Erskine (1732–1781), the sixth Earl of Kelly (see Periodical Overtures Nos. 13, 17, 25 & 28), and Thomas Augustine Arne (1717–1778) – (see Periodical Overture No. 27)—while Jacob Herschel (1734–1792) was a frequent visitor (see Periodical Overture No. 26). For the fifth symphony in the Opera V, published in mid-December 1770, Bremner reached once again across the Channel to obtain Periodical Overture No. 29 by Ignaz Holzbauer (1711–1783). In fact, Bremner trumpeted the continental credentials of “Holtzbaur,” identifying him as “Chapel-Master to the court of Manheim [sic]” in the newspaper announcement, and listing him as “Opera Composer to the Court of Manheim” on the cover of the printed sheet music. Bremner was undoubtedly aware of Holzbauer’s standing when he chose this composition for inclusion in his series. Indeed, the selected symphony was one of Holzbauer’s most celebrated works. When Madame Berault published the Symphony in E-flat major in 1769 as the third and final piece of “Oeuvre IV,” her title page noted that was a work for Grande Orchestre dans lequel il y a la Tempête (“Large Orchestra in which there is the Storm”); clearly, the programmatic nature of the symphony’s finale had garnered significant attention. Within each part, the fourth movement was designated as “La Tempesta del Mare,” placing that storm at sea.

Ignaz Holzbauer – (1711-1783) The Periodical Overture in 8 Parts – No. XXIX

Key: E-flat | Movements: 4 (1) Allegro non trop[p]o (2) Adagio maestoso e gratioso (3) Minuet (4) Tempesta del mare | Duration: 14:10 | Scoring: 2 oboes, 2 bassoons, 2 horns, 2 violins, viola, basso

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Unlike Johann Stamitz (1717–1757) (see Periodical Overtures Nos. 3, 6, 7, 9, 11, and 12) and the various other Mannheim symphonists featured in The Periodical Overtures, Holzbauer was not a member of the Mannheim orchestra nor, apparently, was he directly involved with the ensemble. Still, Holzbauer built a substantial reputation as a symphonic composer, and according to his autobiography, he had begun writing orchestral works even before his Moravian appointment at the court of Count Rottal of Holešov; he claimed to have composed some 205 symphonies overall.¹ Although only some sixty pieces are known today, Eugene Wolf observes, “Judging by the works extant in Austro-Bohemian collections, Holzbauer was by far the most prolific early Austrian symphonist.”

From the Preface to the printed edition: Holzbauer’s interest in rich scoring is evident from the very first measure of the “Allegro non trop[p]o” (which retained the French spelling for the tempo indication in several of the parts). The violins and oboes start with just a tonic E-flat whole note, rising to another whole note on the dominant B-flat, before then proceeding to the 1-2-3-4 of E-flat major in gradually shorter note values. Against this quite simple melodic line, the viola plays a syncopated countermelody, the bassoons and basso parts race along in animated eighth notes, while the horns play sustained tones. Holzbauer then gives the bassoons a vigorous countersubject to the second theme in the violins (m. 17); the violins’ melody features much longer note values that are peppered by occasional Scotch snaps, and the lower strings provide some “murky-bass” support. The closing theme (m. 29) employs short passages of sixteenths harmonized in thirds, with some “call-and-response” effects between higher- and lower-pitched instruments. The development (m. 49) takes listeners on a brief excursion to the minor mode (m. 56), and Holzbauer then subverts the usual sonata-form expectation by launching the recapitulation (m. 68) with the closing theme. It is followed by the first theme (m. 78), and then a variant of the second theme (m. 91) concludes the movement, now reinforced with occasional measured tremolos for increased drama.

Holzbauer follows convention by offering a slower “Adagio [maestoso e] Gratioso” in the second movement and by shifting to the related key of C minor. Structurally, however, he goes his own way. The slow movement is unified by recurring dotted-sixteenth/thirty-second-note motifs, but it follows no clear-cut form. Instead, it progresses to C minor’s relative major—E-flat (m. 6)—and then briefly proceeds to C’s parallel major (m. 13) before returning to C minor and then ending in G—in essence, on a half-cadence. It is also less common to employ the full ensemble in a slow movement, but Holzbauer keeps all ten of his instruments quite busy.

The third movement, in contrast, is very conventional in its minuet-and-trio structure, yet it presents other types of variety. During the rounded-binary “Minuetto,” the full ensemble (once again in E-flat major) is treated homo-rhythmically much of the time, although the violins and oboes embellish the opening rhythm with the quick rising-and-falling motif known as the Bebung. In the “Trio,” however, the bassoons alone play the melody during the a portion of the rounded-binary form, supported by a three-layered accompaniment divided among the rest of the orchestra. In the b section (m. 35), the oboes are now the featured instruments, with the ensemble still presenting various supporting lines. The movement then presents the customary da capo repetition.

The finale is comprised of the famous “Storm at Sea,” which might be expected to be through-composed. Nevertheless, it could be argued that a sonata-rondo form in E-flat major underpins the tempest. After a four-measure introduction filled with oscillating lines and constant dynamic shifts (stormy seas?), the first violins play the chromatic descent (m. 5) that characterizes the first theme. Rising and falling unison sixteenth notes and passages of syncopation carry the movement to a second theme in B-flat (m. 37), much more staccato in character and divided between instruments in an almost pointillistic fashion. The first theme’s chromatic descent returns in G minor at measure 60, leading to C minor scales in measure 69, with a brief shift to C major three bars later. Rapid modulations continue until measure 83, when the second theme returns in E-flat, and it is followed by the movement’s introductory material at measure 104. The oboes, briefly featured at measure 106, play dolce, perhaps suggesting that the tempest has ebbed; the marking is also a very rare instance of a mid-movement expressive indication in the Bremner overtures. The familiar chromaticism reappears in measure 108, pulling the dramatic movement to a robust close. Although the tempesta del mare is certainly the highlight of the overall symphony, Holzbauer did his best to ensure that the three movements preceding that showpiece were diverse and equally satisfying.

