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TABLE of CONTENTS Chapters I UNIVERSITY OF CINCINNATI Date:___________________ I, _________________________________________________________, hereby submit this work as part of the requirements for the degree of: in: It is entitled: This work and its defense approved by: Chair: _______________________________ _______________________________ _______________________________ _______________________________ _______________________________ A Pedagogical Approach to Franz Liszt’s Second Ballade A graduate document proposal submitted to the Division of Graduate Studies at the University of Cincinnati In partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS in the Keyboard Studies Division of the College-Conservatory of Music July 25, 2005 by Jaejin Lee 2337 Meadow Springs Circle Columbus, OH 43235 [email protected] M.M. Michigan State University, 1997 B.M. Seoul National University, 1995 Advisor Professor Robert Zierolf ________________________ Readers Professor Michelle Conda ________________________ Professor Eugene Pridonoff ________________________ ABSTRACT Franz Liszt’s second ballade was composed in 1853 and published by Kistner in Leipzig. It was dedicated to Count Charles de Linange, who was the half-brother of Queen Victoria. It was written in B-minor, the same tonality as his piano sonata. The sonata and the ballade were composed and published in the same year. Liszt’s B-minor sonata has drawn an enormous amount of scholarly attention and has become standard repertoire. Yet, the B-minor ballade has been somewhat neglected. Most pianists are familiar with the four ballades by Chopin, but few know that Liszt wrote two. This document is intended to guide students, teachers, and performers toward preparation and performance of Liszt’s second ballade. Therefore, I have decided to write this document from the viewpoint of a pianist who is learning this piece by him- or herself. With that idea, pertinent questions needed to be answered such as: What background information do I need to know? What is the overall structure of the work? What details do I need to pay attention to in order to understand Liszt’s intentions? How should I overcome technical difficulties in certain passages? Each chapter is designed to answer these questions, respectively. In chapter I, the historical background of the composer and overview of the genre aids in understanding the origin of the work. In chapter II, a formal analysis provides the performer with an overall picture of the work through the realization of the whole structure. A stylistic analysis assists in understanding the composer’s unique use of melodic, harmonic, and rhythmic elements, thus giving details on the foreground level. There are also more elements to consider such as phrasing, articulation, dynamics, pedaling, and fingering, which are all included in the interpretative analysis, given in chapter III. In the last chapter, three representative technically difficult passages are cited to provide practical, step-by-step solutions using various practice techniques and Gyorgy Sandor’s methodology to identify and apply basic physical motions. i TABLE OF CONTENTS Chapters I. Introduction. 1 1. Historical Overview of Ballade as a Genre. 2 2. Chopin’s Influence on Liszt. 4 3. Liszt’s Second Ballade. 5 4. Liszt and Technique. 7 II. Formal Analysis. 9 1. Adaptation of Sonata Design . 10 2. Deviation from Sonata Design. 16 III. An Interpretative Analysis. 19 1. Exposition Allegro moderato Allegretto 2. Development. 26 Allegro deciso Tertiary Theme— A piacere Variations of the Primary Theme Variations of the Secondary Theme 3. Recapitulation . 39 Allegro moderato Grandioso Andantino IV. A Practical Guide to Technical Challenges. 48 1. Gyorgy Sandor’s Basic Technical Patterns 2. Large Leaps in mm. 69-85. 52 3. “Liszt Octaves” in mm. 199-215. 56 4. Scale Passages in mm. 292-97. 61 V. Conclusion. 64 SELECTED BIBLIOGRAPHY. 67 ii LIST OF EXAMPLES Example 1, mm. 1-6. 10 Example 2, mm. 24-26. 11 Example 3, mm. 135-38. .12 Example 4, mm. 21-23. 22 Example 5, reductions of themes. .25 Example 6, mm. 70-73. 27 Example 7, mm. 82-83. 28 Example 8, mm. 86-95. 28 Example 9, mm. 96-98. 30 Example 10, Sonata in B minor, mm. 357-62. 31 Example 11, mm. 225-33. 32-33 Example 12, mm. 143-46. 33 Example 13. mm 162-67. 36 Example 14, mm. 181-84. 37 Example 15, mm. 207-09. 38 Example 16, mm. 254-57. 39 Example 17, mm. 261-63. 40 Example 18, mm. 269-72. 41 Example 19, mm. 275-80. 42 Example 20, mm. 284-87. 43 Example 21, mm. 292-93. 44 Example 22, mm. 301a-04a. 45 Example 23, mm. 301b-05b. 46 Example 24, mm. 305-16. 47 Example 25, mm. 72- 78. 53 Example 26, stop-prepare on m. 72. 54 Example 27, simplified version of mm. 73-77. .55 Example 28, chord combination for wide leaps at mm. 76-77. 55 Example 29, from Liszt Exercises . 