GORDON BINKERD’S “INTERMEZZO” FROM ESSAYS FOR THE PIANO (1976): A
COMPREHENSIVE ANALYSIS OF BRAHMSIAN COMPOSITIONAL
INFLUENCES AND STYLISTIC ELEMENTS
Kyung-Ah Noh, B.M., M.M.
Dissertation Prepared for the Degree of
DOCTOR OF MUSICAL ARTS
UNIVERSITY OF NORTH TEXAS
August 2014
APPROVED:
Joseph Banowetz, Major Professor Elvia Puccinelli, Minor Professor Timothy Jackson, Committee Member Steven Harlos, Chair of the Division of Keyboard Studies Benjamin Brand, Director of Graduate Studies James C. Scott, Dean of the College of Music Mark Wardell, Dean of the Toulouse Graduate School Noh, Kyung-Ah. Gordon Binkerd’s “Intermezzo” from Essays for the Piano (1976): A
Comprehensive Analysis of Brahmsian Compositional Influences and Stylistic Elements.
Doctor of Musical Arts (Performance), August 2014, 42 pp., 1 table, 36 musical examples,
references, 23 titles.
Gordon Binkerd (1916-2003) was an influential and well-known twentieth century
composer. While his choral works are renowned worldwide, his piano music is rather unfamiliar
to present-day scholars and performers. Binkerd’s Essays for the Piano (1976) is a set of six
pieces that was greatly influenced by Brahms’ music. Especially noteworthy is the first piece of
the set, titled “Intermezzo,” which is based on Brahms’ “Intermezzo” Op. 118, No. 1. The fact
that Binkerd’s compositional procedures allow for a “recasting” of Brahms’ piece in a way that
disguises the original source of his work are intriguing and call for further research on the topic.
As such, the main purpose of this study is to analyze Binkerd’s modern transcription-style
writing, and consequently examine how it incorporates a series of influences and compositional
elements from Brahms’ music.
This dissertation is divided into five chapters. The first chapter contains a general
overview of piano works by Binkerd that incorporate quotations of works by other composers are
addressed. These include Five Pieces for Piano, Suite for Piano: Five Fantasies (Nos. 2, 3, and
4), and the Piano Sonatas Nos. 1-3. The second chapter provides an analytical study of the
fundamental structure found in Brahms’ Intermezzo, No. 1 from Sechs Klavierstücke, Op. 118
The third chapter equally analyzes the fundamental structure of Binkerd’s “Intermezzo,” No. 1
from Essays for the Piano. The fourth chapter consists of a comparative study of the findings in
Chapter 3, as they relate to both Brahms’ and Binkerd’s intermezzi. The fifth and final chapter is
a conclusion.
Copyright 2014
by
Kyung-Ah Noh
ii TABLE OF CONTENTS
Page
LIST OF TABLES ...... iv
LIST OF MUSICAL EXAMPLES ...... v
Chapters
1. INTRODUCTION ...... 1
II. BRAHMS “INTERMEZZO,” NO. 1 FROM SECHS KLAVIERSTÜCKE, OP. 118 ...... 11
III. BINKERD’S “INTERMEZZO,” NO. 1 FROM ESSAYS FOR THE PIANO ...... 17
IV. A COMPARISON OF BRAHMS’ AND BINKERD’S “INTERMEZZO” ...... 28
V. CONCLUSION ...... 39
BIBLIOGRAPHY ...... 41
iii LIST OF TABLES
Page
1. The structure of Brahms’ Intermezzo, Op. 118 No. 1 and Binkerd’s Intermezzo, No. 1 from Essays for the Piano...... 27
iv LIST OF MUSICAL EXAMPLES
Page
Ex. 1. Brahms Meine Lieder, Op. 106, No.4 mm. 1-7 ...... 4
Ex. 2. Binkerd Intermezzo on "Meine Lieder" from Suite for Piano, mm. 1-8 ...... 5
Ex. 3. Binkerd Piano Sonata No. 2, 1st movement, mm. 21-27 ...... 6
Ex. 4. Binkerd Intermezzo No.1 from Essays for the Piano, mm. 25-33 ...... 6
Ex. 5. Binkerd Piano Sonata No. 2, 3rd movement, mm. 21-30...... 7
Ex. 6. Binkerd Intermezzo, No. 1 from Essays for the Piano, mm. 61-72 ...... 7
