DOCSLIB.ORG

William Walton and the Violin Concerto in England Between 1900 and 1940: from Elgar to Britten

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
William Walton and the Violin Concerto in England Between 1900 and 1940: from Elgar to Britten William Walton and the Violin Concerto in England between 1900 and 1940: from Elgar to Britten Paolo Petrocelli DISSERTATION.COM Boca Raton William Walton and the Violin Concerto in England between 1900 and 1940: from Elgar to Britten Copyright © 2007 Paolo Petrocelli All rights reserved. Dissertation.com Boca Raton, Florida USA • 2008 ISBN-10: 1-59942-654-4 ISBN-13: 978-1-59942-654-9 University of Rome “Sapienza” Faculty of Literature and Philosophy Undergraduate thesis in musicology WILLIAM WALTON and THE CONCERTO FOR VIOLIN IN ENGLAND BETWEEN THE 1900 AND 1940 from Elgar to Britten Candidate Paolo Petrocelli Supervisor Prof. Philip Gossett ACADEMIC YEAR 2006/2007 To William and Susana Walton I wish to thank Professor Philip Gossett, for having followed with patience and interest the various moments of writing of the thesis and for having encouraged me to discover the fascination of a completely aware musicological research. Lady Susana Walton, the Foundation William Walton, the Walton Trust, Alessandra Vinciguerra, Dmitry Tereshchenko, Maureen Murray, for the complete and cordial willingness. Hans Werner Henze, Salvatore Accardo, James Ehnes, Matthew Jones, Fenella Humphreys, for their valuable contribution. Simon Wright and Oxford University Press, for the permission to reprint documents under copyright. My family that supports my education with love and wisdom. INDEX Preface ……..................................………………………………………………………………………..1 The Concerto for Violin and Orchestra ..…………………………………………………………….2 Part One Introduction ..................................................................................................................................... 12 Charles Villiers Stanford ................................................................................................................. 15 Edward Elgar .................................................................................................................................... 21 Samuel Coleridge-Taylor ............................................................................................................... 36 Frederick Delius ............................................................................................................................... 44 Comparative compendium ............................................................................................................ 55 Part Two Introduction ..................................................................................................................................... 59 Ralph Vaughan Williams ................................................................................................................ 61 Arthur Somervell ............................................................................................................................. 68 Arnold Bax ........................................................................................................................................ 73 Benjamin Britten ............................................................................................................................... 79 Comparative compendium ............................................................................................................ 88 Part Three Introduction ..................................................................................................................................... 92 William Walton ................................................................................................................................. 93 Conclusion .............................................................................................................................................. 130 Appendix ................................................................................................................................................. 136 PREFACE The aim of this dissertation is to present a study and an historical-musicological analysis of the Concerto for Violin and Orchestra of Sir William Walton, discussing more specifically the shape of the Concerto for Violin in England between 1900 and 1940, taking in consideration the works of Charles Villiers Stanford, Edward Elgar, Samuel Coleridge-Taylor, Frederick Delius, Ralph Vaughan Williams, Arthur Somervell, Arnold Bax and Benjamin Britten. The thesis is divided in three parts: ‐ the first discusses the Concertos for Violin and Orchestra of the composers active in England between 1900 and 1920: Stanford*, Elgar, Coleridge-Taylor, Delius. ‐ the second discusses the Concertos for Violin and Orchestra of the composers active in England between 1920 and 1940: Vaughan Williams, Somervell, Bax, Britten. ‐ The third part discusses the Concerto for Violin and Orchestra of William Walton. At the beginning there is a brief digression on the shape of the Concerto for Violin and Orchestra between the XIX and XX century in Europe, aimed to provide base knowledge of the characteristics of this musical form and to initiate a comparison between the various national composing styles. Each part is introduced by means of a generic historical-musical description of England and presents, after a biographical exposition of the composers, a formal, structural, harmonic and aesthetic analysis more or less extensive of the single concerts, along with a study of the technical aspects of the performance and a reflection on the composer-performer relationship. At the end of each part a comparative compendium is presented. The