Alyson McLamore

1 Eugene K. Wolf, The Symphonies of Johann Stamitz: A Study in the Formation of the Classic Style (Utrecht: Bohn, Scheltema & Holkema, 1981), 88; Agee, “Introduction,” xi.

Thomas Alexander Erskine (6th Earl of Kelly): The Periodical Overture in 8 Parts – XXVIII (The Maid of the Mill)

On 28 August 1770, the General Evening Post carried an advertisement for “NEW MUSIC Just published” by Robert Bremner (1725–1789). The listing included “Periodical Overture, No. 28, composed by the Earl of Kelly for the Maid of the Mill.” The advertisement did not use the “This Day is Published” language that was Bremner’s custom when an issue was first released, so it is likely that Periodical Overture No. 28 had been in print for several weeks or months. In any event, it was to be Bremner’s last collaboration with his longtime colleague Thomas Alexander Erskine (1732–1781), the sixth Earl of Kelly (see Periodical Overtures Nos. 13, 17, and 25).

Thomas Alexander Erskine (6th Earl of Kelly (1732-1781) The Periodical Overture in 8 Parts – No. XXVIII

Key: B-flat | Movements: 3 (1) Allegro (2) Adagio ma non troppo (3) Minuet Duration: 8:56 Scoring: 2 oboes, 2 bassoons, 2 horns, 2 violins, viola, basso Originally published by Robert Bremner, London, 1770 (RISM E.778)

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The Periodical Overture No. 28 was not a new work when it appeared in Bremner’s series. In fact, it is likely that some of its purchasers had already heard it performed, since it had been composed five years earlier to serve as the overture for the pasticcio comedy The Maid of the Mill. Playwright Isaac Bickerstaffe (1733–1812) based the libretto on a very loose adaptation of Samuel Richardson’s popular novel Pamela. Like most British pasticcios of the day, the majority of the music was borrowed from earlier operatic works, but six pieces were newly composed for The Maid of the Mill: four songs by Samuel Arnold (1740–1802), an aria by Johann Christian Bach (1735–1782) (see Periodical Overtures Nos. 1, and 15), and the overture by Lord Kelly. The Maid of the Mill was the season’s chief success after its 31 January 1765 premiere at London’s Covent Garden Theatre. It then enjoyed several revivals in London, ranging clear up to the early nineteenth century. The pasticcio also traveled quite widely, with productions appearing in New York in 1769, St. Petersburg in 1772, and Jamaica in 1779.

Erskine’s overture for The Maid of the Mill enjoyed a life of its own as well. As was the case with his three earlier symphonies published by Bremner, Periodical Overture No. 28 enjoyed numerous performances in meetings of the Edinburgh Musical Society. Scholar Jenny Burchell has tabulated ten documented performances: one in 1771, two a decade later in 1781, and then seven that followed the earl’s death: two in 1782, three in 1783, and single presentations in 1784 and 1786. In a curious bit of programming, The Maid of the Mill overture was even used to precede selections from Handel’s Messiah in at least one concert, although this “unsuitable” pairing did arouse protest. The minister Charles Davy felt these “inconsistencies” were the result of a director lacking “true taste and judgement.” More evidence for the overture’s popularity was the keyboard arrangement that was published in The Piano-Forte Magazine in 1798, more than thirty years after the pasticcio’s premiere. The sustained interest in Erskine’s contribution supported the contemporary view that his music merited “vast applause” and that it was “an outstanding attraction for upper-class visitors to Edinburgh.”

From the Preface to the printed edition: Erskine’s overture amply reflects his Mannheim training with Johann Stamitz (see Periodical Overtures Nos. 3, 6, 7, 9, 11, and 12). The B-flat major “Allegro,” in common time, opens with three hammer blows that are repeated a third higher in the second measure. Interestingly, Kelly may have influenced J. C. Bach in turn, since Bach uses the same two opening bars almost exactly at the start of his Symphony in B-flat, Op. 9/21, no. 1 (1773). After this robust, forte opening, the first theme drops in volume to prepare for a four-measure wind showcase (m. 13). Fans of Stamitz’s music would recognize the Mannheim crescendo (m. 17) that then bridges the first and second themes of the sonata form. The crescendo passage is filled with “crushed” motifs of two thirty-second notes rising to a dotted eighth, supported throughout by steady “drum 8ths.” The quieter second theme (m. 41) relaxes the intensity by using longer note values as well. The development (m. 52) opens with a motif from the first theme, and again spotlights the winds (m. 68), made more dramatic by the use of the minor mode and by short injections of the “crushed” motif in the strings and bassoon. There is a clear drive to the recapitulation (m. 84), which repeats the nuances of the exposition, including its many moments of chromaticism.

