Florida International University FIU Digital Commons FIU Electronic eses and Dissertations University Graduate School 7-19-2011 Piano Recital (60 minutes): Extended Program Notes Jelena Djukic Florida International University, [email protected]Follow this and additional works at: hp://digitalcommons.fiu.edu/etd is work is brought to you for free and open access by the University Graduate School at FIU Digital Commons. It has been accepted for inclusion in FIU Electronic eses and Dissertations by an authorized administrator of FIU Digital Commons. For more information, please contact dcc@fiu.edu. Recommended Citation Djukic, Jelena, "Piano Recital (60 minutes): Extended Program Notes" (2011). FIU Electronic eses and Dissertations. Paper 464. hp://digitalcommons.fiu.edu/etd/464
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Florida International UniversityFIU Digital Commons
FIU Electronic Theses and Dissertations University Graduate School
7-19-2011
Piano Recital (60 minutes): Extended ProgramNotesJelena DjukicFlorida International University, [email protected]
Follow this and additional works at: http://digitalcommons.fiu.edu/etd
This work is brought to you for free and open access by the University Graduate School at FIU Digital Commons. It has been accepted for inclusion inFIU Electronic Theses and Dissertations by an authorized administrator of FIU Digital Commons. For more information, please contact [email protected].
Recommended CitationDjukic, Jelena, "Piano Recital (60 minutes): Extended Program Notes" (2011). FIU Electronic Theses and Dissertations. Paper 464.http://digitalcommons.fiu.edu/etd/464
PIANO RECITAL (60 MINUTES): EXTENDED PROGRAM NOTES
A thesis submitted in partial fulfillment of
the requirements for the degree of
MASTER OF MUSIC
by
Jelena Djukic
2011
ii
To: Dean Brian Schriner College of Architecture and Arts
This thesis, written by Jelena Djukic, and entitled Piano Recital (60 minutes): Extended Program Notes, having been approved in respect to style and intellectual content, is referred to you for judgment.
We have read this dissertation and recommend that it be approved.
_______________________________________ Robert Dundas
_______________________________________ Joel Galand
_______________________________________ Jose R. Lopez, Major Professor
Date of Defense: July 19, 2011
The dissertation of Jelena Djukic is approved.
_______________________________________ Dean Brian Schriner
College of Architecture and Arts
_______________________________________ Dean Lakshmi N. Reddi
University Graduate School
Florida International University, 2011
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ABSTRACT OF THESIS
EXTENDED PROGRAM NOTES FOR THESIS PIANO RECITAL
by
Jelena Djukic
Florida International University, 2011
Miami, Florida
Professor Jose R. Lopez, Major Professor
This Master’s Thesis Recital, recorded on the accompanying compact disc,
contains music written by composers from five different stylistic epochs: Baroque,
Classical, Romantic, Impressionist, and Modern (twentieth century). The diversity of
pieces allowed me to present different compositional methods, structural forms, and
individual composers’ styles. These program notes provide historical and biographical
background, analyses, and musical examples for each piece.
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TABLE OF CONTENTS CHAPTER PAGE I. Johann Sebastian Bach: Chorale from the Cantata No.147 (Jesu, Joy of Man’s Desiring) …………………………………………………………………………………..1 II. Ludwig van Beethoven: Piano Sonata No. 21 in C major, Op.53 (Waldstein) ……...6
III. Frederic Chopin: Etude in A minor, Op.25, No.11 (Winter Wind)……………...…..19 IV. Claude Debussy: Images, Book 1 – I, Reflets dans l’Eau.……………..…………..23 V. Manuel de Falla: Ritual Fire dance………………………………………………......27
VI. Mana-Zucca: Cuban Dance Op.136………………………………………………....30 VII. Franz Liszt: Spanish Rhapsody…………………………….……………………….32 BIBLIOGRAPHY…………………………………………………...…………………..37
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LIST OF FIGURES
