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Seven American Composers in the Twentieth Century and Their Piano Pieces

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Seven American Composers in the Twentieth Century and Their Piano Pieces Between the Inside and the Outside: Seven American Composers in the Twentieth Century and Their Piano Pieces 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 Liguang Zhou Graduate Program in Music The Ohio State University 2019 D.M.A. Document Committee Dr. Caroline Hong, Advisor Dr. Kenneth Williams Dr. Arved Ashby Dr. Scott Jones 1 Copyrighted by Liguang Zhou 2019 2 Abstract Despite achieving success in other genres, several twentieth-century American composers have piano works that have not yet entered the standard repertory. The main purpose of this DMA Document is to advocate for seven modern American piano works and to encourage musicians—especially pianists—to pay more attention to lesser-known music of American composers in the twentieth century in programming their recitals and concerts. This document examines seven piano compositions for solo piano and two pianos. The piano solo pieces are: Five 2-Part Invention by Virgil Thomson; Four Pieces for Piano by John Verrall; Three Piano Pieces, Op. 23 by Ben Weber; Capriccio on Five Notes by Lee Hoiby; and Three Epigrams by Robert Palmer. The pieces for two pianos with four hands are: Hard Times and Carnival by Isadore Freed and The Fringes of a Ball by Robert Starter. These works were all composed during the mid-twentieth century. I write this document also through my own analyses, a recorded performance, and a (teaching) performance guideline of Lee Hoiby’s Capriccio on Five Notes. These seven American composers both embraced tradition and sought innovation. Their music existed in a space between the “inside” and the “outside.” In Chapter 1, I trace the development of music in the United States in the twentieth century. In Chapter 2, I discuss the topics of “American Music,” “American Mavericks,” and “American ii Pragmatism,” and briefly outline the biographies of some iconic American composers. Chapter 3 presents the biographies of the seven American composers and analyses of the chosen piano works. I analyze the tonality, harmony, dynamics, structure, and style of these seven American piano pieces, in order to examine their status between the “inside” and the “outside.” Chapter 4 is a performance guide for Lee Hoiby’s Capriccio on Five Notes from a pianist’s perspective. Chapter 5 elaborates on the conclusion that these piano works exist between the “inside” and the “outside,” and extols the benefits of programing American modern music. iii Dedication This document is dedicated to my dear friend Dr. Behzad Karim Namazi. iv Acknowledgments First, I want to sincerely express my deepest gratitude to my piano professor, Dr. Caroline Hong. Her recitals are impressive and have far-reaching influences on me. Dr. Hong’s teaching has equipped me with new methods to decode the music I perform. In addition, she coached me to be independent and confident, skills I will carry forward into my own musical career. Dr. Hong is an advocate for American modern music. Because of Dr. Hong’s recommendation, I had the opportunity to participate the program “America’s Music Collection,” which was launched by Dr. Danielle Fosler-Lussier, a musicology professor at Ohio State. Dr. Fosler-Lussier also strongly advocates for American music and has collected unrecorded American art music from the mid-twentieth century. She invited me to record these seven American piano pieces. Because I enjoyed playing them very much, I gave a solo recital for these piano solo works, and the pieces became the topic of this DMA Document. Here, I sincerely want to thank Dr. Fosler-Lussier for giving me this great opportunity to be part of her program. In addition, I am eager to thank my committee of my doctoral studies at Ohio State. Dr. Kenneth Williams, the piano pedagogy professor, always shared teaching experiences with the students in his Piano Pedagogy and Keyboard Harmony courses. Dr. Arved Ashby is an outstanding professor in musicology. Despite his busy agenda, he offered weekly meetings guiding me through the process of completing my DMA v Document. Dr. Scott Jones is an OSU Wind Symphony conductor. He directed Symphony No. 7 by American composer David Maslanka. It was my honor to play the piano part under his baton. I cannot forget this wonderful experience playing in an ensemble, and it has remarkably influenced my solo playing. I appreciate the support from my good friend Dr. Behzad Namazi and his father Dr. Hamid Namazi, a very professional and kind dentist. Behzad and I were classmates at Ohio University for our master’s degrees. He passionately recommended me to my current piano professor, Dr. Caroline Hong. So, it is my honor to dedicate my DMA document to Dr. Behzad Namazi for his great support. Moreover, the foundation of my piano skills is without a doubt attributable to Dr. Christopher Fisher, Professor of Piano in the School of Music of Ohio University. His offer brought me to the United States to study with him at OU. His professionalism and hospitality are embedded in my performing and teaching. At last, but not least, I feel very thankful to have the support from Dr. Ronald Green and his wife, Louisa. Dr. Green is a Professor Emeritus at Ohio State in film studies, and Louisa is executive Deputy Direct Emerita of the Columbus Museum of Art. The couple often discuss music and piano playing with me, and they have provided me and my wife tremendous support and great care. This is an indispensable part of my doctoral studies. vi Vita 2006—2010…………………………………………… Bachelor of Music Piano Performance Shenyang Conservatory of Music Shenyang, China 2013—2015……………………………………………Graduate Teaching Assistant Master of Music Piano Performance School of Music Ohio University 2015—2018…………………………………………...Graduate Teaching Associate Piano Performance School of Music The Ohio State University Fields of Study Major Field: Music vii Table of Contents Abstract ............................................................................................................................... ii Dedication .......................................................................................................................... iv Acknowledgments............................................................................................................... v Vita .................................................................................................................................... vii List of Tables ..................................................................................................................... xi List of Musical Examples ................................................................................................. xii Chapter 1. Introduction: The Development of Twentieth-Century Music in the United States ................................................................................................................................... 1 Chapter 2. The Twentieth-Century American Art Music: Ideologies and Composers ....... 6 2.1. What is American Music? ........................................................................................ 8 2.2. American Mavericks .............................................................................................. 10 2.3. American Pragmatism ............................................................................................ 12 2.4. Some Famous American Composers in the Twentieth Century ............................ 13 2.4.1. Edward MacDowell (1860-1908) ................................................................... 14 2.4.2. Charles Ives (1874-1954) ................................................................................ 15 2.4.3. Carl Ruggles (1876-1971)............................................................................... 16 2.4.4. Charles Griffes (1884-1920) ........................................................................... 17 2.4.5. Aaron Copland (1900-1990) ........................................................................... 18 2.5.6. Henry Cowell (1897-1965) ............................................................................. 19 2.4.7. Roy Harris (1898-1979) .................................................................................. 20 2.4.8. William Schuman (1910-1992)....................................................................... 21 2.4.9. Harry Partch (1901-1974) ............................................................................... 22 2.4.10. Samuel Barber (1910-1981) .......................................................................... 23 2.4.11. Elliott Carter (1908-2012)............................................................................. 24 2.4.12. John Cage (1912-1992) ................................................................................. 24 2.5. American Composers in the Middle Ground in the Twentieth Century ................ 26 Chapter 3. Seven Piano Works by Seven American Composers ...................................... 28 viii 3.1. Virgil Thomson (1896-1989) and Five 2-Part Inventions ..................................... 28 3.1.1. Virgil Thomson (1896-1989) .......................................................................... 28 3.1.2. Five 2-part Inventions by Virgil Thomson ..................................................... 30 3.2. John Verrall and Four Pieces for Piano ................................................................ 46 3.2.1. John Verrall (1908-2001) ...............................................................................
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