Ex. 7. Brahms Intermezzo Op. 118 No. 1, fundamental structure of mm. 1-10 ...... 12
Ex. 8. Brahms Intermezzo Op. 118 No. 1, fundamental structure of mm. 11-20 ...... 13
Ex. 9. Brahms Intermezzo Op. 118 No. 1, fundamental structure of mm. 21-30 (2nd ending in m. 29) ...... 14
Ex. 10. Brahms Intermezzo Op. 118 No. 1, fundamental structure of mm. 30-41 ...... 15
Ex.11. Binkerd Intermezzo, No. 1 from Essays for the Piano, fundamental structure of mm. 1-8 ...... 16
Ex.12. Binkerd Intermezzo, No. 1 from Essays for the Piano, fundamental structure of mm. 9-16 ...... 17
Ex.13. Binkerd Intermezzo, No. 1 from Essays for the Piano, fundamental structure of mm. 17- 24...... 18
Ex.14. Binkerd Intermezzo, No. 1 from Essays for the Piano, fundamental structure of mm. 25- 33...... 19
Ex. 15. Binkerd Intermezzo, No. 1 from Essays for the Piano, fundamental structure of mm. 29 (2nd ending)-40 ...... 20
Ex. 16. Binkerd Intermezzo, No. 1 from Essays for the Piano, fundamental structure of mm. 41- 50...... 21
Ex. 17. Binkerd Intermezzo, No. 1 from Essays for the Piano, fundamental structure of mm. 51- 60...... 22
Ex. 18. Binkerd Intermezzo, No. 1 from Essays for the Piano, fundamental structure of mm. 61- 68...... 23
v Ex. 19. Binkerd Intermezzo, No. 1 from Essays for the Piano, fundamental structure of mm. 69- 76...... 24
Ex. 20. Binkerd Intermezzo, No. 1 from Essays for the Piano, fundamental structure of mm. 77- 82...... 25
Ex. 21. Binkerd Intermezzo, No. 1 from Essays for the Piano, fundamental structure of mm. 83- 90...... 25
Ex. 22. Binkerd Intermezzo, No. 1 from Essays for the Piano, fundamental structure of mm. 91- 99...... 26
Ex. 23. Background graph of Brahms’ Intermezzo, Op. 118, No. 1, depicting an auxiliary cadential progression ...... 29
Ex. 24. Background graph of Binkerd’s Intermezzo, No. 1 from Essays for the Piano, depicting an auxiliary cadential progression in mm. 1-24 ...... 30
Ex. 25. Background graph of Binkerd’s Intermezzo, No. 1 from Essays for the Piano, depicting an auxiliary cadential progression in mm.25-48 ...... 30
Ex. 26. Background graph of Binkerd’s Intermezzo, No. 1 from Essays for the Piano, depicting an auxiliary cadential progression in mm. 49-70 ...... 31
Ex. 27. Background graph of Binkerd’s Intermezzo, No. 1 from Essays for the Piano, depicting an auxiliary cadential progression in mm. 70-98 ...... 31
Ex. 28. Brahms Intermezzo Op. 118 No. 1, mm. 1-3 ...... 32
Ex. 29. Binkerd Intermezzo, No, 1 from Essays for the Piano, mm. 1-8 ...... 32
Ex. 30. Schenkerian depiction of the fundamental structure in Brahms’ Intermezzo, Op. 118, No. 1, mm. 1-8 ...... 33
Ex. 31. Schenkerian depiction of the fundamental structure in Binkerd’s Intermezzo,Op. 118 No. 1, mm.1-8 ...... 33
Ex. 32. The melodic line of Brahms’ Intermezzo, Op. 118 No. 1, mm. 10-14 ...... 34
Ex. 33. Binkerd’s Intermezzo, mm. 35-44. Adaptation of the melodic line from Brahms’ Intermezzo, Op. 118 No. 1, mm. 10-14 as the bass line ...... 35
Ex. 34. Brahms’ Intermezzo, Op. 118 No. 1, mm. 13-20. Circled pitches from both the melody and bass are also used in Binkerd’s Intermezzo ...... 36
Ex. 35. Binkerd Intermezzo, No. 1 from Essays for the Piano, mm. 49-60. Pitches in the bass line derive directly from mm. 14-20 of Brahms’ Intermezzo, Op. 118 No. 1 ...... 37
Ex. 36. Binkerd Intermezzo, No. 1 from Essays for the Piano, mm. 62-65 ...... 38
vi CHAPTER I
INTRODUCTION
Gordon Binkerd (1916-2003) was an influential and well-known composer of choral
