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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

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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.

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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 Haugs daughter, Ms. Martine Haug, for her generosity in providing
me the permissions to view Haugs unpublished catalogue of scores from the Catalogue du
Fonds at the Bibliothque 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 Bibliothque 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 Haugs 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 MusicA Nineteenth-Century context .................................19

The Guitar in Chamber MusicTwentieth Century ...................................................23
Towards a Second Viennese Guitar School .............................................................28
Haugs Solo Works: Evolution of Style and the Influence of Andrs 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 Flte 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

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 tude: Rondo Fantastico, measures 45-47 ............................................................................38
3.4 Toccata (from Prelude, Tiento, Toccata), measures 1-2 ...................................................38
3.5 Example of Haugs Harmony of Gravitation by Michel Rochat .......................................39
3.6 tude: 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 Flte et Guitar: Srnade LInconnue (manuscript), measures 81-86 ...57
4.7 Capriccio pour Flte et Guitar: Srnade LInconnue (score), measures 84-87 ............57
4.8 Capriccio pour Flte et Guitar: Srnade LInconnue (manuscript), measures 82-88 ...58
4.9 Capriccio pour Flte et Guitar: Prelude (score), measures 1-2 .........................................59
4.10 Capriccio pour Flte et Guitar: Prelude (score), measures 8-11 .......................................60
4.11 Capriccio pour Flte et Guitar: Prelude (score), measures 26-31 .....................................61
4.12 Capriccio pour Flte et Guitar: Gigue (score), measures 19-23 ........................................65
4.13 Capriccio pour Flte et Guitar: Gigue (score), measures 14-18 ........................................66
4.14 Capriccio pour Flte et Guitar: Gigue (score), measures 198-202 ....................................70
4.15 Capriccio pour Flte 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 Haugs 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 Haugs 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 Flte et Guitare (1963). The analysis draws from his treatment of
tonality which he incorporated into his melodic and harmonic texturesa 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
Haugs early musical training included studies on organ at the protestant church of Chtillens, a
town northeast of Lausanne, but doesnt 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 Zrich, 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 Busonis
residency in Switzerland continued his close connection to Egon Petri, Haugs 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 dpose la Bibliothque cantonale et universitaire de Lausanne, 1968 (Lausanne: Bibliothque 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 Brben publication of Haugs solo guitar works (Gilardino, 2003) and the
Italian treatise on Hans Haug by Alonso DAvino in 2004.
2
Matthey, Catalogues du Fonds, 5. DAvino, 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 DAvino, 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.

teacher and mentor. Petri assisted in the editing of many of Busonis solo piano transcriptions of
Johann Sebastian Bach, projects which took place during the time Haug was his pupil from 1917
to 1920.
In Zrich, 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 Haugs compositions were reviewed by Busoni, but its clear
that his association with Busoni, through Egon Petri is significant in Haugs early development
as a musician.
Beyond these classes, Busonis highly influential Entwurfeiner neuen Aesthetik der
Tonkunst (Outline of a New Aesthetic) of 19075 parallels aspects of Haugs published views on
music and the artistic process in his Fr Feinde klassischer Musik (Enemies for Classical Music)
which was published in 1941.6 Even though the intended audience for Haugs book is the
average music listener, there are quite a few aesthetic similarities between these two writings,
which link both artists and inevitably illustrate Busonis influence on Haugs musical persona.
Busonis 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 Busonis view of art was open-ended, he still had very strong dualistic opinions on
good and bad music. Even with Busonis 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,

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, Fr Feinde klassischer Musik: Zehn Radioplaudereien (Basel: Verlag Gaiser & Haldimann, 1941).
7
Couling, Ferruccio Busoni, 302-305.

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.
Busonis residence during Haugs 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 Busonis 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. Haugs 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 Martins Quatre Pices Brves 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 Haugs 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, Fr Feinde klassischer Musik, 78.

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 Busonis return to Germany at the Hochschule in 1919, as
well as Egon Petris 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 Haugs 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.

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.
Courvoisiers 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 Courvoisiers solo violin
compositions as well as Regers 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 Haugs 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.

By the early 1920s, Schoenberg and his circles 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 Fr 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 Telemanns 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 Haugs 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, Fr Feinde klassischer Musik, 70-75.

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 Mattheys catalogue, Haugs 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 Haugs 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 dalto et
quatuor 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 Bchner (1813-1837).
Haugs interest in text setting for art song also included historical poets including texts by the minnesinger Walther
von der Vogelweide (ca. 1170- ca. 1230).