The central movement—a lyrical common-time “Adagio ma non troppo” in the dominant key of F major—loosely conforms to the binary-sonata pattern that James Hepokoski and Warren Darcy call a “Type 2 Sonata,” diagrammed as || a/I b/V a⁽’⁾/V b/I ||.[1] The horns are tacet, but Erskine continues to employ the oboes and bassoons in addition to the strings. In fact, the second period (m. 7) of the first theme showcases the oboes, followed by some delightful echo effects between the winds and strings. The oboes also introduce the second theme (m. 16), featuring a quick rise and a slower fall, and peppered with trills.

In several of the preceding Periodical Overtures, Bremner had created three-movement symphonies by eliminating minuets from his continental sources. In the case of The Maid of the Mill overture, however, Erskine’s third movement is a minuet, so Bremner retained it in this publication. Although it returns to the symphony’s B-flat tonal center and is in the customary meter, Erskine does not use the standard minuet-and-trio form. Instead, the finale is crafted as a conventional five-part rondo (A B A C A). The refrain is a graceful rising line, starting piano but repeating at forte. The first episode (m. 17) has a descending contour and plays with juxtaposed eighth notes and triplets. After the return of the refrain (m. 25), the C episode (m. 41) ushers in some increased drama by its use of a minor mode and an extended woodwind feature. After a brief moment of imitative polyphony, Erskine shifts the focus to short motifs. Another Mannheim crescendo (m. 54) adds to the episode’s intensity, but the mood lightens with the last return of A (m. 65). Overall, Erskine’s effective creativity may explain this overture’s long-term popularity; it also illustrates the “genius for composition” credited to Erskine by Burney.[2] Almost two hundred years later, British scholar Charles Cudworth reiterated that viewpoint, arguing that “after the middle of the century, the Earl of Kelly was undeniably our most gifted symphonist.”[3]

Alyson McLamore

[1] James Hepokoski and Warren Darcy, Elements of Sonata Theory: Norms, Types, and Deformations in the Late-Eighteenth-Century Sonata (Oxford: Oxford University Press, 2006), 353–4.

[2] Burney, A General History of Music From the Earliest Ages to the Present Period (1789), 1018.

[3] Cudworth, “The English Symphonists of the Eighteenth Century,” 48.

Thomas Arne: The Periodical Overture in 8 Parts – XXVII (The Guardian Outwitted)

With the twenty-seventh issue of the Periodical Overtures, announced in early April 1770, publisher Robert Bremner (1725–1789) [1] did something he had never done before: he printed a symphony by an English composer, Thomas Augustine Arne (1717–1778). True, the Scot Thomas Alexander Erskine (the Earl of Kelly) had been featured three times up to this point, contributing Periodical Overtures Nos. 13, 17, and 25. Arne, however, appeared only this one time in the series, and while Erskine would figure once again—in fact, in the subsequent issue, Periodical Overture No. 28—no other British composers were represented in the sixty-one symphonies.

The inclusion of Arne’s piece was itself a bit surprising, even though Arne had been a long-standing and prominent musical figure in Great Britain. When his comic opera The Guardian Outwitted premiered at the Theatre Royal, Covent Garden, on 12 December 1764, it lasted only six nights.[2] Ironically, a string of critiques—some in prose, and some as satirical odes—were published over the next several weeks, persisting much longer than the opera itself.[3] Despite the production’s relatively brief run, Bremner published a vocal score (with Arne’s dedication to Queen Charlotte) early in 1765, containing songs and duets along with a keyboard arrangement of the overture.[4] It was that same overture—some five years later—that would comprise Periodical Overture No. 27.

Thomas Arne (1717-1789) The Periodical Overture in 8 Parts – No. XXVII

Key: G | Movements: 3 (1) Con Spirito (2) Andante Larghetto (3) Andante Amoroso Duration: 5:43 Scoring: 2 oboes, 2 flutes, 2 bassoons, 2 horns, 2 violins, viola, basso Originally published by Robert Bremner, London, 1770 (RISM A.1834)

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From the Preface to the printed edition: It is easy to argue that the overture of The Guardian Outwitted is a very fine introductory piece for listeners who are new to Arne. He demonstrates his awareness of changing trends in theater overtures, since he incorporates several of the structural elements of stand-alone concert symphonies, such as the shift from G major in the outer movements to the parallel minor for the central “Andante Larghetto.” Like members of the Mannheim school, he gives significant attention to the winds; he also expands the ensemble from Bremner’s customary “eight parts” by requiring flutes in the finale and a pair of bassoons throughout.

The opening “Con Spirito” seems to reflect a composer who was straddling the divide between the Ancients (those who valued the traditions of Baroque music) and the Moderns (fans of the newest compositional trends). This first movement presents a blend of older overture conventions with newer symphonic techniques, such as its proto-sonata-rondo form. Arne’s first theme is full of sudden contrasts: it opens with a full-ensemble hammer-blow and then immediately shifts to delicate, piano, staccato notes in the upper strings; the full group re-enters at a forte for six measures until returning to the opening material. This time, though, the six-measure passage is expanded to eight bars, and it transitions to the dominant minor for the movement’s lyrical second theme at measure 19. This theme—with its “real harmonic character”—features the oboes, who play conjunct pairs of notes in alternation with small flurries of sixteenths in the violins.[5] After this brief four-bar passage, the full ensemble returns to the first theme at measure 23, now in the dominant major. Arne does not repeat the exposition; instead, the first theme launches the development at measure 31, while it is the second theme that heralds the return to the tonic G (m. 60), but again, in the parallel minor. Four measures later, the first theme solidifies the sense of closure with its robust scoring in G major.

