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Eugen D'albert and His Later Keyboard Works A UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE FROM BAGATELLES TO CAPRIOLEN: EUGEN D’ALBERT AND HIS LATER KEYBOARD WORKS A DOCUMENT SUBMITTED TO THE GRADUATE FACULTY in partial fulfillment of the requirements for the Degree of DOCTOR OF MUSICAL ARTS By JOHN D. PRICE Norman, Oklahoma 2020 FROM BAGATELLES TO CAPRIOLEN: EUGEN D’ALBERT AND HIS LATER KEYBOARD WORKS A DOCUMENT APPROVED FOR THE SCHOOL OF MUSIC BY THE COMMITTEE CONSISTING OF Dr. Barbara Fast, Chair Dr. Igor Lipinski, Co-Chair Dr. Sanna Pederson Dr. Jeffrey Swinkin Dr. Joseph Havlicek © Copyright by JOHN D. PRICE 2020 All Rights Reserved. Acknowledgments I wish to express my deep appreciation and heartfelt gratitude to those who have supported me during my doctoral studies. The completion of my degree would have been impossible without the support of friends, family, mentors, and colleagues. To Barbara Fast, my committee chair: Thank you for enthusiastically editing any writing I sent you towards my document or otherwise. Your willingness to give prompt, honest, feedback on whatever I sent you day or night has been invaluable. To Dr. Jeffrey Swinkin: Thank you for sharpening my analytical skills. I took your Advanced Harmonic Techniques course the first semester I arrived at OU and my analytical toolbox was greatly enhanced. To Dr. Sanna Pederson: As a true expert in German music history and culture in the nineteenth and early 20th centuries, your insights have been invaluable. Without your guidance, there would have been many more mistakes and untapped sources of information in this document. To Dr. Igor Lipinski: Thank you for your superb piano instruction during my studies at the University of Oklahoma. You taught me to listen more carefully and to always have concrete interpretive ideas. iv To Dr. Yingying Su: Your enthusiasm and optimism brought out the best in my playing. Thank you for challenging me to achieve more as a pianist. To Dr. Jonathan Shames: Thank you for opening up the world of opera to me. I always played with more energy and purpose under your baton than I was able to draw out from myself. To Dr. Jane Magrath: Thank you for your pedagogical wisdom. I admire the care and interest you show to every student. I became a better piano teacher due to your practical guidance. Finally, to my wonderful wife, Stephanie. Thank you for supporting me and my studies in myriad ways whether that was taking care of Emmett so that I could write, or leaving your independent piano studio to move to Oklahoma. I would not have been able to finish my degree without your support. v Table of Contents Acknowledgments ......................................................................................................................... iv Abstract ....................................................................................................................................... viii Chapter I: Introduction ................................................................................................................... 1 Overview .................................................................................................................................... 1 Purpose of the Study .................................................................................................................. 8 Need for the Study ..................................................................................................................... 9 Review of Related Literature ................................................................................................... 10 Limitations ............................................................................................................................... 17 Design and Procedures ............................................................................................................. 18 Chapter II: The Life of Eugen d’Albert ....................................................................................... 20 Brief Sketch of Early Life (1864–1905) .................................................................................. 20 The Glasgow Years .............................................................................................................. 20 Studying at the National Training School for Music in London ......................................... 21 Premiering His Own Concerto in London ........................................................................... 22 Move to Vienna and Meeting Brahms and Liszt ................................................................. 23 Teresa Carreño ..................................................................................................................... 28 Concert Tour in the United States ........................................................................................ 29 Hermine Finck ..................................................................................................................... 31 Later Life (Post-1905) .............................................................................................................. 34 Final Tour In America ......................................................................................................... 34 Back to Europe and Composing—Piano Pieces, Opera, and Lieder ................................... 38 Premiere of d’Albert’s Opera Flauto Solo ........................................................................... 40 Welte-Mignon Reproducing Pianos ..................................................................................... 41 Premiere of d’Albert’s Comic Opera Tragaldabas and Success for Tiefland ..................... 44 Complex Family Relationships—New Beginnings and Severed Ties ................................ 46 Premieres of Die verschenkte Frau and Liebesketten .......................................................... 46 Fritzi Jauner ......................................................................................................................... 48 Fleeing World War I to Italy and Switzerland ..................................................................... 49 Return to Germany: A Series of Demanding Piano Concerts .............................................. 51 Premiere of Die toten Augen ................................................................................................ 52 Fritzi Jauner and Eugen d’Albert Have their Second Child, Felicitas ................................. 54 All-Beethoven Concerts in Berlin ........................................................................................ 54 Completion and Premiere of Revolutionshochzeit ............................................................... 55 Conducting Operas and Solo Piano Concerts ...................................................................... 59 Margit Labouchére ............................................................................................................... 64 Mareike von Nymwegen ....................................................................................................... 67 Solo Concerts and Return to Piano Composition ................................................................ 67 The Jazz Opera—Die schwarze Orchidee ........................................................................... 70 The Final Opera—Mr. Wu ................................................................................................... 72 Chapter III: An Overview of the Published Solo Piano Works .................................................... 76 vi Suite in D Minor, Op. 1 ........................................................................................................... 77 Eight Klavierstücke, Op. 5 ....................................................................................................... 80 Piano Sonata in F-sharp Minor, Op. 10 ................................................................................... 83 Four Klavierstücke, Op. 16 ...................................................................................................... 85 Studie ....................................................................................................................................... 87 Bagatelles, Op. 29 .................................................................................................................... 88 Serenata in B Major ................................................................................................................. 91 Albumblatt in D-flat Major ...................................................................................................... 92 Capriolen, Op. 32 .................................................................................................................... 93 Blues ......................................................................................................................................... 96 Chapter IV: Bagatelles, Op. 29 .................................................................................................... 97 Ballade from Bagatelles, Op. 29 .............................................................................................. 98 Compositional Analysis ....................................................................................................... 98 Suggestions for Teaching and Performance ...................................................................... 103 Nocturne from Bagatelles, Op. 29 ......................................................................................... 106 Compositional Analysis
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