music. His output, which consists of more than 160 choral and vocal pieces, is energetic in style
and mainly features the use of neoclassical components such as objectivity, expressive restraint
and textual transparency.1 While Binkerd’s choral music is renowned worldwide and considered a vital part of contemporary choral repertoire, his piano music is rather unfamiliar to present-day
scholars and performers. David Saladino, a composer who studied with Binkerd, described him as being an extremely "scholarly-minded composer"; furthermore, Saladino considered this to be
Binkerd's greatest attribute.2 Binkerd’s wife, Patricia Walker, believed that Binkerd's fondness
for choral music originated as a result of his linguistic aptitudes.3 She noted that he was
“beautifully read" and "could have been an English teacher, [as] he knew literature and poetry so well."4
Binkerd’s Essays for the Piano (1976) is a set of six pieces that was greatly influenced by
Brahms’ music. Especially noteworthy is the first piece of the set, titled “Intermezzo,” which is based on Brahms’ “Intermezzo” Op. 118, No. 1. Binkerd described his “Intermezzo” in relation to Brahms’ work as being “a recasting of the whole piece. I doubt very much whether it is perceptible as having any relation to the original.”5 The fact that Binkerd’s compositional
procedures allow for a ‘recasting’ of Brahms’ piece in a way that disguises the original source of
his work are intriguing and call for further research on the topic. As such, the main purpose of
1 Howard Pollack, Harvard Composers: Walter Piston and His Students, from Elliot Carter to Frederic Rzewski (N. J., & London, The Scarecrow Press, 1992), 254. 2 Angela Rozas. Gordon Binkerd, 87 - Composer excelled at choral music http://articles.chicagotribune.com/2003-09-10/news/0309100287_1_choral-music-st-louis-symphony-orchestra- carnegie-hall (accessed July 31, 2013). 3 Ibid., 4 Ibid., 5 Rudy Shackelford, “The Music of Gordon Binkerd,” Tempo 114 (Sep 1975), 7.
1 this study is to analyze Binkerd’s modern transcription-style writing, and consequently examine
how it incorporates a series of influences and compositional elements from Brahms’ music.
Binkerd is an underrated composer whose music tends to be overlooked. Four
dissertations exist on Binkerd’s choral music: The Choral Music of Gordon Binkerd (1973), by
Lloyd Furman Hawthorne 6; Influence of Poetry on Compositional Practices in Selected Choral
Music of Gordon Binkerd (Text painting) (1984) 7, by David Andrew Saladino; The Treble
Choral Music of Gordon Binkerd: A Survey (1989) 8, by Carolyn Ruth Paulin; and The Stylistic
Study of the Songs of Gordon Binkerd (1975) 9, by Melvin Eugene Miller. In this last study,
Miller presents analyses of two of Binkerd’s major song cycles: Shut Out That Moon (published in 1968) 10 and Three Songs for Mezzo Soprano (published in 1973). There is only one
dissertation dealing with Binkerd’s piano music: Patricia Barnes Griffith’s The Solo Piano Music of Gordon Binkerd (1984).11 This dissertation serves as an overall introduction to Binkerd’s
major piano pieces. It is a valuable resource for readers to get general information on Binkerd’s
piano output. However, it does not provide profound or specific research on any of Binkerd’s
works. In turn, this investigation focuses on addressing one of Binkerd’s major piano pieces,
specifically identifying how Binkerd’s compositional style was influenced by Brahms’ music.