In contrast to the numerous modern features of the first movement, the tiny ten-measure “Andante Larghetto” resembles the slow “bridge” transitions between movements in Baroque structures such as concertos and trio sonatas. It differs significantly from the keyboard reduction in the older vocal score, and it is unknown which version more accurately represents the overture actually performed in Covent Garden. In any event, the simpler rhythmic passages in the Periodical Overture provide a clearer showcase for the orchestral timbral effects. The oboes take the lead, while the strings play pizzicato until the final two bars. The movement culminates with a fermata in measure 8 that suggests an opportunity for a brief cadenza (and which was specified in the keyboard version). The oboes then fall silent and the strings play an arco half-cadence, pausing on D major before an implied attacca into the finale.

The “Andante Amoroso” does not evoke the “gigue” finales heard in the majority of Bremner’s Periodical Overtures. Instead, it suggests a different, more sedate dance, such as a minuet or even a Ländler. It contains three themes in an a-a-b-a-c-b-c-a pattern. While the quiet first theme (a) puts an emphasis on beat 2 with its opening quarter-note/half-note rhythms and prevalent rinforzandi, it starts to introduce Scotch snaps in measure 5, and these quickly prove to be a dominant feature throughout the finale. The first violin often bypasses steps four and seven in the scale (as in, for example, measure 5), giving those passages a pentatonic flavour. The b theme (m. 17) then features the Scotch snap in almost every bar, while the c motif (m. 32) reduces but does not eliminate the distinctive folk rhythm. All through the movement, the strings and woodwinds are showcased in alternation. Moreover, the bassoon takes on an independent role—the first extended example of this type of scoring to appear in Bremner’s series. The overall effect is charming; it is also an ample illustration of Arne’s “God-gifted” melodic expertise.

Alyson McLamore

[1] Bremner’s birth year differs from the “c.1713” currently listed in most published sources; it is based on information from Scottish baptismal records that was kindly conveyed to us by Rudolf Rasch.

[2] “London Stage Event: 12 December 1764 at Covent Garden,” London Stage Database, accessed April 8, 2026, https://londonstagedatabase.uoregon.edu/event.php?id=32448.

[3] P.C. Roscoe, “Arne and ‘The Guardian Outwitted,” Music & Letters 24, no. 4 (Oct. 1943): 239–244.

[4] British Library, G.230.(2).

[5] Richard Platt, “Thomas Augustine Arne, 1710–1778,” in The Symphony and Overture in Great Britain: Twenty Works, ed. Richard Platt, Susan Kirakowska, David Johnson, and Thomas McIntosh, Series E, Volume I of The Symphony, 1720–1840 (New York: Garland, 1984), lxvi.

Jacob Herschel: The Periodical Overture in 8 Parts – XXVI

In the first twenty-five issues of the Periodical Overtures, publisher Robert Bremner (c.1725–1789) had issued a small handful of works by composers living in (or visiting) Great Britain. This direct contact had certainly been the case with the inaugural symphony by Johann Christian Bach (1735–1782), and Bach—still resident in London—had been represented again (less happily) by Periodical Overture No. 15. Bremner’s personal acquaintance with Thomas Alexander Erskine (1732–1781), the sixth Earl of Kelly, clearly had led to the publication of Periodical Overtures Nos. 13, 17, and the most recent issue, No. 25, which appeared in June 1769. It seems quite possible that Bremner also had contracted in person for the right to publish the twenty-sixth symphony in the series, since its composer—Jacob Herschel (1734–1792)—is known to have spent various periods of time in London during a two-year stay in England; in fact, his sojourn in Great Britain did not end until late July 1769, while Bremner’s print was issued just four months later.

Jacob Herschel (1734-1792) The Periodical Overture in 8 Parts – No. XXVI

Key: C | Movements: 3 (1) Allegro con brio (2) Andante molto più tosto Allegretto (3) Presto Duration: 7:42 Scoring: 2 violins, viola, basso, 2 oboes, 2 horns Originally published by Robert Bremner, London, 1769 (RISM H.5194)

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From the Preface to the printed edition: As the sole published symphonic music by (Jacob) Herschel—and perhaps the first music of any sort by Herschel in modern edition—Periodical Overture No. 26 presents a very fine calling card. The first movement lives up to its “Allegro con brio” designation with a bold premier coup d’archet in which the full ensemble plays a two-measure unison triadic figure to cement the tonic C major. After these hammerstrokes and several rising and falling scalar lines, the first violins perform an extended descending sequential pattern, supported by measured tremolos and “drum 8ths” in the lower strings. In measure 17, Herschel launches the first of several playful passages in which the first violins rapidly repeat a single pitch at a piano dynamic for two bars before crescendoing to forte. During that quiet passage, however, the violins are interrupted multiple times by the rest of the ensemble who interject quick forte appoggiaturas. After a similar interplay starting at measure 28 (now in G major), the movement takes an unexpected turn to the dominant minor to launch the “B” section (m. 38) of the movement’s ternary form. During this mostly piano passage, Herschel again startles listeners with subito interjections of an ensemble fortissimo (m. 45, m. 53). At measure 74, a return of the dynamic interchange first heard in measure 17 is our cue that a reprise of the “A” section is near, and the opening hammerstrokes make their reappearance at measure 91.

