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A Performer's Approach to William Bolcom's Concerto in D for Violin and Orchestra Emily Hanna Crane

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A Performer's Approach to William Bolcom's Concerto in D for Violin and Orchestra Emily Hanna Crane Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2007 A Performer's Approach to William Bolcom's Concerto in D for Violin and Orchestra Emily Hanna Crane Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC A PERFORMER’S APPROACH TO WILLIAM BOLCOM’S CONCERTO IN D FOR VIOLIN AND ORCHESTRA By Emily Hanna Crane A treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music Degree Awarded: Spring Semester, 2007 The members of the committee approve the treatise of Emily Hanna Crane on 30 March 2007. __________________________________ Frank Kowalsky Professor Directing Treatise __________________________________ Douglass Seaton Outside Committee Member __________________________________ Eliot Chapo Major Professor __________________________________ Alexander Jiménez Committee Member __________________________________ Pamela Ryan Committee Member The Office of Graduate Studies has verified and approved the above named committee members. ii I dedicate this document to all of my violin teachers, each one of whom has given me the skills and inspiration to pursue a life-long passion for music. iii ACKNOWLEDGEMENTS I would like to thank William Bolcom and Sergiu Luca for their generous time. Their insight, knowledge, and passion for music and academia have contributed greatly to this document. I want to thank my treatise advisor, Frank Kowalsky, for his endless patience and encouragement as well as my violin professor, Eliot Chapo, for his contributions to the study of this work. I also want to acknowledge Douglass Seaton for advising me on writing and for editing numerous drafts. Thanks also to Pamela Ryan and Alexander Jiménez for their time, advice, and support. Special thanks to Richard Luby for helping me with the interview questions and for giving me the courage to pursue music as a career. I want to thank the following people: Trey Cox (piano: rehearsal and performance), Scot Hanna-Weir (musical engraving), Crystal Peebles (formal analysis and theory help), and Fernando Tesón (editor); Barrett Crane (typing of transcriptions of interviews, proofreading) and Mary Hanna-Weir (proofreading); Karen Clarke, Gary Kosloski, and Phillip Spurgeon; and Michael Jorgensen, among others who have contributed to this paper. I am indebted to my family for valuing extensive education and life-long music studies, for believing in me, and for offering unconditional love and support. I am especially grateful to my husband, friend, and partner, Barrett, for his encouragement and patience during all the years of research and writing. iv TABLE OF CONTENTS LIST OF TABLES...........................................................................................................viii LIST OF EXAMPLES....................................................................................................... ix ABSTRACT....................................................................................................................... xi INTRODUCTION .............................................................................................................. 1 Background and Significance ......................................................................................... 1 Purpose............................................................................................................................ 3 Method ............................................................................................................................ 4 1. WILLIAM BOLCOM..................................................................................................... 6 Biography........................................................................................................................ 6 Works and Style............................................................................................................ 11 Pianist and Recording Artist ......................................................................................... 14 Author ........................................................................................................................... 16 2. CONCERTO IN D........................................................................................................ 17 Influences...................................................................................................................... 17 Sergiu Luca ............................................................................................................... 17 Paul Jacobs................................................................................................................ 20 Joe Venuti ................................................................................................................. 22 The Score ...................................................................................................................... 24 3. MOVEMENT I. QUASI UNA FANTASIA ................................................................ 26 Form and Style.............................................................................................................. 26 Technical Solutions....................................................................................................... 34 Measures 3-11........................................................................................................... 34 Measures 12-15......................................................................................................... 35 Measures 17-24......................................................................................................... 35 Measures 31-48......................................................................................................... 36 Measures 68-75......................................................................................................... 37 Measure 82................................................................................................................ 38 Measures 85-90......................................................................................................... 38 Measures 91-113....................................................................................................... 39 Measures 126-36....................................................................................................... 40 Measures 140-43....................................................................................................... 40 Measures 149-75....................................................................................................... 41 Measures 155-65....................................................................................................... 41 Measures 165-71....................................................................................................... 42 Measures 209-11 (cadenza) ...................................................................................... 42 Measure 211 (cadenza) ............................................................................................. 43 Measure 214.............................................................................................................. 44 Measures 263-73....................................................................................................... 44 Measures 280-84....................................................................................................... 44 Measures 309-11....................................................................................................... 44 Rehearsing and Performing with the Pianist............................................................. 45 4. MOVEMENT II. ADAGIO NON TROPPO MA SOSTENUTO ................................ 46 Form and Style.............................................................................................................. 46 Technical Solutions....................................................................................................... 52 v Measures 10-24......................................................................................................... 52 Measures 37, 70 ........................................................................................................ 53 Measures 43 .............................................................................................................. 53 Measures 77-78......................................................................................................... 53 Measures 82-87......................................................................................................... 53 Rehearsing and Performing with the Pianist............................................................. 54 5. MOVEMENT III. RONDO-FINALE........................................................................... 55 Form and Style.............................................................................................................. 55 Technical Solutions....................................................................................................... 59 Measures 24-27......................................................................................................... 59 Measures 40-64......................................................................................................... 60 Measures 65-80........................................................................................................
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