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 unraveledthe 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 mens and
womens 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
Haugs 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

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 Switzerlands other chief languages (German, Italian) and regional dialects with
stations broadcasting in German out of Basel, Bern, and Zrich, 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. Haugs 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.

enhance the spiritual growth of humanity through music. In his treatise, Fr Feinde Klassischer
Musik (1941), he would emulate this in writing to his audience,
Vergessen wir nur eines nicht: Musik ist nicht nur zur Betubung und
Unterhaltung da. Und wir haben in unserem Lande nicht nur uber die Sicherheit
materieller Dinge zu wachen, wir haben auch fr die Erhaltung geistiger Werte Sorge zu
tragen.
Die Schnheit und das Erhabene sind an keine Landesgrenzen gebunden, Jeder
denkende und jeder fhlende Mensch hat ein Recht auf beides. Musik ist fr 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 letranger 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 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, Fr 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 Societ 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 Zrich in 1938.21 It isnt noted whether Haug and Ansermet left on bad
21

Schuh, Schweizer Musikbuch, 268.

11

terms but Haugs new position in Zrich served him very well as evidenced by the number of
premieres of his compositions in that city after 1938. Zrich was one of the largest centers of
musical development in Switzerland, and this newly-found position attests to Haugs strong
reputation as a musical director.
From this point after his arrival in Zrich, Haugs 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 Zrich 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 Fr 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 Frre 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
musics 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, Fr Feinde klassischer Musik, 35-36.

Ibid., 35.

12

consciousness, a.k.a. inspiration.24 He went even further to say that he didnt 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 ( 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. Haugs 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, Fr Feinde klassischer Musik, 71-73.

Ibid., 75.

13

with placing new wine in old barrels.26 Haugs 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 Haugs view on music in his words, he doesnt 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 Zrich
throughout the late forties. It is unknown why he left Zrich 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 Haugs final place of musical production as a
musical director, composer, and teacher.
The Lausanne Choir under Haugs 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 Bachs 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
arrangerquite 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 Switzerlands 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 Anne 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 (Gnrique, Juin, Juillet, Aot, Septembre, Octobre).
29

This photo was provided by permission of Michel Rochat. From left to right: Hans Haug, Madeleine Vivot, Jean
Kolla, 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 Haugs 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 Bibliothque 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 Haugs 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,
Dvok, and Tchaikovsky, who left not only an indelible mark on her as a student but was
singled out by Haugs fondness for such models.32 This letter, written to Matthey for the
catalogue of Haugs 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 Haugs
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 Haugs 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 Offenbachpieces 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 Andrs Segovia.
This led to the beginnings of Haugs 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 instruments 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. Its 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 Giulianis 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 Schuberts 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 Kffner (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: Schlesingersche 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. Sors
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. Sors
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), Napolon Coste (1805-1883), and
Franois 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 Zrich 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 Zrich.
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 Ngeli (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 Sors 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. Switzerlands main musical culture rested in the
choral and orchestral world in art music along with horn choirs, Lndler bands, and Alpine
horn choirs amongst the popular styles. Only a few guitarist-composers make reference to
Swiss regions, like Napolon Costes 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 Switzerlands 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 (Zrich: Fondation Suisse de la Culture Pro Helvetia, 1984), 11.
Luise Marretta-Schr, "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 didnt 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 Haugs
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 Mahlers 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 Viennas 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 Schoenbergs 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 Schoenbergs earlier usage of serial technique. The reduced instrumentation of
the Serenade from Weberns 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 Mahlers 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, Andrs 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. Segovias 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 Rodrigos
(1901-1999) Concierto dAranjuez, 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 Segovias
papers, some of Haugs 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. Haugs 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) whos work
Sexteto Mstico (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 fr 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 Alberts 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 composers 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 composers work by making minimal
changes only when technically neccessary. Unfortunately, many of Scheits editiorial decisions
of a given work didnt 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 Orphe,

http://www.guitarandluteissues.com/morris/heinrich.html, (accessed January 21, 2011).