The second movement of Periodical Overture No. 26 mixes conventional and unconventional elements. The drop to a slower tempo and the omission of the winds are both expected, but the “Andante molto più tosto Allegretto” designation is unusually detailed. The change, harmonically, to F major—the subdominant of C major—is a standard transition, but the repetition scheme of ||: a :||: b a :|| c a || is a bit unexpected, expanding what initially seems to be an ordinary rounded-binary structure into a form that might be best described as a rondo. Herschel sets each melody apart, opening the refrain (a) with a five-note ascent (with a bit of chromaticism) that then gradually works its way downward above a busily “seesaw” pattern in Violin II. The b episode, in F’s dominant key, C major, descends more directly, first in sequential three-note groups, and then in a longer scale. The c episode—in d minor—shifts to much longer (and louder) quarter-note values in most of the ensemble; their four-note descents expand on the three-note descents of b.

Herschel’s sense of humour seems to be in evidence yet again in the “Presto,” written in a gigue-like meter. As in the first movement, the full ensemble bounces its way through a rising C major arpeggio as a premier coup d’archet—but when the ensemble catches its collective breath on the fourth beat of the measure, the violins quickly fill the silence with racing eighth notes. This lively gimmick is repeated in the second bar and again at many points during the movement. The finale employs two main melodies, a and b, that progress through the tonic and dominant harmonies in an || a/I b/V a/V b/I || pattern. James Hepokoski and Warren Darcy have labeled this structure as a “Type 2 Sonata”; Herschel’s version does not contain the repetition that often divides the form in half.¹ In contrast to the a theme with its opening disjunct bounciness, the b melody (m. 11 and m. 50) starts with rising and falling conjunct eighth notes that are occasionally interrupted by a large upward leap. Herschel also interjects short “block-chord” passages, such as measure 16—rather like the c episode in the slow movement—that underpin an effervescent melody in the first violin. In contrast to the flexible dynamics during the preceding movements, the finale sustains a robust forte or fortissimo throughout. Altogether, Periodical Overture No. 26 gives listeners an exhilarating—but regrettably rare—illustration of Herschel’s ample capabilities.

Alyson McLamore

1 James Hepokoski and Warren Darcy, Elements of Sonata Theory: Norms, Types, and Deformations in the Late-Eighteenth-Century Sonata (Oxford: Oxford University Press, 2006), 353–4.

Thomas Alexander Erskine (Earl of Kelly): The Periodical Overture in 8 Parts – XXV

After a longish gap, perhaps of more than a year, Robert Bremner (c.1713–1789) resumed publication of the Periodical Overtures by issuing No. 25 on 10 June 1769. The composer was Thomas Alexander Erskine (1732–1781), the sixth Earl of Kelly, and this was the third time that Bremner had featured a composition by his long-time Scottish colleague (explore the earlier overtures XIII and XVII). Interestingly, the very first work by Erskine to appear in the series (Periodical Overture No. XIII) had also been issued after a long hiatus; perhaps Bremner felt that offering a work by a British citizen, instead of one of the many foreign composers who had contributed the majority of the overtures, might “kick-start” the renewed series with more energy. In any event, with the release of Periodical Overture No. 25, Bremner’s “Opera Quinta” was underway.

Thomas Alexander Erskine (Earl of Kelly) (1732-1781) The Periodical Overture in 8 Parts – No. XXV

Key: D | Movements: 3 (1) Allegro assai (2) Andante (3) Presto Duration: 15:28 Scoring: 2 violins, viola, basso, 2 oboes, 2 horns Originally published by Robert Bremner, London, 1769 (RISM E.777)

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From the Preface to the printed edition: Unlike the other three symphonies by Erskine that appeared in the series, purchasers of Periodical Overture No. 25 received the advertised eight-part scoring—with no extra woodwind parts. The symphony also reflected many of the Mannheim traits that Erskine had helped introduce to the British public. The three-movement work opens with a common-time “Allegro assai” in ternary form. The first A section is peppered with oscillating sixteenth notes and it proceeds through a rising stepwise sequence. It is supported initially by “drum 8ths” and, later, measured tremolos. It is possible to see the influence of Erskine’s teacher Stamitz in the central B section (m. 37), which showcases the oboes playing an arpeggiated theme saturated with the short-long rhythms that were even then called “Scots [now Scotch] snaps.”¹ A particularly dramatic passage begins at measure 53, which uses an extended Mannheim crescendo and a long stretch of minor mode to lead back to the return of A in measure 86.

The central movement—a graceful “Andante” in the dominant key of A major—conforms to the binary-sonata pattern that James Hepokoski and Warren Darcy call a “Type 2 Sonata,” diagrammed as ||: a/I b/V :||: a/V b/I :||.² Interestingly, the second theme ends with another string of Scotch snaps (m. 34 and onward), creating a bit of a cyclic connection between the first two movements of this symphony.

Erskine returns to D major for a lively “Presto” finale. Although it employs a sonata-form structure, many of its features are gigue-like, such as the 6/8 time, the bouncy melodies, and the regular four-bar phrases. The first theme features the full orchestra rising and falling in a robust premier coup d’archet passage, while the second theme reduces the ensemble to just the two violin parts and a piano dynamic level. The first violins play a disjunct line in longer note values, supported by a steadily moving series of eighth notes in the second violins. Although Erskine uses the recognizable opening motif from the first theme to launch the development (m. 65), he varies the tone colour by featuring the oboes and then the horns—another touch that his teacher Stamitz would have appreciated. As is true in all the “Lord Kelly” selections published by Bremner, Periodical Overture No. 25 illustrates the “genius for composition” credited to Erskine by Burney.³ It certainly supports the British scholar Charles Cudworth’s view that “after the middle of the century, the Earl of Kelly was undeniably our most gifted symphonist.”⁴

Alyson McLamore

1 Charles Burney, A General History of Music From the Earliest Ages to the Present Period (1789), Vol. II, ed. by Frank Mercer (New York: Harcourt, Brace and Company, [1935]), 858.