57-58 Example 30, mm. 199-202. 58 Example 31, practice procedure for mm. 199-206. 59 Example 32, practice suggestion for mm. 213-14. 60-61 Example 33, groups backward practice for mm. 292-97. 62-63 Example 34, isolated practice for leaps in mm. 292-97. 63 iii LIST OF TABLES Table 1, analysis of exposition. 14 . Table 2, analysis of development. 15 Table 3, analysis of recapitulation. 17 1 I. INTRODUCTION Franz Liszt’s second ballade was composed in 1853 and published by Kistner in Leipzig. It was dedicated to Count Charles de Linange, who was the half-brother of Queen Victoria. It was written in B-minor, the same tonality as his piano sonata. The sonata and the ballade were composed and published in the same year. Liszt’s B-minor sonata has drawn an enormous amount of scholarly attention and has become standard repertoire. Yet, the B-minor ballade has been somewhat neglected. Most pianists are familiar with the four ballades by Chopin, but few know that Liszt wrote two. This document is intended to guide students, teachers, and performers toward preparation and performance of Liszt’s second ballade. Therefore, I have decided to write this document from the viewpoint of a pianist who is learning this piece by him- or herself. With that idea, pertinent questions needed to be answered such as: What background information do I need to know? What is the overall structure of the work? What details do I need to pay attention to in order to understand Liszt’s intentions? How should I overcome technical difficulties in certain passages? Each chapter is designed to answer these questions, respectively. In chapter I, the historical background of the composer and overview of the genre aids in understanding the origin of the work. In chapter II, a formal analysis 2 provides the performer with an overall picture of the work through the realization of the whole structure. A stylistic analysis assists in understanding the composer’s unique use of melodic, harmonic, and rhythmic elements, thus giving details on the foreground level. There are also more elements to consider such as phrasing, articulation, dynamics, pedaling, and fingering, which are all included in the interpretative analysis given in chapter III. In the last chapter, three representative technically difficult passages are cited to provide practical, step-by-step solutions using various practice techniques and Gyorgy Sandor’s methodology to identify and apply basic physical motions. 1. Historical Overview of the Ballade as a Genre The Ballade as a genre title for piano solo was introduced by Chopin, but ballad or ballade in general has a long history and refers to a variety of historical sub-genres. The Latin origin of the term “ballare” means “to dance,” so the work originally referred to dance-songs such as the carole. By the fourteenth century it had lost that connotation in English and became a distinctive song type with a narrative core. In the late Middle Ages epic and heroic songs served as entertainment. The folk and popular ballad referred to a relatively concise work that combined a narrative, dramatic dialogue, and lyrical 3 passages.1 This folk ballad developed into a type of art song in the eighteenth and nineteenth centuries, and gained popularity all over Europe. Most often cast in a solo song with piano accompaniment, it was a narrative of legendary or historical events in strophic form. Its subjects were largely serious, even tragic, frequently with supernatural elements. In terms of form, it was told in simple popular verse, usually in a large number of short strophes.2 Chopin’s idea of adopting this popular genre title to solo piano works is comparable to that of Mendelssohn’s Songs without Words. It was also a result of Chopin’s search for a new genre. As Romanticism was beginning to blossom in music, composers expanded their boundaries by taking freedom from the limitations of conventional formal patterns and harmonic rules, as did Chopin. In the 1830s Chopin was beginning to grow out of the musical style of his early works, which resembled the “brilliant style” of Hummel and Weber, and looking for a new medium.3 His re-creative approach to the genre resulted in a series of character pieces titled scherzo, ballade, and 1 James Porter. “Ballad,” The New Grove Dictionary of Music and Musicians ed. S. Sadie and J. Tyrrell (London: Macmillan, 2001), ii, 541. 2 Rufus Hallmark. “Ballade 2” The Harvard Dictionary of Music ed. D. M. Randel (Cambridge: The Belknap Press of Harvard University Press, 2003), 72-73. 3 Jim Samson. Chopin: The Four Ballades (Cambridge: Cambridge University Press, 1992), 1-7. 4 fantasy. Scherzo and fantasy were reinterpretations of existing genres, and ballade was his subtle adoption of program music. Chopin wrote four ballades from 1831 to 1843. The first one is in G minor, Op.
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