28

chamber setting, Scheit also compiled a complete technique manual featuring all of Tarregas
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
Tarregas scales in his compilation. Later editions of Scheits, like this particular example,
provided editorial changes only when technically necessary. Scheits 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 Jos de Azpiazu (1912-1986), a close student of
Segovia based in Zrich, 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 Martins Quatre Pices
Brves, originally written for Segovia in 1933, Hermann Leeb provided an early 1938
performing edition of Martins work before Azpiazu and Scheit provided later versions resulting
in the first printed edition of the Quatre Pices Brves with Universal Editions in Vienna in
1955.45 Leeb was also responsible for an early recording of Fernande Peyrots 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, Martins 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 Zrich 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
Haugs chamber music with guitar. Laureate of the 1961 Concours International de Guitare" in
Paris, Ragossnig followed with Scheits 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 Haugs Capriccio for Flute and Guitar (see Chapter Four).
Ragossnigs 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 Jos 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, Andrs 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 Haugs 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 Andrs Segovia. in A Swiss Homage to Andrs 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 nont assez fait do-do (C.
dOrlans), for Tenor, and guitar (1947), and the Pomes de la mort (F. Villon) for Tenor, clarinet, and three electric
guitars (196971). Willy Burkhard, a student of Courvoisier in Munich with Haug, wrote his Srnade, 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 Andrs Segovia, whose artistry and
persona was Haugs main reason to begin to write concert work s for solo guitar. By viewing the
output of the solo guitar material, the textures of Haugs 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 Haugs musical style should therefore be viewed objectively through the
published output surrounding Haugs guitar works. Haugs 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 Haugs compositional style.
2.4: Haugs Solo Works: Evolution of Style and the Influence of Andrs 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 Andrs 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
Andrs 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 Haugs 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 Andrs Segovia: Works by Martin, Gagnebin, Haug and
Widmer, (Cadenza-Records CAD 800905, 1996), compact disc.

31

competition guidelines, Segovia performed Tansmans winning composition, and Schott

published the work in 1952. Unfortunately, Segovia and the competition jury never follow
through with their promise on Haugs 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 Jos de Azpiazu, Luise Walker, and later, Konrad Ragossnig. It is
through these guitarists, in addition to Segovia, that we can view Haugs relationships with
performers his compositions, especially the concert chamber works, not the narrower view of a
Segoviana guitar composer.
In addition to Segovias 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 instruments
freedoms and limitations were aided to Azpiazus tuition. We should view however Azpiazus
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, Haugs maturity as a
composer and understanding of the instruments unique complexities in terms of harmony,
melody, and texture had matured. If we assume Haugs 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 Haugs 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 Andrs Segovia, 24.
52
Ibid, 7-8. This information was supplied to Mr. Jonkers for his recording by Maria Azpiazu, who provided Mr.
Azpiazus 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 Documentacin Musical Casa Museo Andrs
Segovia, otherwise known as the Segovia archive. Haugs 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 Segovias 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:

Matre 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 tude: Rondo Fantastico of 1955 and the
Passacaglia of 1956 were found along Segovias many unperformed manuscripts in 2001, now
housed at the Centro de Documentacin Musical Casa Museo Andrs 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 Haugs variety of style and show an evolving
53

Gilardino states chronology of events of first publication of Alba in the 2003 publication of Haugs solo guitar
music. See Hans Haug, Hans Haug: The Complete Works for Solo Guitar, ed. Angelo Gilardino and Luigi Biscaldi
(Ancona: Edizioni Musicali Brben, 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, Segovias 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 Concertinos 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
Segovias trust in Haugs 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 canvaswider 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 Haugs 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 Haugs 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 tude: 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 Haugs 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 Haugs teaching at the Lausanne Conservatory. The contributions by
composer/conductor Michel Rochat to Haugs 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, Haugs usage of these aspects
(the use of phrygian mode and cadential figures) exemplify his awareness of Segovias
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 Haugs 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 Brben, 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
Haugs 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 Haugs 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 Brben, 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 Haugs 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: tude: 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,
tude:Rondo Fantastico (Ancona: Edizioni Musicali Brben, 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 Brben, 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 tude: 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 Haugs
guitar writing. Furthermore, the awareness of this triadic shape exemplifies Haugs 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 Haugs 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 Haugs 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 lgie 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 tude: 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 Haugs 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: tude: 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 Haugs 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, tude:
Rondo Fantastico (Ancona: Edizioni Musicali Brben, 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 (Srnade a LInconnue), 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 lgie 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 Brben, 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 Haugs 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 Haugs 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
isnt 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. Walkers 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 Fantasias compositional fabric is connected to many of Haugs 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: Jos de Azpiazu, Hermann Leeb, Alexandre Tansman, Luise Walker, Henri Gagnebin,
Andrs Segovia, Hans Haug. Photo found in Han Jonkers, A Swiss Homage to Andrs Segovia, 15. Also available
online. See Han Jonkers, Pubications-CD Booklets: A Swiss Homage to Andrs 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 doesnt 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 Brben, 1973), 3.