2 James Hepokoski and Warren Darcy, Elements of Sonata Theory: Norms, Types, and Deformations in the Late-Eighteenth-Century Sonata (Oxford: Oxford University Press, 2006), 353–4.

3 Burney, A General History of Music From the Earliest Ages to the Present Period (1789), 1018.

4 Cudworth, “The English Symphonists of the Eighteenth Century,” 48.

Niccolò Piccinni (Piccini): The Periodical Overture in 8 Parts – XXIII

With The Periodical Overture No. XXIII, Robert Bremner issued the last of four works by Niccolò Piccinni (1728–1800) that he included in the long-running Periodical Overture series. Until this issue, Bremner had never featured the same composer four times in a row. However, all four of the Piccinni overtures were published within “Opera Quarta,” Bremner’s only all-Italian set during the twenty years of his enterprise. As Piccinni was one of the most performed opera composers in 1760s London, it explains why Bremner published four of his overtures in quick succession.

Periodical Overture No. XXIII shares many basic characteristics with the other three symphonies by Piccinni that Bremner published. All of them conform to an (unmodified) three-movement, fast-slow-fast structure, and they all employ solely the advertised eight-part ensemble of two violins, viola, basso, two oboes, and two horns. In addition, Piccinni uses the same tempo indication—“Allegro spiritoso”—for the first movements in all four symphonies. Nevertheless, the opening movement of Periodical Overture No. 23 offers some uncommon features as well. It is set in 3/4 metre, a time signature found in only eight of The Periodical Overtures’ first movements. Curiously, some manuscript copies of the oratorio version—La morte di Abele—employed 6/8 metre instead, presenting the same melodies but grouping their eighth notes differently.[1]

The form of the first movement was much more typical of the overall Periodical Overtures. It is a straightforward sonata form (without repeats), comprised of two distinct melodies. The first of its themes employs six-bar phrases that gradually ascend through arpeggiations of the tonic F major harmony for four bars before cascading downward rapidly for two measures. The lower strings provide a steady “drum 8ths” support throughout. Alternating bars of measured tremolos in the violins coincide with the long transition (m. 15) to the dominant. The second theme (m. 30) moves primarily downward, and it showcases rapid on-the-beat turns that create a “Scotch snap” effect.

Four emphatic chords—followed by a beat of silence for the full ensemble (m. 44–45)—signal the arrival at the development, which introduces several striking contrasts. It drops instantly to a piano dynamic level and it also omits the wind instruments for its entire duration of twenty-two measures. It also begins in the dominant’s parallel minor, creating quite a bit of drama on multiple fronts. The recapitulation (m. 68) shakes off all those features and returns to F major and the first theme in a robust forte for the full ensemble. A tonic version of the second theme is ushered in at measure 89, although the first theme will seize the spotlight a final time at measure 100. Piccinni then blends motifs from both of the themes in alternation as he approaches the cadence and the concluding set of four strong chords.

The central “Andantino” creates a very different atmosphere. Like the first movement’s development passage, the winds are tacet. The rondo structure alternates between two tonal centers—B-flat major (the first movement’s subdominant) and its own dominant (F major). The A refrain is filled with thirty-second notes and Scotch snaps with numerous short silences; its dynamic changes between piano and forte are abrupt and frequent. The first episode (m. 11) initially resembles the refrain, but B then moves on to some brief scales. The refrain reappears, largely unaltered, at m. 16, again in B-flat major. The C episode modulates back to F major once more (m. 22). Although C is also rhythmically dense with frequent rests, it is much more disjunct in character, and it remains at piano for a much longer stretch. Measure 27 then pulls us back to where we began, reestablishing B-flat major and reiterating the A refrain once again.

The closing “Allegro” movement’s form is a pattern that James Hepokoski and Warren Darcy label a “Type 1 Sonata.”[2] This pattern is sometimes called a sonatina; it is, essentially, a sonata form without development. It has much in common with the finales of the other Piccini works in Bremner’s series: it is full of bouncy energy in meter that evokes a gigue. (Periodical Overture No. 22 employed instead, but to similar effect.) The modulation from the tonic F major to the dominant C major is straightforward, but Piccinni keeps us guessing in many places with his use of irregular phrase lengths. Although the first theme (m. 1) and the second theme (m. 17) have much in common rhythmically, many of their phrases move in opposite directions. The recapitulation reestablishes F major at measure 39, and it reconciles the second theme to that harmony at measure 56. Heads are likely to nod along during the rollicking ending, and the appealing qualities of this sinfonia make it understandable why Piccinni chose to deploy it multiple times.

Alyson McLamore

Purchase the score and performance materials: https://repertoire-explorer.musikmph.de/product/piccinni-piccini-niccolo-4/

All audio previews for this series (Nos. I–XXII on Bandcamp; XXIII onwards on YouTube): https://www.barnabypriest.com/editing-arranging/1169742-the-periodical-overtures-in-8-parts/ https://barnabypriest.bandcamp.com/music

Notes:

[1] https://rism.online/sources/400012152.

[2] James Hepokoski and Warren Darcy, Elements of Sonata Theory: Norms, Types, and Deformations in the Late-Eighteenth-Century Sonata (Oxford: Oxford University Press, 2006), 345–6.

