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INFORMATION to USERS the Most Advanced Technology Has Been Used to Photo­ Graph and Reproduce This Manuscript from the Microfilm Master INFORMATION TO USERS The most advanced technology has been used to photo­ graph and reproduce this manuscript from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are re­ produced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. These are also available as one exposure on a standard 35mm slide or as a 17" x 23" black and white photographic print for an additional charge. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. University Microfilms International A Bell & Howell Information Company 300 North Zeeb Road, Ann Arbor, Ml 48106-1346 USA 313/761-4700 800/521-0600 Order Number 9011109 The piano concertos of Carl Maria von Weber: Precursors of the Romantic piano concerto Lopez, Richard Clarence, D.M.A. The Ohio State University, 1989 Copyright ©1990 by Lopez, Richard Clarence. All rights reserved. UMI 300 N. Zeeb Rd. Ann Arbor, MI 48106 The Piano Concertos of Carl Maria von Weber: Precursors of the Romantic Piano Concerto DOCUMENT Presented in Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts in the School of Music in the Graduate School of The Ohio State University by Richard C. Lopez, B. M., M. M. The Ohio State University 1989 Reading Committee: Approved by Professor Burdette Green Document Adviser Professor Jerry Lowder School of Music Professor Rosemary Platt ACKNOWLEDGEMENTS I am Indebted to Dr. Burdette Green for his invaluable advice and guidance in the preparation of this document. I would also like to thank the additional members of my graduate committee, Dr. Jerry Lowder, and Dr. Rosemary Platt, for their support during my years of study at the Ohio State University. Finally I would like to thank Prof. Richard Tetley-Kardos and Prof. Earl Wild for their work on my behalf during the graduate program. VITA February 28, 1949 ............................................ Bom - Hollywood, California 1973 .................................................................. B.M., The Ohio State University Columbus, Ohio 1976 .................................................................. M.M., The Ohio State University Columbus, Ohio 1977-1983 ......................................................... Faculty Member a Bloomingdale House of Music and at the Metropolitan Music School in New York City 1983-Present ....................................................Doctoral Candidate at the Columbus, Ohio; Adjunct Faculty member at Denison University, Granville, Ohio FIELD OF STUDY Major Field: Music, Piano Performance TABLE OF CONTENTS Page ACKNOWLEDGEMENTS......................................................................... ii VTTA........................................................................................................ iii LIST OF EXAMPLES................................................................................ vi LIST OF FIGURES.................................................................................... xiv CHAPTER I. INTRODUCTION....................................................................................... 1 Introduction ........................................... ............................. 1 Historical Setting and Biographical Information 4 Compositional Output ........................................................ 6 Weber as a Virtuoso, Writer and Conductor ......................7 First Movement Form Before Weber ................................. 11 Weber's Contemporaries ..................................................... 23 II. PIANO CONCERTO NO. 1 IN C MAJOR, OP. 11.................. 35 Background Information ..................................................... 35 Orchestral Treatment........................................................ 37 Piano Treatment ................................................................. 41 Texture in Weber's Piano Style ........................................... 55 Sound ................................................................................. 56 Harmony. .............................................................................. 65 Melody. ................................................................................ 76 Rhythm............................................................................... 85 Dance Rhythms................................................................... 90 Form .................................................................................. 98 III. PIANO CONCERTO NO. 2 IN E FLAT MAJOR, OP. 32...... 112 Background Information ...................................................... 112 Orchestral Teatment.......................................................... 114 Piano Treatment ................................................................. 120 Texture................................................................................ 132 Sound ................................................................................. 137 Farm................................................................................... 143 i v IV. KONZERTSTUCK IN F MINOR OP. 79 ..................................... 150 Precursors to the Konzertstuck .......................................... 151 Background Information on Weber's Program ............ 154 The Relationship of Weber's "Program" to the Music of the Konzertstuck. ................................................... 159 Form ................................................................................... 168 Pianisticlteatment ............................................................. 174 V. PERFORMANCE PROBLEMS AND CONSIDERATIONS IN WEBER'S PIANO CONCERTOS.................................................. 180 VI. THE INFLUENCE OF WEBER'S CONCERTOS........................ 194 VH. CONCLUSION................ 201 BIBLIOGRAPHY....................................................................................... 205 v LIST OF EXAMPLES Example Page 1. Combined colors. 1:1, mm. 187-197 ....................................... 40 2. Contrast of color and register. 1:2, mm. 27-29 ................... 41 3. Alberti bass patterns. 1:1, mm. 105-109.............................. 42 4. Static repetitions. 1:1, mm. 174-177 ...................................... 43 5. Combined octaves and thirds. 1:1, mm. 202-5 .................... 46 6. Combined staccato octaves and thirds. I:l,-m. 76 ............. 46 7. Wide left hand skips. 1:3, mm. 107-112 .................................47 8. Wide skips in both hands. 1:3, mm. 395-6 ............................ 48 9. Wide left hand stretches. 1:1, mm. 156................................... 48 10. Widely spaced, large chords. 1:1, m. 63 .............................. 49 11. Wide chord reaches. 1:2, mm. 5, 9,10.................................. 50 12. Virtuoso Alberti-like patterns, mm. 1:1, 125-127 .............. 50 13. Octaves combined with difficult skips. 1:1, mm. 244-245................................................................. 51 14. Extreme ranges combined. 1:1, mm. 258-259 .................. 51 15. High passagework. 1:2, mm. 3-6............................................ 52 16. Recitative seaco 1:2, mm. 8-12 .............................................. 53 17. Double octave glissandos. 1:3, mm. 535 .............................. 54 18. Double stemmed figures. 1:1, m. 120-121 .......................... 55 19. Double stemmed figures. BeethovenI:l, mm. 188-190 ................................................ 56 vi Example Page 20. Contrast of staccato and non-staccato elements. 1:1, mm. 70 .......................................................................... 57 21. Octaves with grace notes. 1:3, mm. 447-450 ..................... 58 22. High register accacciaturas. 1:3, mm. 398-403 ................ 58 23. Wide ranging register changes. 1:1, mm. 154-156 ....... 59 24. Rapid sweeps. 1:1, mm. 69-71 .............................................. 59 25. Wide ranging sweeps. 1:2, mm. 27 .......................... 60 26. Register contrasts between strings and piano. 1:2, mm. 1-4...................................................................... 61 27. Harp-like arpeggios. 1:2, mm. 20-21 ................................... 62 28. Contrast of dynamics between orchestra and piano. 1:2, mm. 31-34 .............................. 63 29. Piano tremolo. 1:2, mm. 45-46 ...................................... 64 30. Bell-like effects. 1:2, mm. 47-48 ........................................... 64 31. Use of diminished seventh chord. 1:1, mm. 78-80 ....... 67 32.
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