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University of Cincinnati UNIVERSITY OF CINCINNATI Date: 24-May-2010 I, Marc F Zorgniotti , hereby submit this original work as part of the requirements for the degree of: Doctor of Musical Arts in Violin It is entitled: Quotations and Constructivism in Twentieth-Century Violin Chaconnes by John Adams, Hans W. Henze, and Moses Pergament Student Signature: Marc F Zorgniotti This work and its defense approved by: Committee Chair: bruce mcclung, PhD bruce mcclung, PhD 6/10/2010 787 Quotations and Constructivism in Twentieth-Century Violin Chaconnes by John Adams, Hans W. Henze, and Moses Pergament A document submitted to The Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS in the Performance Studies Division of the College-Conservatory of Music 26 May 2010 by Marc F. Zorgniotti M.M., University of Cincinnati, 2003 B.M., Paris Conservatoire XII, 2000 Committee Chair: bruce d. mcclung, Ph.D. ABSTRACT This study examines three twentieth-century violin chaconnes by John Adams (b. 1947), Moses Pergament (1893–1977), and Hans Werner Henze (b. 1926). Although each composer devised and manipulated ostinato procedures in a unique manner, this document demonstrates that these three violin chaconnes share the underlying concepts of musical borrowing and constructivism. The latter stems not only from the continuous variation technique closely associated with the ostinato genre, but also aspects of rhythmic and harmonic mutation. Musical borrowing takes the form of direct quotations or subtle allusions to Baroque masterpieces, virtuosic violin compositions, and other eclectic, yet well-known melodies, such as the emotionally powerful Jewish prayer Kol Nidrei. The combined utilization of an unceasing basso ostinato with external, pre-existing musical material implies a certain degree of architectural constructivism, at the sub and/or supra level. From this particular perspective, this comparative study of three twentieth- century violin chaconnes contributes to our understanding of modern conceptualizations of the chaconne genre. ! ii Copyright © 2010 by Marc Zorgniotti All Rights Reserved ! iii ACKNOWLEDGEMENTS I would like to express my deepest and most sincere gratitude to my advisor, Dr. bruce mcclung, for his pertinent criticism and kind guidance, as well as Committee members, Drs. Steven Cahn and Piotr Milewski, for their expertise and encouragement. This project represents the continuation and expansion of a lecture-recital given at the University of Cincinnati on 8 October 2009, titled “Perspectives on Two Conceptual Approaches: The Violin Chaconnes of Tommaso A. Vitali and John C. Adams,” which included a performance of Vitali’s Chaconne in G Minor and Adams’s chaconne, Body through Which the Dream Flows. For her love and support I would like to thank my wife, violinist Sooyoung Kim. ! iv TABLE OF CONTENTS ABSTRACT ……………………………………………………………………………... ii ACKNOWLEDGEMENTS ……………………………………………………………... iv LIST OF MUSICAL EXAMPLES ……………………………………………………… vi LIST OF TABLES AND FIGURES …………………………………………………….. viii CHAPTER I. INTRODUCTION …………………………………………………………………….. 1 II. MOSES PERGAMENT: CHACONNE FOR SOLO VIOLIN (1941) ………………. 7 1. Musical Borrowing, Thematic Symbiosis, and Constructivism ……………... 7 2. Similarities with Eugène Ysaÿe’s Six Sonatas for Solo Violin, Op. 27 ……... 10 III. HANS W. HENZE: IL VITALINO RADDOPPIATO (1977) ……………………… 31 1. Tommaso A. Vitali: Chaconne for Violin and Basso in G Minor …………… 32 2. Hans W. Henze: Il Vitalino Raddoppiato ……………………………………. 38 IV. JOHN ADAMS: BODY THROUGH WHICH THE DREAM FLOWS (1993) ……. 69 1. John Coolidge Adams ………………………………………………………... 69 2. Body through Which the Dream Flows’s Basso Ostinato ……………………. 70 3. Harmonic and Rhythmic Mutation …………………………………………… 73 4. Structural and Constituent Elements …………………………………………. 75 V. CONCLUSION ………………………………………………………………………. 83 APPENDIX: Moses Pergament, Chaconne for Solo Violin (Holograph Reproduction) ... 89 BIBLIOGRAPHY ……………………………………………………………………….. 92 ! v LIST OF MUSICAL EXAMPLES Ex. 1a. Pergament, Chaconne for Solo Violin, central theme, mm. 1–8 …………………………… 8 Ex. 1b. Bruch, Kol Nidrei for Cello and Piano, Op. 47, central theme, mm. 9–12 ………………… 8 Ex. 1c. J. S. Bach, Partita No. 2 in d minor, BWV 1004, V. Ciaccona, central theme, mm. 1–8 …. 8 Ex. 2a. Pergament, Chaconne for Solo Violin, central theme, mm. 1–8 …………………………… 9 Ex. 2b. Bach, J. S., Partita No. 2 in d minor, BWV 1004, V. Ciaccona, central theme, mm. 1–8 … 9 Ex. 3a–d. Ysaÿe, Sonata for Solo Violin No. 2, I. “Obsession”-Prélude …………………………... 13–14 Ex. 4. Ysaÿe, Sonata for Solo Violin No. 2, II. “Malinconia”-Poco Lento, mm. 22–25, quotation of thirteenth-century Latin hymn Dies Irae (Day of Wrath) ………………………………. 14 Ex. 5a–b. Ysaÿe, Sonata for Solo Violin No. 4, II. Sarabande, hidden ostinato theme ……………. 