FIGURE PAGE 1. Figure 1. Bach: Chorale from the Cantata No.147: Chorale theme, tenor (mm. 9–13)………………………………………………………………………………………....3 2. Figure 2. Bach: Chorale from the Cantata No.147: Chorale theme, soprano (mm. 24–27)………………………………………………………………………………………....3 3. Figure 3.Bach: Chorale from the Cantata No.147: The main theme in C major (mm.46–48)………………………………………………………………………………..4 4. Figure 4. Beethoven: Sonata Op.53. First theme group (mm.1–7)……….……………8 5. Figure 5. Beethoven: Sonata Op.53. (m.22)…………………….……………………...8 6. Figure 6. Beethoven: Sonata Op.53. The second theme group (mm.34–42)…………...9 7. Figure 7. Beethoven: Sonata Op.53. Quick rhythmical changing (mm. 56–59)………9 8. Figure 8. Beethoven: Sonata Op.53. Transition (mm. 74–76)………………….…….10 9. Figure 9. Beethoven: Sonata Op.53 .Facsimile of Beethoven’s autograph (mm. 105-108) ………………………………………………………………………......11 10. Figure 10. Beethoven: Sonata Op.53. Example of the first edition, mm.95–120…...12 11. Figure 11. Beethoven: Sonata Op.53- The second theme group (mm. 196–203)…...12 12. Figure 12. Beethoven: Sonata Op.53, 2nd movt.: Opening theme (mm.1–4)………14 13. Figure 13. Felix Salzer: Structural Hearing .Graph of mm. 1–9 of the “Introduzione.”…………………………………………………………………………………..14 14. Figure 14. Beethoven: Sonata Op.53. Finale: Opening theme (mm.1–6)……………15 15. Figure 15. Beethoven: Sonata Op.53. Finale: B section (mm.79–82)…………….…17 16. Figure 16. Beethoven: Sonata Op.53. Finale: Excerpt from Coda (mm 402–406)….18 17. Figure 17. Chopin: Etude in A minor, Op.25 No.11. Introduction (mm. 1–4)……...20 18. Figure 18. Chopin: Etude Op. 25, No. 11. Plan of A section……………………...20
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19. Figure 19. Chopin: Etude in A minor, Op.25, No.11. The beginning of the A section (mm.5– 6)……………………………………. ……………………………..…..21 20. Figure 20. Chopin: Etude Op. 25, No. 11. Excerpt from Coda (mm. 89–90)….….22 21. Figure 21: Debussy: “Reflets dans l’eau,” Pentatonic fragments…………………....25 22. Figure 22: Debussy: “Reflets dans l’eau,’ Whole-tone fragments…..………………26 23. Figure 23. de Falla: Ritual Fire dance: The melody-entrance (mm.24–27)………....28 24. Figure 24. de Falla: Ritual Fire Dance: Part of the Coda (mm.245–248)…………....29 25. Figure 25. de Falla: Ritual Fire Dance: The last measures (mm. 269–273)………...29 26. Figure 26: Mana-Zucca: Cuban dance: The melody with thirds (mm.22–23)….…...31 27. Figure 27: Liszt: Spanish Rhapsody: The end of the Introduction (m.10) …………34 28. Figure 28: Liszt: Spanish Rhapsody: The theme-La Folia (mm.12–18)…………... 35 29. Figure 29: Liszt: Spanish Rhapsody: The theme-Jota aragonesa (mm.136–143)…...35
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I. J. S. Bach: Chorale from the Cantata No.147 (Jesu, Joy of Man’s Desiring)
Johann Sebastian Bach composed over 200 cantatas, most of which fall under two main
types: church (sacred) and secular. “Bach’s cantatas were written for occasions.”1 The
cantatas were written to provide music for specific religious and local events, mainly
Lutheran Sunday and Feast Day services. Several national styles influenced them. We
notice the German influence in Bach’s contrapuntal technique and his harmonic and
motivic organization. The influence of Italy and France emerges in rhythm, form and
texture. The texts that Bach set in his cantatas were Biblical passages or contemporary
poetry, mostly allegorical. The final movement in most of Bach’s cantatas comprises a
setting of a traditional chorale melody. These settings can range from simple mostly
note-against-note four-part textures to elaborate arrangements, as in the present case. The
same melody often provides motivic material for other portions of the cantata.
The chorale “Jesu, Joy of Man’s Desiring” is the tenth and final movement from the
cantata Herz und Mund und Tat und Leben, BWV 147. Bach started composing the
cantata while he was in Weimar in 1716, but he finished it in Leipzig in 1723. There are
several modern transcriptions of the final movement. The present one is by the English
pianist, Myra Hess. Her transcription of this piece was published in 1926 for piano solo
and in 1934 for piano duet.