first and second part are entirely developed in function of the third, that discusses exclusively and in a more detailed manner the Concerto for Violin and Orchestra of William Walton, the work that provoked the most interest in me. To conclude the introduction, in the appendix there are some unpublished quotes, gained during the research work for this dissertation, given by well-known composers, regarding some of the discussed concertos, particularly in relation to Walton's. I believe this to be a precious contribution, that enriches and completes a reflection started in the dissertation, on the purely technical aspect of music for violin of British composers in the first half of the XIX century. * Concerto in D major Op.74 (1899), last concerto for violin and orchestra of the XIX century in England. THE CONCERTO FOR VIOLIN AND ORCHESTRA On staring a musicology investigation on the Violin Concerto in England between 1900 and 1940, seems to be useful to precede some observations on the profile of this musical form in Europe between the XIX and XX century, in order to assess, with a comparative point of view , the different national styles that characterized it and the different intentions and compositional that governed it.1 The classical period, between the end of the Eighteen century and the first Nineteenth century, was a period of intense changes. The Concerto for violin was adjusted in accordance with the principles of sonata form, which gradually went to replace the baroque form of the refrain, the presence of the rondo as third movement and the double exposure was definitively affirmed. The cadences were settled and the use of continuous went disappearing; orchestral accompaniment was usually in homophonic style , providing for a lighter texture, especially in the sections of only. The melodies of the violin became more singable and the writing in the registers of the instrument was increased, this is because the improvement of technical continued to show new possibilities for the instrumental practice. Lastly, with the apparition of the modern bow from 1780, by Francois Tourte, the attention was turned to the purity of the sound and to the implementation of a sound supported; furthermore, with the introduction of a new type of chinrest, was strongly favorite the ability of the left hand and so a more complex writing. From the second half of XIX century, on the basis of typically Romantic expressions and idioms, further changes were made to the form of the concert. The form of the refrain was definitively abandoned in favour of sonata form and cyclical form, with a significant formal expansion of the first movement, especially in final codas; it was abandoned the use of double exposure. The second slow movement, initially linked to the last one and conceived as his introduction, became an independent movement. The final, incorporating national elements, could use melodies and rhythms of popular dances and sometimes be in the form of scherzo. The cadences 1 Arnaldo Bonaventura Storia del violino, dei violinisti e della musica per violino, Ed.Lampi di Stampa; Robin Stowell The Cambridge Companion to the Violin, Cambridge University Press; Mark Katz The Violin: A Research and Information Guide, Routledge; Michael Thomas Roeder A history of the concerto Amadeus Press were now an integral part of the concerto form and often were the same composers to devote themselves to the writing of these. The section of the solo , that it was increasingly characterizing as virtuoso, often accompanied the orchestral tutti; the lyrics possibilities of the violin were emphasized. During the first romantic period orchestral interventions were reduced to a minimum, while during the second half of the century was favoured a symphonic use of the orchestra. The writing, that preferred the use of minor tonalities, included the presence of chromatisms and modulations to remote tonalities through rhythmic drawings more and more complex , the frequent use of syncopated and changes of time. The
Load more

Recommended publications
  • WALTON, William Turner Piano Quartet / Violin Sonata / Toccata (M
    WALTON, William Turner Piano Quartet / Violin Sonata / Toccata (M. Jones, S.-J. Bradley, T. Lowe, A. Thwaite) Notes to performers by Matthew Jones Walton, Menuhin and ‘shifting’ performance practice The use of vibrato and audible shifts in Walton’s works, particularly the Violin Sonata, became (somewhat unexpectedly) a fascinating area of enquiry and experimentation in the process of preparing for the recording. It is useful at this stage to give some historical context to vibrato. As late as in Joseph Joachim’s treatise of 1905, the renowned violinist was clear that vibrato should be used sparingly,1 through it seems that it was in the same decade that the beginnings of ‘continuous vibrato use’ were appearing. In the 1910s Eugene Ysaÿe and Fritz Kreisler are widely credited with establishing it. Robin Stowell has suggested that this ‘new’ vibrato began to evolve partly because of the introduction of chin rests to violin set-up in the early nineteenth century.2 I suspect the evolution of the shoulder rest also played a significant role, much later, since the freedom in the left shoulder joint that is more accessible (depending on the player’s neck shape) when using a combination of chin and shoulder rest facilitates a fluid vibrato. Others point to the adoption of metal strings over gut strings as an influence. Others still suggest that violinists were beginning to copy vocal vibrato, though David Milsom has observed that the both sets of musicians developed the ‘new vibrato’ roughly simultaneously.3 Mark Katz persuasively posits the idea that much of this evolution was due to the beginning of the recording process.
