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INFORMATION TO USERS This reproduction was made from a copy of a document sent to us for microfilming. While the most advanced technology has been used to photograph and reproduce this document, the quality of the reproduction is heavily dependent upon the quality of the material submitted. The following explanation of techniques is provided to help clarify markings or notations which may appear on this reproduction. 1. The sign or “target” for pages apparently lacking ft >m the document photographed is “Missing Page(s)”. If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting through an image and duplicating adjacent pages to assure complete continuity. 2. When an image on the film is obliterated with a round black mark, it is an indication of either blurred copy because of movement during exposure, duplicate copy, or copyrighted materials that should not have been filmed. For blurred pages, a good image of the page can be found in the adjacent frame. If copyrighted materials were deleted, a target note will appear listing the pages in the adjacent frame. 3. When a map, drawing or chart, etc., is part of the material being photographed, a definite method of “sectioning” the material has been followed. It is customary to begin filming at the upper left hand comer of a large sheet and to continue from left to right in equal sections with small overlaps. If necessary, sectioning is continued again—beginning below the first row and continuing on until complete. 4. For illustrations that cannot be satisfactorily reproduced by xerographic means, photographic prints can be purchased at additional cost and inserted into your xerographic copy. These prints are available upon request from the Dissertations Customer Services Department. 5. Some pages in any document may have indistinct print. In all cases the best available copy has been filmed. U niversi^ M io O T l m s International 300 N. Zeeb Road Ann Arbor, Ml 48106 8410355 Woodard, Susan Jeanne THE DIES IRAE AS USED BY SERGEI RACHMANINOFF: SOME SOURCES, ANTECEDENTS, AND APPLICATIONS The Ohio State University D.M.A. 1984 University Microfilms I nternetionei300 N. zeeb Road, Ann Arbor, Ml48106 Copyright 1984 by Woodard, Susan Jeanne All Rights Reserved PLEASE NOTE: In all cases this material has been filmed in the best possible way from the available copy. Problems encountered with this document have been identified here with a check mark V 1. Glossy photographs or pages. 2. Colored illustrations, paper or print_____ 3. Photographs with dark background_____ 4. illustrations are poor copy______ 5. Pages with black marks, not original copy. 6. Print shows through as there is text on both sides of page. 7. Indistinct, broken or small print on several pages / 8. Print exceeds margin requirements_____ 9. Tightly bound copy with print lost in spine______ 10. Computer printout pages with indistinct print. 11. Page(s)___________ iacking when material received, and not available from school or author. 12. Page(s)___________ seem to be missing in numbering oniy as text foilows. 13. Two pages numbered _ . Text follows. 14. Curling and wrinkled pages ______ 15. Other _________________________________________________________________ University Microfilms International THE DIES IRAE AS USED BY SERGEI RACHMANINOFF: SOME SOURCES, ANTECEDENTS, AND APPLICATIONS 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 Susan Jeanne Woodard, B.A., M.M. ***** The Ohio State University 1984 Reading Committee : Approved By Richard Tetley-Kardos Keith Mixter Rosemary Platt Adviser Department of Music Copyright by Susan Jeanne Woodard 1984 IN MEMORIAM: MARJORIE ARTHE WILHELM 1892-1959 11 ACKNOWLEDGMENTS I would like to thank Dr. Keith Mixter for his invaluable assistance and encouragement during the preparation of this paper. The integrity of his scholarship is sincerely admired, and serves as an enduring model. The guidance of Dr. Rosemary Platt and Dr. Burdette Green throughout my graduate study is also deeply appreciated. Special gratitude is expressed to Professor Richard Tetley- Kardos, whose keen insights, dedication, and continual support has provided a lasting inspiration. iii VITA August 31, 1945... Born-Long Island, New York 1963-196 4 ........ The Eastman School of Music, Rochester, New York 1964-196 7....... B.A. in Music, Adelphi University, Garden City, New York 1968-196 9 ....... Teaching Associate, School of Music, The Ohio State University, Columbus, Ohio 1969-197 2 ....... Director of Music, The Brookville School, Long Island, New York 1972-1977....... Teaching Associate, School of Music, The Ohio State University, Columbus, Ohio 1973............ M.M., The Ohio State University, Columbus, Ohio 1977-1981....... Visiting Assistant Professor of Music, Lawrence University, Appleton, Wisconsin 1981-present.....Assistant Director of Admission and Counselor for the Conservatory, Lawrence University, Appleton, Wisconsin FIELDS OF STUDY Major Field: Music Performance Studies in Piano Performance. Professor Richard Tetley-Kardos Studies in Music Literature. Professor Rosemary Platt, Professor Burdette Green, Professor Herbert Livingston Studies in Music History. Professor Keith Mixter, Professor Herbert Livingston iv PERFORMANCES Graduating Recital Series, 1973-74 Sunday, May 26. 8:00 p.m. Hughes Hall Auditorium Gordon Baughman, violin Susan Woodard, piano This recital is presented in partial fulfillment of the requirements for the degree Doctor of Musical Arts PROGRAM Scherzo..................................................... Brahms Sonata in G, K. 301......................................... Mozart Allegro con spirito Allegro Sonata in A ................................................. Franck Allegretto ben moderato Allegro Recitativo-Fantasia Allegretto poco mosso INTERMISSION Sonata in E Flat major. Op. 11, No. 1 ................... Hindemith Cantabile in D major..................................... Paganini Polonaise Brillante, Op. 4 ............................. Wieniawsky Graduating Recital Series, 1975-76 Wednesday, May 5. 8:00 p.m. Hughes Hall Auditorium Susan Woodard, piano This recital is presented in partial fulfillment of the requirements for the degree Doctor of Musical Arts PROGRAM Siciliano..................................... Bach-Hughes Organ Prelude in G minor....................... Bach-Siloti Prelude, Chorale and Fugue.......................... Franck INTERMISSION Images, Set II.....................................Debussy I. Cloches a travers les feuilles II. Et la lune descent sur le temple qui fut III. Poissons d'or Andante spianato and Grande Polonaise................ Chopin Graduating Recital Series, 1978-79 Sunday, May 20, 1979 5:00 p.m. Hughes Hall Auditorium Susan Woodard, piano Assisted by Richard Tetley-Kardos, piano This recital is presented in partial fulfillment of the requirements for the degree Doctor of Musical Arts PROGRAM Piano Concerto in C Major, K. 246 (Salzburg, 1776)... Mozart I. Allegro aperto II. Andante III. Tempo di Menuetto vi Graduate Student Recital Series Wednesday, August 11, 1982 Weigel Auditorium 8:00 p.m. Susan Woodard, piano This recital is presented in partial fulfillment of the requirements for the degree Doctor of Musical Arts PROGRAM Prelude and Fugue in G-sharp minor.................. Bach Sonata in E major. Op. 109..................... Beethoven I. Vivace ma non troppo-Adagio espressivo II. Prestissimo III. Andante molto cantabile ed espressivo- Leggieramente-Allegro vivace-Un poco meno andante c 6 e un poco piu adagio come il tema-Allegro ma non troppe-Tempo primo del tema Sonata Breve (1976)............................ Schonthal INTERMISSION Sonata in B flat major, K. 570............ *...... Mozart I. Allegro II. Adagio III. Allegretto Nocturne in C sharp minor. Op. post............... Chopin Barcarolle, Op. 60 vii TABLE OF CONTENTS PPage a g ACKNOWLEDGMENTS........................................... VITA.................................................... iv LIST OF EXAMPLES.......................................... viii LIST OF FIGURES............... xiil CHAPTER I. INTRODUCTION......................................... 1 II. THE DIES IRAE: AN HISTORICAL PERSPECTIVE..............4 Origin............................................... 4 Poetic Structure and Plainsong........................ 6 Early Polyphonie Settings............................ 7 Toward Secularization: Instrumental Effects.......... 12 The Early Nineteenth Century.........................16 Humanized Catholicism............................... 22 The Dies Irae Achieves Secular Identity.............. 28 III. THE MUSICAL PROTOTYPES.............................. 30 Symphonie fantastique.............................. ..30 Totentanz........................................... 33 Night on Bald Mountain...............................39 IV. DOCUMENTABLE USE OF THE DIES IRAE................... 43 Sonata No. 1 ........................................ 49 The Isle of the Dead................................ 49 The Bells........................................... 53 Rhapsody on a Theme of Paganini...................... 57 V. THE DIES IRAE AS A STYLE COMPONENT...................62 Single Appearances...................................63 Textural Devices.....................................70 Transformations......................................73 VI. SUMMARY............................................
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