6 Loyd Furman Hawthorne, “The Chorale Music of Gordon Binkerd” (Thesis, University of Texas, 1973). 7 David A Saladino, ““Influence of Poetry on Compositional Practices in Selected Choral Music of Gordon Binkerd” (Ph D. Thesis, Florida State University, 1984). 8 Carolyn Ruth Paulin, “The treble choral music of Gordon Binkerd: A survey” (DMA diss., University of Illinois at Urbana- Champaign, 1989). 9 Melvin Eugene Miller, A Stylistic Study of Songs of Gordon Binkerd” (Thesis, University of Oklahoma, 1974). 10 Gordon Binkerd, Shut Out that Moon: A Song Cycle (New York: Boosey & Hawkes, 1968). 11 Patricia Barnes Griffith, “The Solo Piano Music of Gordon Binkerd” (DMA diss., Peabody Conservatory of Music, 1984).
2 In the article “The Music of Gordon Binkerd,” Rudy Shackelford12 supplies a brief biography of the composer and includes pertinent information on selected works; these include
Binkerd’s first major piece, the Sonata for Cello (1952), as well as his four symphonies, and
several choral pieces. In Harvard Composers: Walter Piston and his students, from Elliott Carter
to Frederic Rzewski (1992), Howard Pollack13 presents biographical information on Binkerd. He
also provides details on the relationship between Binkerd and his teacher Walter Piston, in
addition to a listing of his works organized by genre (orchestral works, chamber music,
instrumental compositions, choral works, and pieces for the piano). In particular, Pollack14
references the importance of two major piano pieces, the “Suite for Piano” (1975) and “Essays
for the Piano” (1976). He offers a general discussion with regard to the compositional style of
these two works. Pollack also mentions that Binkerd wrote a number of compositions containing
references, or quotations, from pieces written by other composers.15 Binkerd’s music is a clear example of the way that varied features from multiple sources can be integrated to form a convincing musical whole.16 Binkerd was also a musicologist, and as such, he was extremely
knowledgeable of music history. His interest in music of the past played a strong role in the
development of his compositional ideology.17 This can be perceived in numerous transcriptions
or reinterpretation of piano pieces, which are obviously based on pre-existing works.18 Binkerd transcribed or reinterpreted some works by adapting the material to incorporate his own ideas.
12 Rudy Shackelford, “The Music of Gordon Binkerd,” Tempo 114 (Sep 1975): 7. 13 Howard Pollack, Harvard Composers: Walter Piston and His Students, from Elliot Carter to Frederic Rzewski (N. J., & London: The Scarecrow Press, 1992), 254. 14 Ibid., 266-67. 15 Hindemith’s Fugue No. 5 from Ludus Tonalis, Claudio Merulo’s Toccata, and Mozart Fantasy in D minor, K. 397, etc. 16.Patricia Barnes Griffith, 4. 17 Ibid., 9. 18 Ibid.
3 The three inner pieces of the Suite for Piano: Five Fantasies are representative works for his piano transcriptions. The three inner pieces of the Suite for Piano: Five Fantasies, are transcriptions of “lieder” by Brahms. The second piece is based on Brahms’ "Meine Lieder," Op.
106, No. 4. The third piece, "Intermezzo," is based on Brahms’, Op. 57, No. 2 “Wenn du nur zuweilen lächelst.” The fourth piece is based on Brahms’ "Jungfräulein, soll ich mit euch gehn," from 49 Deutsche Volkslieder, WoO 33, Book 2, No. 11 (1894). Binkerd treats these three pieces as sets of variations, modifying the melodic voicing and changing registers (Example 1 and 2).19
For example, Binkerd adds a series of block chords and arpeggiated figures. He also includes the lyrics of the original lied in the piano score.