    [Show full text]
  • Concertos and Six Chamber Pieces, Cover Ali the Major Pends of Szymanowski's Career and Thus Show the Composer's Stylistic Evolution
    NOTE TO USERS This reproduction is the best copy available. Udverslty of Alberta The Violln Muslc of Karol Szymanowski bv Frank Kwantat Ho O A thesis submitted to the Faculty of Graduate Studies and Research in partial fulfillment of the requirements for the degree of Master of Arts Department of Music Edmonton, Alberta Fall, 2000 Acquïsiions and Acquisitions et Biùliographic Services sentrças bibriiraphiques The author has granted a non- L'auteur a accordé une licence non exchism licence dowhg the exclusive pennettant à la National Li%,rary of Canada to Bibliothèque nationale du Canada de reprodnce, loan, distriibute or seIl reproduire, prêter, ckibuer ou copies of this thesis in microform, vendre des copies de cette thèse sous paper or electronic formats. la fmede microfichd~de reproduction sur papier ou sur format électronique. The author re- ownershq, of the L'auteur conserve la propriété du copyright in this thesis. Neither the droit d'auteur qpi protège cette thèse. thesis nor substaxitid extracts from it Ni la thése ni des extraits substantieis may be printed or othefwise de celle-ci ne doivent êeimprimés reproduced without the author's ou autrement reproduits sans son permission. autorisation. One of the most important segments of Karol Szymanowski's (1882- 1937) comparatively srnall output is the music for solo violin with piano or orchestral accumpaniment. These works. consisting of two concertos and six chamber pieces, cover ali the major pends of Szymanowski's career and thus show the composer's stylistic evolution. The works Szymanowski's early period (1896-1909) reveai his Romantic mots. while the more innovative works of the middle period (1909-1918) demonstrate his growing interest in Impressionism.
    [Show full text]
  • Multi-Percussion in the Undergraduate Percussion Curriculum Benjamin A
    University of Miami Scholarly Repository Open Access Dissertations Electronic Theses and Dissertations 2014-12 Multi-percussion in the Undergraduate Percussion Curriculum Benjamin A. Charles University of Miami, [email protected] Follow this and additional works at: http://scholarlyrepository.miami.edu/oa_dissertations Recommended Citation Charles, Benjamin A., "Multi-percussion in the Undergraduate Percussion Curriculum" (2014). Open Access Dissertations. Paper 1324. This Open access is brought to you for free and open access by the Electronic Theses and Dissertations at Scholarly Repository. It has been accepted for inclusion in Open Access Dissertations by an authorized administrator of Scholarly Repository. For more information, please contact [email protected]. ! ! UNIVERSITY OF MIAMI ! ! MULTI-PERCUSSION IN THE UNDERGRADUATE PERCUSSION CURRICULUM ! By Benjamin Andrew Charles ! A DOCTORAL ESSAY ! ! Submitted to the Faculty of the University of Miami in partial fulfillment of the requirements for the degree of Doctor of Musical Arts ! ! ! ! ! ! ! ! ! Coral Gables,! Florida ! December 2014 ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ©2014 Benjamin Andrew Charles ! All Rights Reserved UNIVERSITY! OF MIAMI ! ! A doctoral essay proposal submitted in partial fulfillment of the requirements for the degree of Doctor of Musical! Arts ! ! MULTI-PERCUSSION IN THE UNDERGRADUATE PERCUSSION CURRICULUM! ! Benjamin Andrew Charles ! ! !Approved: ! _________________________ __________________________
    [Show full text]
  • CONCERT of the MONTH by Dr Chang Tou Liang
