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Disparate measures: Two 20th century treatments of the Paganini theme Item Type text; Dissertation-Reproduction (electronic) Authors Bernier, Kiyono Monique Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 02/10/2021 02:41:57 Link to Item http://hdl.handle.net/10150/284086 INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy suiamitted. Thus, some thesis and dissertation copies are in typewriter face, while others may t>e from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. 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Bell & Howell Informatnn and Learning 300 North Zeeb Road, Ann Art>or, Ml 48106-1346 USA 800-521-0600 DISPARATE MEASURES: TWO 20™ CENTURY TREATMENTS OF THE PAGANINI THEME by Kiyono Monique Bemier Copyright © Kiyono Monique Bemier 2000 A Document Submitted to the Faculty of the SCHOOL OF MUSIC AND DANCE In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS WITH A MAJOR IN MUSIC In the Graduate College THE UNIVERSITY OF ARIZONA 2000 UMI Number 9965861 Copyright 2000 by Bemier, Kiyono Monique All rights reserved. UMII® UMI Microform9965861 Copyright 2000 by Bell & Howell Infonmation and Learning Company. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. Bell & Howell Information and Learning Company 300 North Zeeb Road P.O. Box 1346 Ann Art}or, Ml 48106-1346 2 THE UNIVERSITY OF ARIZONA » GRADUATE COLLEGE As members of the Final Examination Committee, we certify that we have read the Kiyono Monique Bernier document prepared by entitled Disparate Measures: Two 20th Century Treatments of the Paganini Theme and recommend that it be accepted as fulfilling the requirements for the Degree Doctor of Musical Arts of /Âhr^turo Paula Date L XOOO ^ Nicholas Zu, Date ix ' ix)t Rex A. Woods Date Date Date Final approval and acceptance of this document is contingent upon the candidate's submission of the final copy of the document to the Graduate College. 1 hereby certify that I have read this document prepared under my direction and recommend that it be accepted as fulfilling the requirement. Director Nicholas Z>imbro Date 3 STATEMENT BY AUTHOR This document has been submitted in partial fulfillment of requirements for an advanced degree at The University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library. Brief quotations from this document are allowable without special permission, provided that accurate acknowledgment of source is made. Requests for permission for extended quotation from or reproduction of this manuscript in whole or part may be granted by the copyright holder. SIGNEKL 4 Acknowledgements I would like to acknowledge Dr. Paula Fan, Professor Nicholas Zumbro, and Dr. Rex Woods for inspiring me; for reading my paper for countless hours; and for giving me encouragement during difficult times. I also would like to acknowledge Charles King, the music librarian at the University of Arizona for assisting me with my research. I also would like to thank Dr. Edward Murphy for his support and for his insight. 5 Dedication To my mother, Saeko Amy Miyagi Bemier, to my father, Robert Arnold Bemier, to my brother, Briand Shintoku Bemier, and to my husband, Christopher Michael Marion. To my family in Okinawa, Japan: Uncle Shinmei Miyagi, Aunt Kazuko Miyagi, and Aunt Estuko Miyagi. To Lauro Alba. To my grandfather, Shintoku Miyagi and to my grandmother Kame Miyagi. To Professor Marian Kerr and Professor Edward Shipwright. To my piano students and their family in Tucson, Arizona. To my best friends: Dr. Kim Hayashi, Matthew Rinaldi, Caroline Liebert, Tamara Stephens, Yoon Ju Lee, Jisun Lee, Elizabeth Zacharias, Mark McArthur, Ingrid Barancoski, and Raymond Ryder. 6 TABLE OF CONTENTS LIST OF TABLES 7 ABSTRACT 8 CHAPTER 1: MUSICAL AND HISTORICAL BACKGROUND The Theme and Variation Fonn 9 Origins 9 Development through the Nineteenth Century 15 Development through the Twentieth Century 21 Paganini's Twenty-Four Caprices, Op. 1 22 Niccolo Paganini 22 Twenty-Four Caprices, Op. I No. 24 26 Influence on Other Composers 29 CHAPTER 2: PAGANINI- VARIATIONER FOR KLAVER Niels Viggo Bentzon 34 Descriptive Analysis of Paganini — Variationer for Klaver 37 Compositional Process 38 CHAPTER 3: DESPERA TE MEASURES Robert Muczynski 62 Descriptive Analysis of Muczynski's Desperate Measures 65 Compositional Process 65 CONCLUSION 95 APPENDIX A: PERMISSIONS 103 APPENDIX B: TABLES FOR BENTZON 106 APPENDIX