Example 1. Brahms Meine Lieder, Op. 106, No. 4, mm. 1-720
19 Ibid,, 59. 20 Johannes Brahms. Complete Songs Vol. 1 (Medium Voice) (Peter Editions), 126.
4 Example 2. Binkerd Intermezzo on "Meine Lieder" from Suite for Piano, mm. 1-821
Binkerd’s representative works for the style of reinterpretion are Piano Sonatas Nos. 1-3
and the Five Pieces for Piano. Binkerd’s Piano Sonata No. 1 (Sonata for Piano) was written in
1955 and published in 1968. This work was Binkerd’s first published piano solo composition.
The sonata mainly treats the piano as a percussion instrument. It is a four-movement work that can be compared with Beethoven’s Sonata in B-Flat major, Op. 106, or Hindemith’s Sonata No.
3, also in B-Flat major.22 Binkerd and Hindemith’s sonatas are related in terms of their structural
organization and stability. They use no key signature, and their colorful harmonic language
includes a considerable amount of chromaticism. In addition, these works use extensive
dissonance as a means to express the music’s energy and intent.23 Binkerd’s Piano Sonata No. 1 amply explores tonality and atonality, as well as diatonicism and chromaticism.24
21 Gordon Binkerd. Suite for Piano: Five Fantasies (New York: Boosey & Hawkes, 1978), 10. 22Patricia Barnes Griffith, 33. 23 Ibid. 24 Ibid., 61.
5 Binkerd’s Piano Sonata No. 2 was written in 1981. Several sections of this piece share
some similarities with the “Intermezzo” from Essays for the Piano.25 An example of this occurs in the first movement, mm. 21-27, where Binkerd writes a quintuplet rhythm that resembles mm.
25-33 from the “Intermezzo” (Ext. 3 and 4).
Example 3. Binkerd Piano Sonata No. 2, 1st movement, mm. 21-2726
Example 4. Binkerd Intermezzo, No. 1 from Essays for the Piano, mm. 25-3327
Another similarity can be seen in the descending scale pattern and triplet figurations that appear
in both pieces (Ex. 5 and 6).
25 Ibid., 63. 26 Gordon Binkerd. Second Sonata for Piano (New York: Boosey & Hawkes, 1984), 4. 27 Gordon Binkerd, Essays for the Piano (New York: Boosey & Hawkes, 1978), 2.
6 Example 5. Binkerd Piano Sonata No. 2, 3rd movement, mm. 23-3028
Example 6. Binkerd Intermezzo, No. 1 from Essays for the Piano, mm. 61-7229
Binkerd’s Piano Sonata No. 3 was written in 1982. The work includes two movements that were each modeled on a sonata by Domenico Scarlatti: the first movement is based on the
28 Ibid., Second Sonata for piano, 20. 29 Gordon Binkerd, Essays for the Piano, 4.
7 Sonata in E minor, K. 263 (L. 321), while the second movement shares an affinity with the
Sonata in B-Flat major, K. 545 (L. 500).30 Binkerd and Scarlatti’s sonatas resemble each other in
terms of key relationships, contrapuntal characteristics, and the use of melodic alternation
between both hands.31 Binkerd’s use of binary form is also derived from Scarlatti’s sonatas.32 In
the first movement, Binkerd nonetheless adds a repeat sign that differentiates it from Scarlatti’s
work. The first movement in Binkerd’s Piano Sonata No. 3 possesses the same key structure, E
minor-G major-E minor, as Scarlatti’s Sonata, K. 263.33 The second movement is in E Major,
which fits well with the key of the first movement. However, this differs from the Scarlatti
example, which is in B-Flat major.34 Marked contrapuntal lines characterize both Scarlatti
sonatas, and this attention to counterpoint is maintained in Binkerd’s music.35 Finally, it is worth
mentioning that Stravinsky’s music also served as an inspiration for Binkerd’s Piano Sonata No.
