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A Stylistic Analysis of Six Pieces for Solo Piano by Rodion Shchedrin

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A Stylistic Analysis of Six Pieces for Solo Piano by Rodion Shchedrin The University of Southern Mississippi The Aquila Digital Community Dissertations Summer 8-2008 A Stylistic Analysis of Six Pieces for Solo Piano by Rodion Shchedrin and a Stylistic Analysis of Trespreludiosa Modo de Toccata, Dos Danzas Cubanas, and Estudio de Contrastes by Harold Gramatges Amanda Virelles del Valle University of Southern Mississippi Follow this and additional works at: https://aquila.usm.edu/dissertations Part of the Composition Commons, Musicology Commons, and the Music Performance Commons Recommended Citation Valle, Amanda Virelles del, "A Stylistic Analysis of Six Pieces for Solo Piano by Rodion Shchedrin and a Stylistic Analysis of Trespreludiosa Modo de Toccata, Dos Danzas Cubanas, and Estudio de Contrastes by Harold Gramatges" (2008). Dissertations. 1128. https://aquila.usm.edu/dissertations/1128 This Dissertation is brought to you for free and open access by The Aquila Digital Community. It has been accepted for inclusion in Dissertations by an authorized administrator of The Aquila Digital Community. For more information, please contact [email protected]. The University of Southern Mississippi A STYLISTIC ANALYSIS OF SIX PIECES FOR SOLO PIANO BY RODION SHCHEDRIN AND A STYLISTIC ANALYSIS OF TRESPRELUDIOSA MODO DE TOCCATA, DOS DANZAS CUBANAS, AND ESTUDIO DE CONTRASTES BY HAROLD GRAMATGES by Amanda Virelles del Valle A Dissertation Submitted to the Graduate Studies Office of The University of Southern Mississippi in Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts Approved: August 2008 COPYRIGHT BY AMANDA VIRELLES DEL VALLE 2008 The University of Southern Mississippi STYLISTIC ANALYSIS OF SIX PIECES FOR SOLO PIANO BY RODION SHCHEDRIN AND STYLISTIC ANALYSIS OF TRESPRELUDIOS A MODO DE TOCCATA, DOS DANZAS CUB ANAS, AND ESTUDIO DE CONTRASTES BY HAROLD GRAMATGES by Amanda Virelles del Valle Abstract of a Dissertation Submitted to the Graduate Studies Office of The University of Southern Mississippi in Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts August 2008 ABSTRACT STYLISTIC ANALYSIS OF SIX PIECES FOR SOLO PIANO BY RODION SHCHEDRIN AND STYLISTIC ANALYSIS OF TRESPRELUDIOS A MODODE TOCCATA, DOS DANZAS CUBANAS, AND ESTUDIO DE CONTRASTES BY HAROLD GRAMATGES by Amanda Virelles del Valle August 2008 This document compiles stylistic analysis for performance of selected works by the Russian composer Rodion Shchedrin and the Cuban composer Harold Gramatges. The piano music of these composers has been gaining international acclaim since the 1950's. The unique harmonic language, the elements of folklore, and the virtuosity found in these pieces make them very attractive for performance and research. The document unites two papers, each supplementing lecture recitals offered on April 16 and 28, 2008. In each paper, after a brief biographical summary and an account of the piano repertoire of the respective composer, the pieces are examined, and matters of historical background, harmony, structure, piano technique, and performance practice are discussed. This analysis, which includes musical examples, is followed by a bibliography and appendices including the recital programs offered at the two lectures and other degree recitals. n ACKNOWLEDGMENTS I would like to express my profound gratitude to my main advisor Dr. Lois Leventhal, for her precious help in the process of completion of my studies at The University of Southern Mississippi. Her advice in every step was always timely and wise. Appreciation must also be expressed to the rest of the members of my committee, Dr. Dana Ragsdale, Dr. Elizabeth Moak, Dr. Chris Goertzen, and Dr. Joseph Brumbeloe, for their dedication and willingness to work with me throughout this process, as well as to Dr. Edward Hafer for his advice in the early stages of this project. I would like to thank my husband, Carlos Castilla, for his support in every aspect of my life; and to my children Carlos Jose and Claudia, who are my inspiration. Finally, to my family in Cuba, whose perseverance and impulse guided and encouraged me, in spite of more than twenty years of distance. in * TABLE OF CONTENTS ABSTRACT ii ACKNOWLEDGMENTS in LIST OF EXAMPLES v LIST OF ILLUSTRATIONS vii LIST OF TABLES viii LECTURE RECITAL I STYLISTIC ANALYSIS OF SIX PIECES FOR SOLO PIANO BY RODION SHCHEDRTN 1 Introduction 1 Biographical Information for Rodion Shchedrin , 3 Rodion Shchedrin's Piano Music 8 Analysis of Six Pieces for Solo Piano 11 Conclusion 35 BIBLIOGRAPHY 36 LECTURE RECITAL II STYLISTIC ANALYSIS OF IRES PRELUDIOS A MODO DE TOCCATA, DOS DANZAS CUBANAS AND, ESTUDIO DE CONTRASTES BY HAROLD GRAMATGES 40 Introduction 41 Biographical Information for Harold Gramatges 43 Harold Gramatges's Piano Music 47 Analysis of Tres Preludios a Modo de Toccata, Dos Danzas Cubanas, and Estudio de Contrastes 49 Conclusion 71 BIBLIOGRAPHY ...72 APPENDICES 75 IV LIST OF EXAMPLES LECTURE I - EXAMPLES 1. Poem. Measures 1 and 2 , 13 2. Poem. Measures 9 to 11 13 3. Elder Brothers and Ivan. Measures 1 to 11 16 4. Elder Brothers and Ivan. Measures 16 to 19 17 5. Girls' Roundelay. Measures 1 to 8 18 6. Scherzino. Measures 1 to 4 19 7. I Play the Balalaika. Measures 1 to 4 20 8. Humoresque. Measures 61 to 66. 