Joseph Bologne, Chevalier de Saint-Georges' "Overture" from L'Amant Anonyme: A Transcription for Wind Ensemble

The purpose of this dissertation was to transcribe the orchestral Overture from Joseph Bologne, Chevalier de Saint-Georges’ only opera with a surviving score, L’Amant Anonyme, for wind ensemble. Transcribing this portion of L’Amant Anonyme by a Black composer from the Classical era not only provides the opportunity to expose the wind band community to an underrepresented composer but also gives this work an additional medium to be performed in. Bologne was dubbed “Le Mozart Noir” or “Black Mozart” by French concertgoeres of the time, and the nickname has not yet disappeared. This title, whether or not intentional, pus him in the shadow of Mozart. This study will prove that Josseph Bologne is a quality composer on his own and deserves to be seen as such. Finale music notation software was used to create the transcription portion of this document. An interpretive analysis was completed of the Overture of L’Amant Anonyme to help serve as a guide throughout the transcription process when determining the orchestration for various timbral textures throughout sections, the appropriate use of percussion instruments, and aided in maintaining the structural intent of the original work. Interviews were held with Dr. Mark J. Spede and Dr. Thomas V. Fraschillo to determine what qualities made for a good transcription, as well as what qualities made for a poor transcription. The knowledge gained in these interviews directly affected the transcription process to be sure this would be a quality addition to the wind band medium. The document includes a section on the transcription process itself. Discussed are the orchestration decisions regarding inetrumentation, technical challenges and their soulutions, articulation, and orchestrating string specific harmonics and techniques. It was concluded that Joseph Bologne’s work is quality music and his a place within the modern performance contexts of the wind ensemble. This transcription will allow a new generation of musicians and concertgoers to view him as the flourishing composer that he was and not as someone else’s shadow.