Niccolò Piccinni (Piccini): The Periodical Overture in 8 Parts – XX (Overture to La buona figliuola)

With this, the twentieth instalment of the Periodical Overtures in 8 Parts, we continue Bremner’s publication of overtures written by Italian composers whose music was all the rage in London towards the end of the 1760s. All 61 overtures, actually symphonies, in the complete series are being published monthly by Musikproduktion Höflich. Listen here before heading over to musikproduktion höflich to obtain your copy of the score and parts.

Announcement of the publication of Overture XX.

[The popularity of the publication of Piccinni’s overture to La buona figliuola as Periodical Overture in 8 Parts XX] is evident in the numerous keyboard arrangements published until the end of the century. A circa 1800 print by T. Williamson seems to be based directly on Bremner’s score for the full opera, since it is set in three movements with almost identical notation.[1] Others, such as the prints sold by James Aird (1785) or G. Walker (1800), were newly engraved.[2] The same is true for a 1785 arrangement made by Thomas Carter and published by John Preston, which was designed “for Two Performers on One Harpsichord or Piano Forte.”[3] A copy of Carter’s four-hand arrangement was in Jane Austen’s personal library, suggesting the ongoing appeal of the work on into the nineteenth century.[4]

It is interesting that Senex, [an anonymous] nineteenth-century magazine correspondent, had singled out Piccinni’s overture as the exemplar for the model mid-century symphony, since its second and third movements were usually performed without a break (contrary to Bremner’s three-movement structure in the keyboard reduction for his opera print). Still, Senex is correct about the overture’s other large-scale characteristics. The work is scored for the ubiquitous eight-part ensemble of two violins, viola, basso, two oboes, and two horns, and it conforms to a typical fast-slow-fast tempo plan.

The first movement, “Allegro spiritoso,” reflects Piccinni’s independence from the sonata-form domination that characterized the Mannheim compositions of the day. Its architecture is an energetic but overall rather simple ternary structure. The arpeggiated opening theme is succeeded by a second motif (m. 10) that features downbeat thirty-second-note flourishes, which is then followed by a variant of the opening arpeggiation (m. 20) in the dominant key of A major. Measured tremolos (m. 28) and a murky bass (m. 44) drive the movement toward its B section (m. 53). The dynamic level drops to piano while the violins play a lyrical theme that shares some resemblance to the measure 10 motif. Again, the build-up of tremolos and murky bass herald the shortened return (A’) of the first motif and the tonic D major (m. 84).

Piccinni uses several similar strategies for the “Andante” movement, including a ternary form. The movement opens in the parallel key of D minor, scored only for strings, and after a disjunct opening measure, the A melody descends an octave by means of staccato eighth notes. The central B section (m. 9) initially repeats the first theme—now in the relative key of F major—but when the key shifts to g minor (m. 17), a new motif appears. It is characterized by sudden piano—forte juxtapositions, and thus it contrasts with a third motif containing frequent eighth rests, coinciding with a modulation to A major (m. 29). This is, of course, the dominant of D minor, and thus prepares listeners for the return of the opening A material in measure 39. The dynamic level then increases, retreats, and increases again as the movement pushes—without pause—toward the “Presto” finale, where the overture’s initial D major tonality is restored and the winds rejoin the ensemble.

The finale retains the same meter of the slow movement, and it again unfolds as a ternary form. This time, however, there is a clearer distinction between the themes for the A and B sections, although both are bouncy and gigue-like. The first motif moves initially in an ascending direction above “drum 8ths,” and it is set in a slightly higher register than the second theme (m. 49). The B material, in the dominant key of A major, has a primarily descending contour. The A theme and the home key of D major return in measure 63, and the lively movement concludes with a series of emphatic triple-stop chords.

[1] The British Library, g.443.p.(13).

[2] The British Library, g.1126.c.(3) and g.354.o.(2).

[3] The British Library, h.3290.aa.(4).

[4] Patrick Piggott, The Innocent Diversion: A Study of Music in the Life and Writings of Jane Austen, The Clover Hill Editions (London: D. Cleverdon, 1979), 143.

Alyson McLamore

Johann Stamitz: The Periodical Overture in 8 Parts – No. III

This is the 3rd of the Periodical Overtures in 8 Parts which are being published in conjunction with Musikproduktion Höflich.

Listen here before heading over to musikproduktion höflich to obtain the score and parts.

Johann Stamitz (1717-1759) The Periodical Overture in 8 Parts – No. III

Key: D | Movements: 3 (1) Pastorale Presto (2) Larghetto (3) Vivace: 12:07 Scoring: 2 oboes, 2 horns, 2 violins, viola, basso Originally published by Robert Bremner, London, 1763 (RISM S.4595)

Purchase the score and performance materials:

https://repertoire-explorer.musikmph.de/product-category/special-editions/periodical-overtures-edition/

From the Preface to the printed edition: In Periodical Overture No. 3, Bremner made his first major structural change to a pre-existing work: he completely eliminated the third movement—a minuet and trio—that had appeared in both the (earlier) Parisian and Amsterdam prints. In fact, Stamitz had been in the first wave of composers to add that dance to their symphonic works. Nevertheless, English audiences seem to have been slower than their continental counterparts to embrace the expansion of symphonies into the four-movement “sonata cycle” model, so Bremner arbitrarily trimmed Stamitz’s symphony by 25%, apparently to bring it more in line with British taste. Since Stamitz had died even before Huberty’s print appeared, Bremner would have been unable to seek the composer’s consent to the change, but since international copyright laws did not yet exist, it is doubtful that Bremner would have felt any need to obtain permission.