3. This is primarily reflected in the piano style, which is comparable to the one used by
Stravinsky in three of his works: the Sérénade en la, the Piano Sonata, and the Duo
Concertino.36
The Five Pieces for Piano are representative of two different compositional periods.37
The first three pieces were written from 1946 to 1949, while the last two were written in 1973.38
The second piece, “Fugue à la Gigue,” is modeled on Hindemith’s Fugue No. 5 from Ludus
Tonalis.39 Both composers used compound meter (Hindemith used a 6/8 time signature, while
Binkerd used 9/8), in addition to employing similar rhythmic patterns. The fourth piece,
30 Patricia Barnes Griffith, 72. 31 Ibid., 73. 32 Ibid., 72. 33 Ibid. 34 Ibid. 35 Ibid. 36 Ibid. 37 Patricia Barnes Griffith. 43. 38 Ibid. 39 Ibid.
8 “Toccata,” is based on a composition of the same name by Claudio Merulo. This piece can be
found in Historical Anthology of Music, vol. 1, No. 153. 40 It is not surprising that both works are
in the same key, F major. Merulo’s "Toccata" features a thick texture and is limited from a rhythmic standpoint; in exchange, Binkerd’s "Toccata" is freer in terms of the rhythm. The fifth piece, “Fantasia,” can be clearly linked to Mozart’s Fantasy in D minor, K. 397.41 Mozart’s
influence can be perceived through the constant use of chromaticism, stricter use of counterpoint,
and the thematic structure of the work.42 The most noticeable element shared by both works is their motivic connection.43
Among a number of Binkerd’s piano pieces fitting this description, the first piece of
Essays, could in fact be seen as a loosely based reinterpretation of Brahms’ “Intermezzo,” Op.
118, No. 1. As mentioned previously, Binkerd's work was greatly influenced by Brahms’ music;
this can be seen not only in the appropriation of titles also used by the great German master in
several of his piano works, but also, for example, in the constant use of melodic thirds and
sixths.44 While the music of Brahms seems to have been the main inspiration for this piece,
Binkerd nonetheless also credits the work’s creation and success to his collaboration with
Stanley Fletcher. Fletcher, a concert artist and scholar of musical journals,45 mentored Binkerd in
piano composition.46 Fletcher studied at the University of Michigan and was trained by Guy
Maier, Arthur Schnabel and Anis Fuleihan.47 Karl Kroger, an American composer and pupil of
40 Ibid. 41 Ibid. 42 Ibid., 44. 43 Ibid., 48. 44 Patricia Barnes Griffith.), 57. 45 Liner notes to Gordon Binkerd, Sonata for Piano (1955), Stanley Fletcher. CD, B003WGF9D2, 1965. www.newworldrecords.org/uploads/fileakvD4.pdf (accessed July 31, 2013). 46 David Saladino. “Golden Binkerd.” Sigma Alpha Iota. http://www.sai- national.org/home/ComposersBureau/BinkerdGordon/tabid/634/Default.aspx (accessed July 31, 2013). 47 Liner notes to Gordon Binkerd, Sonata for Piano (1955), Stanley Fletcher. CD, B003WGF9D2, 1965. www.newworldrecords.org/uploads/fileakvD4.pdf (accessed July 31, 2013).
9 Binkerd, describes the relationship between Binkerd and Fletcher as a close partnership between
composer and performer that was relatively unique in the twentieth century, where a great gap was usually seen between both working counterparts.48
Binkerd’s “Intermezzo” from Essays for the Piano displays a broad array of musical
elements that deserve to be studied more thoroughly. In this work, the composer demonstrates a
phenomenal ability to connect musical materials from two different time periods, emulating
Brahms’ transcription-style from a modern viewpoint. More specifically, Binkerd’s
“Intermezzo” is based on Op. 118 No. 1’s tonal structure, in addition to containing a number of
notable melodic and harmonic references. However, as stated by the composer himself, a
superficial reading of the work makes this influence practically unnoticeable. In turn, a detailed
analysis of the work allows the connection between both pieces to be more easily recognizable.