C: TABLES FOR MUCZYNSKI 108 APPENDIX D: CORRESPONDANCE 110 REFERENCES Ill 7 LIST OF TABLES TABLE 1, Overview of Bentzon's Variationer for klaver 106 TABLE 2, Overview of Muczynski's Desperate Measures 108 8 ABSTRACT This study investigates the significance of the Paganini theme and variation sets composed by two living composers, Neils Viggo Bentzon and Robert Muczynski. The popularity of the theme and variation form gradually spread to the keyboard repertoire first as entertairunent for both courtly and bourgeois audiences, and later as a means of technical display for performing piano virtuosi. Paganini's twenty-fourth Caprice from Op.l for solo violin is the basis for sets of variations for solo piano by three major pianist-composers: Liszt, Brahms, and Busoni. Bentzon and Muczynski follow in this tradition, constructing their variations on the Paganini theme as a showcase of their individual compositional language and skill. The body of the document will be a discussion of their contrasting treatments of the immortal theme as demonstrated through their choices of melody, sonority, texture, rhythm, register, and form. Bentzon's and Muczynski's theme and variation sets constitute compositional achievements in piano literature that deserve a place alongside previous outstanding models that are an important part of the standard repertory. 9 CHAPTER 1: MUSICAL AND HISTORICAL BACKGROUND The Origins of Theme and Variation Form Variation is a technique of "modifying a given musical idea, usually after its first appearance, a form based on a series of such modifications." ' Variation is one of the most basic and essential of musical techniques and is widely distributed, for example, in the music of South Asia, Southeast Asia, and Afiica. ^ However, this study focuses on the form in the context of Western art music in which the term commonly means elaboration of melody or accompaniment. ^ The history of the variation proper began in Italy and Spain in the early 16"* century and developed from the practice of repeating a strain of dance music several times, retaining the bass and varying the upper line(s). ^ The origins of variation form for the keyboard can be traced back to the sixteenth century. ^ English virginalists such as William Byrd, John Bull, and Orlando Gibbons contributed much to this repertory. ^ Their works are contained in collections such as the Parthenia and the Fitzwilliam Virginal Book, consisting primarily of dances ' Elaine Sisman, Columbia University (Chaconne, Ground, Ostinato, Passacaglia, Strophic Variations, Variation) The New Harvard Dictionary of Music edited by Don Randel. 1986 President and Fellows of Harvard College, pg. 902 - 907. Îbid., 902. ^Fbid., 902. Mbid., 904. Îbid., 905. 10 (mainly pavanes and galliards), variations, preludes, and fantasias. ^ Through their compositional techniques, entirely independent of the Franco-Flemish polyphony of the time, they developed a style of their own that was entirely idiomatic to the nature and sonority of the keyboard instruments.* The greatest interest usually lay in the treble. ' Even when a cantus firmus was used, the result would be a continuous elaboration of figuration, as opposed to the contrapuntal style that was common at the time.'" Technical displays such as velocity, brilliance, highly rhythmic figuration, as well as abrupt differences in touch and expression were prominent features of their art. '' Their works show the use of variation technique as a means of musical extension. In dance variations, form was increased or decreased so that the number of variations suited the needs of a shorter or a longer dance. This style of writing continued to be pursued and developed by Frescobaldi, Froberger, Chambonnieres, Pachelbel, and many others. As more and more complexities were introduced, the idea of progressive variation 'Paul Henry Lang Music in Western Civilization (New York: W. W. Norton, 1941), 289-290. 'Ibid. Mbid. 'Ibid. '"Ibid. "Ibid. 'Îbid. 'Îbid. 'Îbid. II developed. Whether such works were designed for pedagogical purposes or simply for technical display, there exists in them a clear connection to the later development of the concert etude of the nineteenth century. As the Baroque era approached, variations continued to flourish and were often based on a cantus firmus, an ostinato, or a recurring harmonic progression.

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