    Sensory Classics CONCERT OF THE MONTH By Dr Chang Tou Liang Stravinsky Symphony of Psalms Walton Belshazzar’s Feast Singapore Symphony Orchestra and Choruses Conducted by Lim Yau 15 April 2011, 7.30 pm Esplanade Concert Hall Tickets available from SISTIC The Singapore Symphony Chorus celebrates its 31st year in 2011. For an ensemble more accustomed to performing the great symphonic choral works of the 18th and 19th centuries, the challenge is taking on contemporary works. “How can you call yourself a 21st century chorus if you don’t master 20th century music?” questioned its long-time Music Director Lim Yau. To this cause, he has championed 20th century choral works over the decades, leading memorable performances of music by Hindemith, Schoenberg, Poulenc, Janacek and MacMillan. This year’s offerings are however the most ambitious. The season of 1930-31 was an important one for choral music, as it was witness to the first performances of two most enduring choral works from the 20th century. Both were memorable in different ways, and here’s how: IGOR STRAVINSKY SIR WILLIAM WALTON (1882-1971) (1902-83) Symphony of Psalms Belshazzar’s Feast Composed for: Composed for: 50th anniversary of the Leeds Festival Boston Symphony Orchestra First conducted by: First conducted by: Serge Koussevitzky Sir Malcolm Sargent Setting of: Psalms No.39, 40 and 150 (in Latin) Setting of: Selections from the books of Daniel and Revelation (in English) Notable for: Stravinsky’s reaffirmation of his faith and roots in the Russian Notable for: Technicolour re-enactment
    [Show full text]
  • Nonatonic Harmonic Structures in Symphonies by Ralph Vaughan Williams and Arnold Bax Cameron Logan [email protected]
    University of Connecticut OpenCommons@UConn Doctoral Dissertations University of Connecticut Graduate School 12-2-2014 Nonatonic Harmonic Structures in Symphonies by Ralph Vaughan Williams and Arnold Bax Cameron Logan [email protected] Follow this and additional works at: https://opencommons.uconn.edu/dissertations Recommended Citation Logan, Cameron, "Nonatonic Harmonic Structures in Symphonies by Ralph Vaughan Williams and Arnold Bax" (2014). Doctoral Dissertations. 603. https://opencommons.uconn.edu/dissertations/603 i Nonatonic Harmonic Structures in Symphonies by Ralph Vaughan Williams and Arnold Bax Cameron Logan, Ph.D. University of Connecticut, 2014 This study explores the pitch structures of passages within certain works by Ralph Vaughan Williams and Arnold Bax. A methodology that employs the nonatonic collection (set class 9-12) facilitates new insights into the harmonic language of symphonies by these two composers. The nonatonic collection has received only limited attention in studies of neo-Riemannian operations and transformational theory. This study seeks to go further in exploring the nonatonic‟s potential in forming transformational networks, especially those involving familiar types of seventh chords. An analysis of the entirety of Vaughan Williams‟s Fourth Symphony serves as the exemplar for these theories, and reveals that the nonatonic collection acts as a connecting thread between seemingly disparate pitch elements throughout the work. Nonatonicism is also revealed to be a significant structuring element in passages from Vaughan Williams‟s Sixth Symphony and his Sinfonia Antartica. A review of the historical context of the symphony in Great Britain shows that the need to craft a work of intellectual depth, simultaneously original and traditional, weighed heavily on the minds of British symphonists in the early twentieth century.
