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INFORMATION TO USERS This reproduction was made from a copy of a manuscript sent to us for publication and microfilming. While the most advanced technology has been used to pho­ tograph and reproduce this manuscript, the quality of the reproduction is heavily dependent upon the quality of the material submitted. Pages in any manuscript may have indistinct print. In all cases the best available copy has been filmed. The following explanation of techniques is provided to help clarity notations which may appear on this reproduction. 1. Manuscripts may not always be complete. When it is not possible to obtain missing pages, a note appears to indicate this. 2. When copyrighted materials are removed from the manuscript, a note ap­ pears to indicate this. 3. Oversize materials (maps, drawings, and charts) are photographed by sec­ tioning the original, beginning at the upper left hand comer and continu­ ing from left to right in equal sections with small overlaps. 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Z eeb Road, Ann Arbor, Michigan 48106 8618730 Ai, Chia-Huei CHOPIN’S CONCERTO IN E MINOR, OP. 11: AN ANALYSIS FOR PERFORMANCE The Ohio State University D.M.A. 1986 University Microfiims Internetionsi3 0 0N,[email protected]*o.,Ml48106 Copyright 1986 by A,i, Chia-Huei Aii Rights Reserved CHOPIN S CONCERTO IN E MINOR, OP. 11: AN ANALYSIS FOR PERFORMANCE D.M.A. Document Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School of The Ohio State University By Chia-Huei Ai, B.A., M.A. ***** The Ohio State University 1986 Document Committee: Approved by Richard Tetley-Kardos, Adviser Jerry Lowder, D.M.E., Co-Adviser Rosemary Platt, D.M. lard Tetley4Cafdm, Adviser School of Music Copyright by Chia-Huei Ai 1986 ACKNOWLEDGEMENTS I would like to express my special gratitude to Dr. Jerry E. I-owder for giving generously of his time, valuable assistance, helpful advice and invaluable encourage­ ment in the preparation of this document. Deep gratitude is also expressed to Professor Richard Tetley-Kardos for his inspi­ ration, outstanding insights in piano teaching, and for guid^ce and support during the preparation of the writer's four doctoral recitals and her doctoral studies. I am grateful to my present piano teacher. Dr. Rosemary Platt, for her encour­ agement and many contributions to my piano playing. I also wish to thank Dr. Ann K. Blombach, whose classes have contributed inva­ luable knowledge and ideas for the preparation for this document. To Dr. Alexander Main is extended my thanks for his music history classes which emphasized the importance of musicological insights for all performers. Very deep thanks are expressed to my husband, Tzong-Kai, for his fortitude in typing all drafts of this paper while maintaining the roles of student, father and husband. Finally, I would like to thank my parents for their endless love, support, and encouragement. - u VITA August 7, 1955 Born: Chia-yi, Taiwan June, 1977 B.A. in Piano Performance, Tunghai University. Taichung, Taiwan May, 1979 M.A. in Piano Performance, Eastern Illinois University, Charleston, Illinois 1979 - 1982 Full-Time Piano Faculty, Department of Music, Tunghai University, Taichung, Taiwan Summer, 1982 Graduate Study in Piano, Eastman School of Music, Rochester, New York 1982 - 1986 Doctoral study in piano. The Ohio State University, Columbus, Ohio 1983 - 1986 Teaching Associate in private piano and accompaning. The Ohio State University, Columbus, Ohio - u i - FIELDS OF STUDY Major Field: Piano Performance Studies in Piano Performance Prof. Richard Tetley-Kardos, Dr. Rosemary Platt Studies in Piano Literature Dr. Rosemary Platt Studies in Piano Pedagogy Dr. Jerry E. Lowder Studies in Music Theory Dr. Ann K. Blombach Studies in Music History Dr. Alexander Main RECITAL DATES July 18, 1983 Solo Recital March 7, 1984 Chamber recital October 30, 1984 Concerto April 10, 1985 Solo recital - IV - TABLE OF CONTENTS Page ACKNOWLEDGEMENTS ..................................................................................................... ü VITA ..................................................................................................................................... iii LIST OF TABLES.............................................................................................................. vi U ST OF HGURES .............................................................................. vu CHAPTER I. INTRODUCTION ............................................................................................. 1 PURPOSE ................................................................................................... 2 n . BACKGROUND OF THE CONCERTO ......................................................... 4 ffl. ANALYSIS.................................................................................... 10 FIRST MOVEMENT: ALLEGRO MAESTOSO................ 14 Exposition .......................................................................................... 16 Development..................................................................................... 24 Tutti Recapitulation ....................................................................... 26 Solo Recapitulation .......................................................................... 27 Solo C o d a ........................................................................................... 27 Tutti C o d a ........................................................................................ 28 SECOND MOVEMENT: ROMANCE; LARGHETTO............................. 28 Exposition ........................................................................................... 29 Recapitulation .................................................................................. 33 C o d a ................................................................................................... 35 THIRD MOVEMENT: RONDO: VIVACE............................................. 36 FUNCnON OF DYNAMIC MARKINGS ............................................. 44 - V - MEMORY................... 47 First Movement............................................................................... 48 Second M ovement ............................................................................ ' 52 Third Movement ............................................................................ 62 IV. CONCLUSION................................................................................................... 67 BIBUOGRAPHY .................................................................................................................... 68 BOOKS............................................................................................................................ 68 PERIODICALS AND JOURNALS................................................................................. 71 UNPUBLISHED W O RK S................ 72 MUSIC SCORE.............................................................................................................. 72 DISCOGRAPHY ........................................................................................................... 73 - VI - LIST OF TABLES TABLE PAGE 1. Comparison of Chopin's Orchestration .............................................................. 12 2. Form of First Movement...................................................................................... 15 3. Form of Second Movement ................................................................................ 29 4. Form of Third M ovem ent ................................................................................... 37 5. Rests before the Second Subject ......................................................................... 63 - vu LIST OF FIGURES FIGURE PAGE 1. Piano Introduction, 1st Movement ............................................................... 16 2. 1st Theme, 1st Movement ............................................................................. 17 3. 1st Theme and Its Variation, 1st Movement .............................................. 18 4. Transition 3, 1st Movement .......................................................................... 19 5. Measures 211-213, 1st M ovement.................................................................. 19 6. 2nd Theme, 1st Movement ............................................................................. 20 7. Melodic Ornamention of Measure 87, 1st M ovement ................................ 21 8. Transition 4, 1st M ovem ent .......................................................................... 21 9. Measures 291-295, 1st M ovement .................................................................. 22 10. Measures 322-328, 1st M ovement ...................................................... 23 11. Measures 408-409, 1st M ovement .................................................................. 24 12. Measures 478-480,
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