48 Patricia Barnes Griffith, 49.
10 CHAPTER II
BRAHMS’ “INTERMEZZO” No. 1 FROM SECHS KLAVIERSTÜCKE, Op. 118
This chapter provides an analytical study of the work’s fundamental structure. Three
levels primarily form such structures: foreground, middleground, and background. All three are
addressed in this chapter.
Brahms’ “Intermezzo” Op. 118, No. 1 is divided into three sections, A, B, A’ with Coda.
The first A section lasts from mm. 1-10. A harmonic framework of this section could be described as C (III) - A (I) - F (IV) - A (I). From a structural standpoint, the section begins on the
mediant instead of the tonic. This is an example of an auxiliary progression, which will be further discussed in Chapter 4. Brahms devises a descending harmonic progression to develop throughout the section. The downbeat of the first measure (B♭) is a non-harmonic tone, which in effect functions as a passing tone. The upper part (Urlinie) moves as follows: C-B♭-A-G-F-E-
D♯- D♮-C-(A-G) (Ex. 7). In the B section, the general structure strongly revolves around the third
scale degree. This section (mm. 11-20) displays a foreground denoting the following pitches: E-
A-C-E-A (Ex. 8). The melodic line of this section shows an inversion of the corresponding material from the A section (C-B♭-A). Two other important pitch progressions of the foreground are G-G♯-A-C (mm.10-12) and C-C♯-D-F (mm. 12-14) (Ex. 8).
11 Example 7. Brahms Intermezzo Op. 118 No. 1, fundamental structure of mm. 1-1049
49 Johannes Brahms, Sechs Klavierstücke, Op. 118 (Berlin: N. Simrock, 1893), 1.
12 Example 8. Brahms Intermezzo Op. 118 No. 1, fundamental structure of mm. 11-2050
50 Ibid.,
13 A more detailed bass progression appears in mm. 17-20, and can be represented by the following
pitches: A-A♯-B-B♯-C-D-D♯. The scale degree motion 3ˆ - can be seen in m. 20 (Example 8). A
scale degree 3ˆ is sustained in m. 23, and moves 2ˆ -1ˆ in mm. 27-28. Examples 9 and 10 also
illustrate the foreground for the A’ section and the Coda (mm. 21-41). In this case, the motion of
the foreground occurs in the following manner: C (m. 21) - A (m. 28) - E (V in m. 31) - A (I in m. 39).The fundamental line develops 3ˆ (m. 23) - 2ˆ (m. 27) - 1ˆ (m. 28). The material of the
Coda incorporates an augmentation of the material, as the rhythm of the melodic line changes
from quarter notes and dotted half notes to half notes and whole notes. A voice exchange
happens in m. 30: D♯ and F♯. The final cadence features the use of a Picardy third (Example 10).
14 Example 9. Brahms Intermezzo Op. 118 No. 1, fundamental structure of mm. 21-30 (2nd ending in m. 29)51
51 Ibid, 1-2.
15 Example 10. Brahms Intermezzo Op. 118 No. 1, fundamental structure of mm. 30-4152
52 Ibid., 2.
16 CHAPTER III
BINKERD’S “INTERMEZZO,” No. 1 FROM ESSAYS FOR THE PIANO
From a Schenkerian standpoint, the overall harmonic framework of Binkerd’s
“Intermezzo” is III-V-I- I♯3, while the fundamental line is 3ˆ − 2ˆ −1ˆ − 3ˆ − 2ˆ −1ˆ − ♯ 3ˆ . The work can be divided into three sections, A-B-Coda. The A section is from m. 1 to m. 33. The bass line starts on C (III). The soprano line starts with scale degree 3ˆ until m. 4, and then proceeds to A-
G-F until m.8.
Example 11. Binkerd Intermezzo, No. 1 from Essays for the Piano, fundamental structure of mm. 1-853
The fundamental line A-G-F (mm. 5-8) reaches its final goal (E) as the dynamics move to f in m.
11( 5ˆ ). Although the goal is reached by way of a C ( 3ˆ ), the note E is prepared for the goal in m.