    [Show full text]
  • Download Booklet
    D I F F E R E N T W O R L D Diana Galvydyte Produced and Engineered by Raphaël Mouterde Edited and Mastered by Raphaël Mouterde Recorded on December 19th - 20th Dec 2011 and January 5th - 6th 2012 at The Music Room, Champs Hill, West Sussex, UK Christopher Guild Photographs of Diana and Chris by Benjamin Harte Executive Producer for Champs Hill Records: Alexander Van Ingen VYTAUTAS BARKAUSKAS (b.1931) A DIFFERENT WORLD PARTITA FOR SOLO VIOLIN OP.12 (1967) 1 i Praeludium 0’57 2 ii Scherzo 1’35 The cult of the instrumental virtuoso dates from the early 19th century, when the 3 iii Grave 2’28 burgeoning Romantic movement started to see preternaturally gifted 4 iv Toccata 1’29 instrumentalists as a species of magician, able to conjure music out of the air as if 5 v Postludium 1’40 by magic, and move audiences to extremes of emotion and excitement by the deep EDUARDAS BALSYS (1919-1984) expressivenesss and amazing technical bravura of their playing. The archetypal 6 RAUDA (LAMENT) FOR VIOLIN AND PIANO 3’46 figure who bestowed this image on players of the violin was of course Niccolò 7 DREBULYTÈ IŠDYKÉLÈ (MISCHIEVOUS DREBULYTÈ) FOR VIOLIN AND PIANO 1’55 Paganini, but the tradition of the virtuoso violin showpiece has persisted From the ballet ‘Eglè, Queen of the Serpents (1960) throughout the 20th century and into the 21st. The present recital is devoted JOE SCHITTINO (b.1977) largely to bravura violin works from the mid-20th century onwards, and mostly to 8 POEM ‘EGLÈ’ FOR VIOLIN AND PIANO (2011) Premiere recording 10’26 those produced by composers from the Baltic region, alternating and contrasting ESA-PEKKA SALONEN (b.1958) works for unaccompanied violin with those for violin and piano.
    [Show full text]
  • GSMD Annual Viola Day 25Th October 2017 Report Guildhall School Of
    GSMD Annual Viola Day 25th October 2017 Report Guildhall School of Music and Drama held its annual Viola Day this year on Wednesday 25th October 2017, in the Silk Street Music Hall. It was a day celebrating all things viola with members of GSMD and a wonderful number of viola enthusiasts of all ages from across the country. As always, the day was packed full of events both familiar and with some new additions! Masterclasses and workshops We were delighted to welcome Jade McCarthy, a 16-year old violist originally from Bournemouth, to Guildhall where she played Glazunov’s Elegy beautifully in a masterclass with GSMD’s Head of Chamber Music Matthew Jones. German Clavijo, of the LSO and Liceu Opera Barcelona, put Guildhall students through their paces in orchestral excerpts. We were also delighted to welcome back once again Simon Rowland-Jones for a masterclass: works by Enescu, Rebecca Clarke and Hindemith were wonderfully explored. A new addition this year was a sight-reading session for all participants with LSO’s Robert Turner. Gathered in a circle, a large viola section was treated to en-mass sight-reading, getting a real feel for how it works in an orchestra section. Robert’s talk on the history, uses and techniques for sight- reading were a real eye-opener for everyone involved! We especially enjoyed the last excerpt from Star Wars – much harder than it looks on paper! Chamber music, arrangements and contemporary works As always, all the Guildhall students got involved performing viola ensemble works and arrangements, receiving coaching from Matthew Jones leading up to the day itself.