Bremner’s three-movement version of the symphony had a wide reach. In 1768, five years after its publication, records show that it was performed twice during concerts of the Edinburgh Musical Society (on 4 March and 15 July). It was played again the next year, on 17 February and 8 December; twice in 1770; again on 27 November 1778; thrice in 1781; two times in 1782; three times each in 1783 and in 1784; and once again in 1785.[1] Also in 1785, when the Moravians founded a community in Fairfield, England, Stamitz’s Periodical Overture No. 3 was among the works in their music library.[2] It may have been the unnumbered “Periodical Symphony” by Stamitz that closed the second act of a 1771 concert in Boston, Massachusetts, although Bremner had issued five other works by Stamitz before that point, any of which could have been the symphony in the concert listing.[3] The simple fact that Bremner rapidly published six Stamitz symphonies within the first year of his series also suggests that the initial issue had enjoyed strong sales. Moreover, a sticker on the British Library’s copy of the overture indicates that it had been sold at Welcker’s Musick Shop on Gerrard Street, St. Ann’s, in Soho.[4] It seems unlikely that a music retailer would carry a rival printer’s publication unless it was in high demand.

An interesting feature of Periodical Overture No. 3 is that it is a very early example of a cyclic symphony. All three of its movements incorporate a motif drawn from a Czech Christmas carol, “Nesem vám noviny,” sung in German as “Kommet, ihr Hirten” and adapted in English as “Bells Ringing in the Tower” and “Come, All Ye Shepherds.”[5] A repeated motif in the last phrase of the carol … lends its contour to various moments in the overture: in the woodwinds in ms. 10, 12, 14, and elsewhere in the first movement; in ms. 24, 25, and so forth in the “Larghetto”; and in augmentation at the start of the finale (ms. 2-3 and 6-7). Moreover, Stamitz designated the first movement as a “Pastorale Presto,” thus linking his symphony to a popular Nativity custom of writing “pastorella” works for performance in the Christmas season, often in church.[6]

Stamitz structured the quadruple-meter first movement in the pattern that James Hepokoski and Warren Darcy call a “Type II Sonata.”[7] The movement begins with a conventional exposition in D major; it transitions to the dominant A major and introduces a second theme at ms. 35 and a closing theme at ms. 47. However, when the first theme, filled with soft “drum 8ths” and a series of imitative descents, reappears in ms. 66, it is also in A major. The return to the tonic key (ms. 104) coincides with the recapitulation of the closing theme. That third theme is followed by the second theme (ms. 120) as well as an additional statement of the closing theme at ms. 132. The first theme does not return in the tonic key at all, and the movement ends at a pianissimo, reflecting its unconventionally quiet opening.[8]

Although the triple-meter “Larghetto” (in the subdominant key of G major) also starts quietly, it features numerous sudden piano—forte contrasts (and vice versa), reflecting the Mannheim taste for distinctive dynamic variety. Like the opening movement, it employs a Type II sonata pattern, this time with repeated sections in a ||: 1st theme/I – 2nd theme/V :||: 1st theme/V– 2nd theme/I :|| progression.

In contrast to the quiet openings of the first two movements, the “Vivace” in D Major begins at a vigorous forte and with a unison premier coup d’archet.[9] The finale conforms to a model sonata-form in a bouncy 6/8 meter. Richard Will suggests that this lively gigue-like conclusion supports the “glorifying and praising God” that concludes the St. Luke account of the Nativity story.[10] Even without a religious connotation, Periodical Overture No. 3 presents a well-unified yet varied listening journey.

Alyson McLamore

[1] Jenny Burchell, Polite or Commercial Concerts?: Concert Management and Orchestral Repertoire in Edinburgh, Bath, Oxford, Manchester, and Newcastle, 1730–1799, Outstanding Dissertations in Music from British Universities, ed. by John Caldwell (New York: Garland Publishing, 1996), 310–344 passim.

[2] Karl Kroeger, “An Unknown Collection of Eighteenth-Century Instrumental Music,” Fontes Artis Musicae 35, no. 4 (October–December 1988): 277, 280.

[3] O. G. Sonneck, Early Concert-Life in America (1731–1800) (Leipzig: Breitkopf & Härtel, 1907), 262.

[4] British Library, g.474.n.(3).

[5] https://www.cpdl.org/wiki/index.php/Nesem_v%C3%A1m_noviny_(Traditional); Eugene K. Wolf, The Symphonies of Johann Stamitz: A Study in the Formation of the Classic Style (Utrecht: Bohn, Scheltema & Holkema, 1981), 303.

[6] Richard Will, The Characteristic Symphony in the Age of Haydn and Beethoven, New Perspectives in Music History and Criticism (Cambridge: Cambridge University Press, 2002), 86.

[7] James Hepokoski and Warren Darcy, Elements of Sonata Theory: Norms, Types, and Deformations in the Late-Eighteenth-Century Sonata (Oxford: Oxford University Press, 2006), 353–4.

[8] Wolf, The Symphonies of Johann Stamitz, 303.

[9] David D. Boyden and Peter Walls, “Coup d’archet,” in The New Grove Dictionary of Music and Musicians, 2nd ed., ed. Stanley Sadie (London: Macmillan, 2001), Vol. 6: 579.

[10] Will, The Characteristic Symphony in the Age of Haydn and Beethoven, 90.