47

The melodic contours of the Ballade (marked as a Chant dun 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. Bibliothque
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 Haugs usage of harmony as a textural development
in a composition. One of the defining aspects of Haugs 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 Debussys
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 Haugs
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 Haugs
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.
Bibliothque 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 Haugs
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. Bibliothque
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 Martins 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
Martins Early Development, The Musical Times, Vol. 131, No. 1771 (Sep., 1990), 473-478. Although flawed in
his views of the Quatre Pices Brves stylistically (he viewed work as being a mishmash of serial/dodecaphonic
style with Spanish leanings. Martins language takes greater borrowings from French Baroque style than anything
inherently Spanish), but the article however does provides a strong overview of Martins early development which
shares many features in Haugs 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. Bibliothque
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 Brben 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 composers 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 Segovias (and many
other) editorial practices that skew compositional aspects of the composers 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
fortes 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 authors 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 doesnt 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 doesnt mean that there cant be exceptions to this aspect,
but it doesnt 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 Haugs 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 troubadours lute, where the chords are strummed to highlight
the vocal line. Block chords should be utilized when indicated to provide textural contrast
between the pi 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
guitarists 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
refrains 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 Haugs 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 Flte et Guitare.

4.2: The Capriccio pour Flte et Guitare (1963)

The Capriccio pour Flte 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 Haugs 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 authors, 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 Bibliothque 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 Flte et Guitare: Srnade LInconnue,

(manuscript), measures 81-86.72

Example 4.7: Capriccio pour Flte et Guitare: Srnade LInconnue,

(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 Flte et Guitare. Photocopy of manuscript. BCU-Lausanne, MUH 25. Bibliothque
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 Bibliothque 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 Flte et Guitare: Srnade LInconnue, 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 Haugs 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 Flte et Guitare. Photocopy of manuscript of flute part. BCU Lausanne, MUH 25.
Bibliothque 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
Bibliothque cantonale et universitaire Lausanne, Archives Musicales, and Mrs. Martine Haug.

58

rights are owned by the family heirs of Haugs 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 Srnade LInconnue (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
piecesmoody, 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
isnt 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 Flte et Guitare: Prelude (score), measures 1-2.75
75

Hans Haug, Capriccio pour Flte 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 doesnt 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 Flte 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 Flte 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. Haugs sense of melodic phrasing in his later

Example 4.11: Capriccio pour Flte et Guitare: Prelude (score), measures 26-31.77

works is rhapsodic; but, the melodic intent is of mystery and evocation.

The Srnade LInconnue 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 Srnade 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 Iberiaa 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 guitars 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 Haugs knowledge of jazz harmonization for his film scores. When the flute
77

Hans Haug, Capriccio pour Flte 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 Haugs Fr 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 Haugs internal serenade of the unknown is melodic inspirationplayful, 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 Haugs 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 Haugs 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 Haugs 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 Srnade, 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 Srnade provides the most harmonic stability throughout the work, an aspect
shared with the Ballade section of the Fantasia. The Capriccios 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 Andalucan 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 Flte 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 pi 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 Haugs 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 Flte 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 Srnade 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 Flte et Guitare: Gigue (score), measures 14-18.80

lgie 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 Flte 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 doesnt 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 Flte et Guitare. Photocopy of manuscript of flute part. BCU-Lausanne, MUH 25.
Bibliothque 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
Bibliothque 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 ensembles 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.
Ragossnigs 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-Tedescos Platero Y Yo, or the
Escarramn 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 (Escarramn) or providing a written preface to the edition (warning the performer to
make changes as necessary). Ossias provided in Mario Castelnuovo-Tedesco, Escarramn: a suite of dances from
the XVI century (after Cervantes), Op. 177, edited by Angelo Gilardino (Ancona: Edizioni Musicali Brben, 1979).
See Forward in Mario Castelnuovo-Tedesco, Platero Y Yo, edited by Angelo Gilardino, Vol. 1-4 (Ancona: Edizioni
Musicali Brben, 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. Ragossnigs 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 workno minor chord!