    [Show full text]
  • William Walton Three Songs (Arr 1931-2 from Façade, 1922)
    William Walton (1902-1983) Three Songs (arr 1931-2 from Façade, 1922) Daphne Through gilded trellises Fox-Trot: Old Sir Faulk After an early childhood in Oldham singing in his father's church choir, the ten year-old William Walton won a choral scholarship to Christ Church Cathedral, Oxford; he and his mother had arrived late for the auditions after his father had drunk their train fare. At Oxford he began to compose, in order, he said, to avoid having to return home. In 1918, aged 16 he was admitted to the university thanks to the support of Thomas Strong the Dean of Christ Church, but left without a degree two years later, after failing the obligatory Greek and Algebra exams three times. Much of his time had been spent in the library studying scores by Debussy, Ravel, Prokofiev and Stravinsky. At Oxford he met the Sitwell siblings Sacheverell, Osbert and Edith, who housed him in the attic of their London home, and gave him a cultural education. He met Stravinsky and Gershwin, won the praise of Alban Berg for a string quartet, and listened to jazz at the Savoy. In 1920 he went with the Sitwells to Italy, whose music and sunshine captivated the Oldham boy and inspired the music of Façade. At Façade's public premiere in 1923, Edith declaimed her verses through a megaphone from behind a screen, while Walton conducted a six-piece ensemble in what the Manchester Guardian denounced as a “relentless cacophony”. Noel Coward ostentatiously walked out. The clarinettist asked Walton “has a clarinet player ever done you an injury?”.
    [Show full text]
  • Fusions1 Fusions: Earth, Water, Wind, Fire - Y Ddaear, Dŵr, Gwynt a Thân 1
    fusions1 Fusions: Earth, Water, Wind, Fire - Y Ddaear, Dŵr, Gwynt a Thân 1. Earth 2:29 2. Water 5:04 3. Wind 3:40 4. Fire 2:24 Matthew Jones viola ∙ Annabel Thwaite piano 5. Tŷ Ddewi 3:08 Matthew Jones viola ∙ Steffan Morris cello ∙ Annabel Thwaite piano 6. Notes from The Railway 3:29 Annabel Thwaite piano 7. Prayer on A Clear Day 3:41 Steffan Morris cello ∙ Annabel Thwaite piano 8. Suo Gân 4:38 Annabel Thwaite piano 9. In Fair Verona 2:48 Matthew Jones viola ∙ Annabel Thwaite piano 10. Afterwards 3:08 Annabel Thwaite piano 11. Doris and Ted’s Musical Overture 4:32 Annabel Thwaite piano 12. Hippy and The Dancer 3:02 Annabel Thwaite piano 2 Variations on a theme by William Jenkins 13. Variation I 2:27 14. Variation II 1:02 15. Variation III 1:13 16. Variation IV 0:48 17. Variation V 1:23 18. Variation VI 1:27 Annabel Thwaite piano 19. Iter Sine Caritate 3:17 Annabel Thwaite piano 20. (Before) Myfanwy 7:47 Steffan Morris cello ∙ Annabel Thwaite piano 21. Wernbwll 3:33 Annabel Thwaite piano 22. When You Are Old 8:31 Rhodri Prys Jones solo tenor ∙ Osian Wyn Bowen tenor Jack Parry tenor ∙ Edward-Rhys Harry baritone ∙ Gareth James bass Matthew Jones viola ∙ Annabel Thwaite piano cyfanswm / total 1:13:31 3 © John Downing MBE Downing © John 7 Dr Edward-Rhys Harry Ph.D, MA, MMus, PGCHE, PGDipMus.Tech, FRSA, MISM Edward works across the UK and internationally as a voice coach, adjudicator, composer, arranger and choral conductor.