1 Eric Chafe, Analyzing Bach Cantatas (New York: Oxford University Press, 2000), 9.
2
The Chorale, written in G major in 4 voices, is set in a triple (9/8) meter and contains
several sections, which are charted in the following table:
m. 1 m. 9 m.17 m.24 m.32 Rit. I Chorale I Rit. II Chorale II Rit. III I I I I I→ m. 40 m. 43 m. 46 m. 49 m.52 m.60 Chorale III Rit. IV Chorale IV Rit. V Chorale V Coda/Ritornello VI V→ii ii ii →IV IV → (V) I
In the chorale sections, the theme is usually presented in just one solo, or at most, two
solo voices. Thus, the alternation between ritornello passages and chorale passages
resembles concerto form, with its juxtaposed tutti and solo sections.
The first eight measures of this chorale setting recur throughout as a ritornello.
This ritornello presents an embellished version of the chorale theme. For example, The
first three pitches of the melody, B–C–D, become (G–A–)B–(D)–C–C–(E)–D–D. The
formal structure of the ritornello is that of a parallel period (4 + 4). The antecedent phrase
ends on the dominant of G major and the consequent ends with a perfect authentic tonic
cadence. The first statement of the chorale theme (mm. 9–16) is placed in the tenor
voice. The other voices accompany the theme in a note-against-note rhythmic relation,
except for the soprano voice, which frequently incorporates eighth-note figuration based
on the ritornello. Figure 1 shows this initial entrance:
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Figure 1. Bach: Chorale from the Cantata No.147: Chorale theme, tenor (mm. 9–13)
The second ritornello (mm. 17–23) is an exact repetition of the first. The second
chorale entrance (mm. 24–31) is divided between the soprano voice (see Figure 2) and
the tenor voice (mm. 29–32).
Figure 2. Bach: Chorale from the Cantata No.147: Chorale theme, soprano (mm. 24–27)
The third ritornello (mm. 32–39) deviates from the original model by tonicizing V at the
last minute (m. 39–40). The third, partial entrance of the chorale theme (mm. 40–43)
modulates to A minor. A fourth, partial ritornello (mm. 43–45) confirms this, reaching a
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perfect authentic cadence in A. A fourth, partial chorale entrance (mm. 46–49)
modulates to C major, from which key the fifth ritornello effects a retransition to the
tonic (mm. 49–51). In mm. 46-48, both the soprano and tenor voices present the theme
forte. This is very challenging pianistically; it is difficult to play both themes clearly,
without their being obscured by the other accompanying voices.
Figure 3.Bach: Chorale from the Cantata No.147: The main theme in C major (mm.46–
48)
With the fifth chorale entrance (mm. 52–60, tenor voice), This is the only time
when Bach combines a complete statement of the chorale tune with a full restatement of
the initial ritornello. A coda (mm. 60–71) follows. Here, a passage over tonic pedal
point introduces a final complete ritornello statement.
Measures 40–52 have ritornello and chorale statements with large-scale V–ii–IV plan (for
a central developmental passage) that stays between stable tonic blocks. If we take mm.
5
17–32 as a written-out, slightly varied repeat of mm. 1–17, then we have something akin
to a binary scheme:
A :|| B A I →V→ii→IV→(V) I
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II. Ludwig van Beethoven: Piano Sonata No. 21 in C major, Op.53 (Waldstein)
I-Allegro con brio
II-Introduzione (Adagio molto)
III-Rondo: Allegretto moderato
The second (middle) period of Beethoven’s compositional career (1803–1812), is when
he wrote the bulk of his most famous orchestral works and extended this symphonic ideal
to other instrumental genres. The middle period also presents Beethoven in his individual,
“heroic” style. Beethoven used a newly acquired piano for composing. He received the
piano on 6 August 1803 from the manufacturer Erard. This mark of pianos had
keyboards extending up to c4. Earlier examples extended only to f3. Characteristic
Beethoven’s keyboard compositions from this period are heightened registral and
dynamic contrasts, bold harmonic progressions, and innovations in sonata form. Of the
latter, three are especially pertinent to the “Waldstein”:
1) Composing the second theme in a key other than the expected dominant or (in the
case of minor-mode pieces) the relative major. In the “Waldstein,” the second theme
appears in E major in the exposition and in A major in the recapitulation, rather than the
more concentional G major dominant and C major tonic. E major and A major are in
mediant relationships with the tonic. Beethoven had already exploited mediant
relationships in some earlier works: the second theme is the Piano Sonata in G major,
Op. 31, no. 1, is in B major (III#), while that of the Quintet Op. 29 in C major is in A
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major (VI#). The Variations Op.34 also are largely organized around third-relations: F