Example 4.14: Capriccio pour Flte et Guitare: Gigue (score), measures 198-202.83

Example 4.15: Capriccio pour Flte 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 Flte et Guitare. Photocopy of manuscript of flute part. BCU Lausanne, MUH 25.
Bibliothque 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
Bibliothque 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 Haugs 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 Haugs
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 Haugs 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
dArchives 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 Haugs 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 DIndy. 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 lgie
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 Haugs 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 Mattheys 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 Bibliothque 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 Haugs 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
Bibliothque 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 timeeffort 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 Franois 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, Haugs 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 disparat
Suite Enfantine
Hoffmans Erzaehlungen
Hoelle auf Erden

Title
Aria
Improvisation
Vision de Hellade
Prlude et Rondo
lgie Pastorale
Aubade

Title
Concertino pour flte
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. Brben, 1976
Ancona: Ed. Brben, 1986.
Ancona: Ed. Brben, 1970.
Ancona: Ed. Brben, 1970.
Ancona: Ed. Brben, 1970
Ancona: Ed. Brben, 1973.
Paris: Max Eschig, 1967.
Ancona: Ed. Brben, 2003.

ORCHESTRAL WORKS
Instrument
Publisher/Date
Orchestra
Geneva: Societ dditions 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
Zrich: 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
LIndifferent (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.
Mens Choir/2 fl/2 Basel: Ernst Vogel, 1937.
ob/2 trpt/perc.

Title
Madrisa
Tartuffe
Der Unsterbliche Kranke
Orphe
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 Molire in Two
Acts
Comic Opera after Molire
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

Chre Madame,
premirement je suis dsole pour le retard vous rpondre, mais je
n'tais pas proche d'un e-mail depuis 2 semaines.

Je souhaite, bien sr, accepter la demande de M. Foster concernant

les oeuvres de mon pre. Ma seule question est l'effet de leur
utilisation et s'il y un lien faire avec la Suisa concernant les
droits d'auteur. Je comprends qu'il n'est pas question de droits et
n'ai aucun problme avec cela. Auriez-vous la gentillesse de m'
informer?

Bien 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 Brtsch,
Ein amerikanischer Wissenschaftler mchte Auszge aus Notenmanuskripten des
Schweizer Komponisten Hans Haug (noch geschtzt), dessen Nachlass wir im Musikarchiv der
BCU Lausanne verwalten, verffentlichen. Ich habe von der Enkeltochter von Hans Haug eine
Genehmigung erhalten, die gewnschten Noten zur Verfgung zu stellen, aber Sie stellt sich die
Frage, ob fr die Verffentlichung der Noten (in Ausschnitten) eine Vergtung an die SUISA
bezahlt werden muss. (s. untenstehendes mail).
Meines Wissens fllt eine Verffenlichung von Werkauszgen fr den
wissenschaftlichen Gebrauch unter die Schranke Zitate, aber ich mchte Frau Haug keine falsche
Auskunft erteilen. Knnten Sie mir mitteilen, wie sich das Musikarchiv bzw. der betroffene
Forscher korrekt zu verhalten hat? (wre dann gleich ein Przedenzfall fr unser Archiv).

Mit herzlichem Dank und freundlichen Grssen

Verena Monnier

80

Date : Tue, 1 Mar 2011 10:40:30 +0100

De : Bernhard Wittweiler
Pour : Verena Monnier
Copie : Hansruedi Bruetsch
Sehr geehrte Frau Monnier
Herr Brtsch hat Ihre Anfrage an mich zur Beantwortung weitergeleitet.
Wenn ein Wissenschafter Auszge aus Notenmanuskripten in einer wissenschaftlichen
Arbeit verffentlicht, kann das nach Schweizer Rechtsauffassung durchaus unter das Zitatrecht
fallen. Die Auszge drfen nur kurz sein und mssen der Erluterung der Aussage im
wissenschaftlichen Text dienen. Ausserdem muss die Quelle angegeben werden. Zitiert werden
darf ohne eine Entschdigung bezahlen zu mssen. Dies ist die Schweizer Rechtslage.

Wenn Herr Foster in den USA verffentlicht, 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 ausdrcklichen (am
besten schriftlichen) Erlaubnis bedarf.