    [Show full text]
  • Hans Werner Henze 1
    21ST CENTURY MUSIC DECEMBER 2012 INFORMATION FOR SUBSCRIBERS 21ST-CENTURY MUSIC is published monthly by 21ST-CENTURY MUSIC, P.O. Box 2842, San Anselmo, CA 94960. ISSN 1534-3219. Subscription rates in the U.S. are $96.00 per year; subscribers elsewhere should add $48.00 for postage. Single copies of the current volume and back issues are $12.00. Large back orders must be ordered by volume and be pre-paid. Please allow one month for receipt of first issue. Domestic claims for non-receipt of issues should be made within 90 days of the month of publication, overseas claims within 180 days. Thereafter, the regular back issue rate will be charged for replacement. Overseas delivery is not guaranteed. Send orders to 21ST-CENTURY MUSIC, P.O. Box 2842, San Anselmo, CA 94960. email: [email protected]. Typeset in Times New Roman. Copyright 2012 by 21ST-CENTURY MUSIC. This journal is printed on recycled paper. Copyright notice: Authorization to photocopy items for internal or personal use is granted by 21ST-CENTURY MUSIC. INFORMATION FOR CONTRIBUTORS 21ST-CENTURY MUSIC invites pertinent contributions in analysis, composition, criticism, interdisciplinary studies, musicology, and performance practice; and welcomes reviews of books, concerts, music, recordings, and videos. The journal also seeks items of interest for its calendar, chronicle, comment, communications, opportunities, publications, recordings, and videos sections. Copy should be double-spaced on 8 1/2 x 11 -inch paper, with ample margins. Authors are encouraged to submit via e-mail. Prospective contributors should consult The Chicago Manual of Style, 15th ed. (Chicago: University of Chicago Press, 2003), in addition to back issues of this journal.
    [Show full text]
  • A Conductor's Guide to Twentieth-Century Choral-Orchestral Works in English
    INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. University Microfilms International A Bell & Howell Information Company 300 North Zeeb Road, Ann Arbor, Ml 48106-1346 USA 313/761-4700 800/521-0600 Order Number 9314580 A conductor's guide to twentieth-century choral-orchestral works in English Green, Jonathan David, D.M.A. The University of North Carolina at Greensboro, 1992 UMI 300 N.
    [Show full text]
  • AN ANALYSIS of WILLIAM WALTON's CONCERTO for VIOLIN and ORCHESTRA THESIS Presented to the Graduate Council of the North Texas St
    ,. q f~jr AN ANALYSIS OF WILLIAM WALTON'S CONCERTO FOR VIOLIN AND ORCHESTRA THESIS Presented to the Graduate Council of the North Texas State College in Partial Fulfillment of the Requirements For the Degree of MASTER OF MUSIC By Robert Joseph Pipkin, B. Mue. Denton, Texas January, 1957 TABLE OF CONTENTS LIST OF TABLES . Pae.iv LIST OF ILLUSTRATIONS .V Chapter I. WILLIAM WALTON AND HIS VIOLIN CONCERTO . I Biography Violin Concerto II. AN ANALYSIS OF THE FIRST MOVEMENT OF WALTON'S VIOLIN CONCERTO. 8 The Exposition Summary of the Exposition The Development Summary of the Development The Recapitulation Summary of the Recapitulation III. AN ANALYSIS OF THE SECOND MOVEMENT OF WALTON'S .VIOLIN. .32 CONCERTO * * * , IV. AN ANALYSIS OF THE THIRD MOVEMENT OF WALTON'S VIOLIN CONCERTO . * . * - - . 37 The Exposition The Development The Recapitulation V. SUMMARY ANDOCONCLUSIONS * ...... 42 APPENDIX . * * - . *.. .*. *- ----..*. 46 BIBLIOGRAPHY . *.. - -- # * * . * * - - -- . 53 ii LIST OF TABLES Table Page I. Frequency of Occurrence of Different Resultant Rhythms in the Hauptsatz - . 10 II. Frequency of Occurrence of Rhythms in Transition the and the Accumulation of Rhythms Used from the Beginning of the Concerto ... * * * -0*#** 0.....12 III. Classification of Chords and Frequency of Occurrence of Harmonic Fluctuation in the Hauptsatz and Its Transition . 17 IV. Frequency of Occurrence of Rhythms in the Seitensatz and the Accumulation of RhythmsiUsed from the Beginning the Concerto of . * .***0*0.6. *.a.019 V. Classification of Chords and Frequency of Occurrence of Harmonic Fluctuation in the Seitensatz .. * * * * #.. .#.22 VI. Classification of Chords and Frequency of Occurrence of Harmonic Fluctuation in the Development.* * * *&** *##9. .. 27 VII.
    [Show full text]