15 Ex. 6. Ysaÿe, Sonata for Solo Violin No. 5, II. “Danse Rustique”-Allegro giocoso molto moderato, mm. 11–19, polyphonic treatment of the violin ……………………………………………. 16 Ex. 7a–b. Pergament, Chaconne for Solo Violin, challenging fingering combinations ……………. 17 Ex. 8a–c. Ysaÿe, Sonata for Solo Violin No. 1, challenging fingering combinations ……………… 17 Ex. 9a–b. Pergament, Chaconne for Solo Violin, double-stops with continuous trills …………….. 18 Ex. 10a–b. Ysaÿe, Sonatas for Solo Violin Nos. 1 and 3, double-stops with continuous trills …….. 19 Ex. 11a–b. Pergament, Chaconne for Solo Violin, inverted arpeggios …………………………….. 20 Ex. 12a–b. Ysaÿe, Sonatas for Solo Violin Nos. 1 and 4, inverted arpeggios ……………………… 21 Ex. 13a–c. Pergament, Chaconne for Solo Violin, double-stop sequences and finger substitution ... 22 Ex. 14a–e. Ysaÿe, Sonatas for Solo Violin Nos. 1, 3, and 6, double-stop sequences and finger substitution ………………………………………………………………………………… 22–23 Ex. 15a–b. Ysaÿe, Sonata for Solo Violin No. 4, dotted and double-dotted French baroque style … 25 Ex. 16. Pergament, Chaconne for Solo Violin, dotted French baroque style, mm. 74–76 …………. 25 Ex. 17a–b. Pergament, Chaconne for Solo Violin, timbral colors …………………………………. 26 Ex. 18a–b. Ysaÿe, Sonata for Solo Violin No. 2, timbral colors …………………………………… 26 Ex. 19a–e. Pergament, Chaconne for Solo Violin, non-chord tones and “colorizing” dissonance treatment …………………………………………………………………………………… 27–28 ! vi LIST OF MUSICAL EXAMPLES (continued) Ex. 20a–d. Pergament, Chaconne for Solo Violin, diminished chords …………………………….. 28 Ex. 21a–e. Ysaÿe, Sonata for Solo Violin No. 1, diminished chords ………………………………. 29 Ex. 22. Vitali, Chaconne for Violin and Basso in G Minor, theme, mm. 9–17 ……………………. 33 Ex. 23a–c. Vitali, Chaconne for Violin and Basso in G Minor, expressive dissonance treatment … 35 Ex. 24a–h. Vitali, Chaconne for Violin and Basso in G Minor, bravura variations ……………….. 37 Ex. 25a–b. Henze, Il Vitalino Raddoppiato, harmonic disruption …………………………………. 41–43 Ex. 25c–e. Henze, Il Vitalino Raddoppiato, harmonic disruption …………………………………. 45–51 Ex. 26a–c. Henze, Il Vitalino Raddoppiato, Second Viennese School similitudes ………………... 53–56 Ex. 27a–b. Henze, Il Vitalino Raddoppiato, contrasting juxtapositions …………………………… 59–63 Ex. 28. Henze, Il Vitalino Raddoppiato, ending (including cadenza), mm. 511–17 ………………. 65–68 Ex. 29a. Pachelbel, Canon in D Major, basso ostinato …………………………………………….. 71 Ex. 29b. Adams, Body through Which the Dream Flows, basso ostinato ………………………….. 71 Ex. 30a–d. Adams, Body through Which the Dream Flows, rhythmic transformations …………… 74 Ex. 31a–c. Adams, Body through Which the Dream Flows, modernist and post-modernist techniques ………………………………………………………………………………….. 76–81 ! vii LIST OF TABLES AND FIGURES Tab. 1. Vitali, Chaconne for Violin and Basso in G Minor, Tonal Structure and Modulations ………. 36 Tab. 2. Adams, Body through Which the Dream Flows, Structural Design and Main Features ……… 75 Fig. 1. Vitali, Chaconne for Violin and Basso in G Minor, Descending (Phrygian) Tetrachord ……... 34 Fig. 2. Henze, Il Vitalino Raddoppiato, Instrumentation ……………………………………………… 39 ! viii COPYRIGHT PERMISSIONS Il Vitalino Raddoppiato by Hans W. Henze © Copyright 2000 by Schott Music, Mainz, Germany. All rights reserved. Used by permission of European American Music Distributors LLC, sole U.S. and Canadian agent for Schott Music, Mainz, Germany. Body Through Which The Dream Flows from Violin Concerto by John Adams © Copyright 1993 by Hendon Music, Inc., a Boosey & Hawkes Company. Copyright for all countries. All rights reserved. Used by permission. Six Sonatas for Solo Violin, Op. 27 by Eugène Ysaÿe © Copyright 1952 (Renewed) by G. Schirmer, Inc. (ASCAP). International copyright secured. All rights reserved. Used by permission. ! ix CHAPTER I INTRODUCTION Much speculation surrounds the chaconne, especially in regards to its origins, etymology, and differentiation with other ostinato genres, such the passacaglia, folia, and ruggiero. The chaconne has considerably developed!if not mutated!over the last four centuries, and its definition has depended on each region and musical period. Furthermore, the interchangeability of names associated with ostinato genres has rendered its study often approximate and confusing.1 As a result, multiple definitions and developmental timelines coexist, and virtually any writing about the chaconne will usually feature much speculation and passionate controversy, if not polemical prose. For example, late nineteenth- and early twentieth-century theorists attempted to formally differentiate the chaconne and passacaglia, but they often came to opposite conclusions. In 1915 Percy Goetschius
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