Noch ein Hinweis zu einer Bemerkung von Frau Martine Haug: Selbst wenn in einem
konkreten Fall fr den Abdruck von Noten(-auszgen) eine Entschdigung geschuldet wre,
wre 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 Ausknfte helfen Ihnen weiter.

Mit freundlichen Grssen

SUISA
Dr. Bernhard Wittweiler
Leiter Rechtsdienst

81

Contrat pour la publication de photos, dextraits de partitions et autres documents des

Archives musicales de la Bibliothque cantonale et universitaire Lausanne

Lorsque des documents consults aux archives musicales sont utiliss pour une publication la
personne soussigne sengage

faire les dmarches dautorisation de publication auprs des ayants droit

faire les dmarches dautorisation de publication auprs des auteurs des photos. Si ces
derniers ne sont pas connus la mention droits rservs peut tre utilise

remettre gratuitement un exemplaire de la publication aux archives musicales de la

Bibliothque cantonale et universitaire de Lausanne

Les photos destines la publication doivent tre numrises par le service de photographie de la
BCUL et lgendes Bibliothque cantonale et universitaire Lausanne (nom du photographe)

Les documents publis doivent tre libells Bibliothque 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: Brben 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: BRBEN 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
BRBEN 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 ditorial
Durand-Salabert-Eschig
(Universal Music Publishing Classical)
www.durand-salabert-eschig.com
16 rue des Fosss 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 Kolla, 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 Kolla,
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 dune toile work which was
created in the Thtre du Jorat in Mzires (Switzerland).
I also remembered of a very upsetting chorus conductor who, in charge of the
Choeur doratorio de Lausanne, presented the important works like the
Requiem of Verdi, which at that the time consisted of a great event.

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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

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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 dont 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

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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

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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

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SELECTED BIBLIOGRAPHY
Published Sources and Biographical Sources
Bone, Philip James. The Guitar and Mandolin: Biographies of Celebrated Players and
Composers. London: Schott & Co., 1972.
DAvino, 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. Fr Feinde klassischer Musik: Zehn Radioplaudereien. Basel: Verlag Gaiser &
Haldimann, 1941.
__________. Fantasia pour guitare et piano Digital copy of manuscript. BCU Lausanne, MUH
26. Bibliothque cantonale et universitaire de Lausanne, 1957.
__________. Capriccio pour Flte et Guitare Facsimile of manuscript score and parts. BCU
Lausanne, MUH 25. Bibliothque cantonale et universitaire de Lausanne, 1957.
__________. Capriccio pour Flte et Guitare. Paris: Editions Max Eschig, 1967.
__________. Fantasia pour guitare et piano. Ancona: Edizioni Musicali Brben, 1973.
__________. Concerto per chitarra e piccolo orchestra. Ancona: Edizioni Musicali Brben,
1976.
__________. Concertino per chitarra e piccolo orchestra: riduzione per chitarra e pianoforte.
Ancona: Edizioni Musicali Brben, 1987.
__________. Hans Haug: The Complete Works for Solo Guitar. Edited by Angelo Gilardino and
Luigi Biscaldi, and Allan Clive Jones. Ancona: Edizioni Musicali Brben, 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 Andrs Segovia. In A Swiss Homage to Andrs
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 luvre de Hans Haug (Lausanne :
Bibliotheque Cantonale et Universitaire), 1970.
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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. Zrich: Atlantis Verlag, 1939.
Schuh, Willi. Schweizer Musiker-Lexikon, 1964. Zrich: Atlantis Verlag, 1964.
Steinbeck, Hans. Schweizer Musik auf Schallplatten / Musique suisse sur disques / Swiss Music
on Records. Zrich: 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.
Halsz, Franz, and Dbora Halsz. 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, Franois. Nocturne: Music of Head, Haug, and Hetu. [U.S.A]: Franois Fowler, 2005.
Compact disc recording. (Prelude, Tiento, Toccata)
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Gilardino, Angelo. Angelo Gilardino plays Haug, Wissmer, Duarte, Tansman, Berkeley. Italy :
Brben, 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, Andrs. Andrs 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: Communaut 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.
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Marescotti, Andr-Franois, et al. Deuxi e concert carougeois. Schweizer Komponisten.

Lausanne, Suisse : Communaut 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 Zrich Festival. The Musical Times, Vol. 101, No.
1410 (Aug., 1960), 504-507.
Jos 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.

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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 Reichs Electric Counterpoint and the
American premiere of Stephen Dodgsons 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 Haydns 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