21 9. Humoresque. Measures 5 to 8 21 10. Humoresque. Measures 13 andl4 22 11. A la Albeniz. Measures 1 to 3 23 12. A la Albeniz. Measures 6 to 10 23 13. A la Albeniz. Measures 29 to 31 24 14. A la Albeniz. Measures 37 to 38 24 15. ^4 la Albeniz. Measures 55 to 56 26 16. Troika. Measures 53 to 56 27 17. Troika. Measures 5 to 8 and 32 to 34 27 18. Troika. Measures 57 to 64 ..28 19. Two-Part Invention. Measures 1 to 9 29 20. Two-Part Invention. Measures 8 to 10 and 46 to 48 30 21. Two-Part Invention. Measures 56 to 59 31 v 22. Basso Ostinato. Measures 2 to 6 32 23. Basso Ostinato. Measures 106 tol08 32 24. Basso Ostinato. Measures 121 to 126 33 25. Basso Ostinato. Measures 65 to 80 34 LECTURE II - EXAMPLES 1. Tres Preludios a Modo de Toccata. Preludio I. Measures 20, 37 and 28 to 29 51 2. Tres Preludios a Modo de Toccata. Preludio I. Measures 2 to 3 ..... 52 3. Tres Preludios a Modo de Toccata. Preludio II. Measure 13 52 4. Tres Preludios a Modo de Toccata. Preludio II. Measures 1 to 10 54 5. Tres Preludios a Modo de Toccata. Preludio II. Measure 74 55 6. Tres Preludios a Modo de Toccata. Preludio III. Measure 1 to 9 57 7. Tres Preludios a Modo de Toccata. Preludio III. Measures 1 to 2 and 8 to 9 58 8. Harold Gramatges. Dos Danzas Cubanas, Montuna. Measures 1 to 3, Alejandro Garcia Caturla. Berceuse Campesina. Measures 1 to 4, and Carlos Farinas Sones Sencillos, No. 2. Measures 1 to 4 59 9. Dos Danzas Cubanas. Montuna. Measures 4, 9 to 10, 57 to 58, and 73 to 74 62 10. Dos Danzas Cubanas. Sonera. Ending, and Carlos Farinas Sones Sencillos No. 1. Ending 65 11. Dos Danzas Cubanas. Sonera. Measures 21 to 28 66 12. Estudio de Contrastes. Fourth line. First page 69 13. Estudio de Contrastes. Fifth line. First page 69 14. Estudio de Contrastes. Middle Section 70 vi LIST OF ILLUSTRATIONS LECTURE I Illustration 1. Front cover of a 1964 edition in English of the fairytale 15 The Little Humpbacked Horse. 2. Balalaika 19 LECTURE II Illustration 1. Claves 55 2. Cuban Tres 56 VII LIST OF TABLES TABLE 1. Son de la Ma' Teodora 60 2. Miguel Matamoros. El Paralitico 61 3. Harold Gramatges. Montuna 63 4. Harold Gramatges. Sonera 65 VIM The University of Southern Mississippi LECTURE RECITAL I A STYLISTIC ANALYSIS OF SIX PIECES FOR SOLO PIANO BY RODION SHCHEDRTN by Amanda Virelles del Valle A Lecture Recital Submitted to the Graduate Studies Office of The University of Southern Mississippi in Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts April 2008 1 Introduction Although Rodion Shchedrin's music is performed today around the world in some of the most prestigious halls and by some of the most acclaimed performers, his work remains relatively unfamiliar to the general public, even in his native Russia. Shchedrin's works represent diverse tendencies, combining elements of the Russian style from the eighteenth and nineteenth-century composers to more recent generations. My interest in Shchedrin's music goes back to the 1980s when I first saw the ballet Carmen, based on Bizet's opera. The first choreography of this ballet was made in 1967 by Cuban choreographer Alberto Alonso, brother-in-law of the Cuban legend of classical ballet Alicia Alonso. Alberto Alonso thereby became the first foreign choreographer to ever work for the Moscow Bolshoi Ballet.1 As a result of this collaboration of Alonso with Shchedrin and ballet dancer Maya Plisetskaya (Shchedrin's wife), as well as the constant assistance of Russian music teachers in the island, Cuban pedagogues and musicians began to pay attention to Shchedrin's music, more specifically, to the piano repertoire. In a short period of time, iconic piano pieces like Basso Ostinato were played all over the country by students and professionals in all kind of venues, from concerts and recitals to competitions, conferences and festivals. The set of compositions, Six Pieces for Solo Piano, analyzed in the present work dates from 1951 to 1962. It is a clear representation of Shchedrin's early period. This set 1 Selected from an article published on the occasion of Alberto Alonso's death. 2008. [Internet on line] Available from http://www.telegraph.co.uk/news/obituaries/1574859/Alberto-Alonso.html. [Accessed on January 15, 2008]. 2 of pieces makes a fine contribution to the repertoire of any pianist, and enhance the technical capabilities of the performer, as they require a high level of skill.
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