12. The note E continues to move harmonically, reaching C in m. 12 and A in m. 14. The arrival
of an A minor chord allows the goal(C) to be strengthened. Another middleground level begins with the pitches A-A♭ above III in mm. 14-16 (Example 12).
53 Binkerd, Essays for the Piano, 1.
17 Example 12. Binkerd Intermezzo, No. 1 from Essays for the Piano, fundamental structure of mm. 9-1654
The middle ground level then connects a chromatic line G♮ (m. 19) going from F♯-F♮-E♮-D♯ (m.
24) above a prolonged III chord (Example 13). Another chromatic line is formed between G5 and G4 in mm. 21-23 that outlines the pitches E-E♭-D-D♭-C-B-B♭-A-A♭. This chromatic progression results in the creation of an A♭7 chord.
54 Ibid.,
18 Example 13. Binkerd Intermezzo, No. 1 from Essays for the Piano, fundamental structure of mm.17-2455
In m. 25, the fundamental line finally reaches a new goal (C♯). A progression employing quintuplets, similar to the one leading to m. 25, illustrates how the fundamental line develops
(F♯-G-A♭-A♮-B♭) towards a new goal (C), in mm. 26-29. In mm. 26-27, G becomes the goal as
C (III) sustains the bass line. In m. 30, Binkerd simultaneously uses ♮ 3ˆ (C) and ♯3ˆ (D♭, the
enharmonic equivalent of C♯); both are used to emphasize the goal (Example 14).
55 Ibid., 2.
19 Example 14. Binkerd Intermezzo, No. 1 from Essays for the Piano, fundamental structure of mm. 25-3356
In the 2nd ending (mm. 29-33), four notes (A♮- B♭- B♮-C) are used to strengthen the goal (C♮).
During this process, the bass line moves to a strong III chord; this is further emphasized by repetitions in a different octave, as the top line presents a repetition of G♯-A♯-B-A♮-G♮ (Ex. 15).
This is in fact an example of what Schenker terms "incomplete neighbor motion," the purpose of which is to transform dissonances (G♯-A♯-B) to consonances (B-A-G). In mm. 33-34, the top voice (G) moves to a lower voice by way of a voice exchange. The fundamental line, which had been maintained for a period of time, now moves from F♯ in m. 38 to F♮ in m. 40. A voice exchange happens in mm. 38-39: F♯ and D♯, which were originally placed in the right hand (m.
56 Ibid.
20 38) now appear in the bass line (m. 39); in return, C and A, which were part of the left hand (m.
38), have now been moved to the soprano line (m. 39) (Ex. 15).
Example 15. Binkerd Intermezzo, No. 1 from Essays for the Piano, fundamental structure of mm. 29 (2nd ending) – 4057
The motion of the inner voices occurs as follows: A-B (mm. 39-40) and A-B-C (mm. 40-
43); this process serves as a way to finally reach E. In m. 41, a top voice F moves down to a lower voice by way of a voice exchange, arriving at A through a D7 arpeggio pattern. At that point, a top line presents a progression beginning with scale degree ♮3 (C) as the bass sustains an
A. This potentially gives the impression that this bass A becomes the tonic at this point (m.43), but this does not happen until later (m. 93). In mm. 44-48, notes move from E (m. 44) -D♯ (mm.
44-45) -D (m. 47) -C (m. 49) (Ex. 16).
57 Ibid., 3.
21 Example 16. Binkerd Intermezzo, No. 1 from Essays for the Piano, fundamental structure of mm. 41- 5058
In mm. 51-52, the bass line displays a G♯7 chord in arpeggiated form; this serves as preparation
to move to the A chord. This in turn is followed by C, which is previously set up by A-A♯-B
(mm. 53-54) in m. 55. Finally, the goal C ( 3ˆ ) appears along with E♭, which was prepared by the
progression C-C♯- D♮ in mm. 55-57 (Ex. 17). The E♮ (♮5ˆ ) appears along with E♭ (♭5ˆ ) in m. 58
(Ex. 17). From mm. 58 to 60, Binkerd uses both E♮ and E♭ to emphasize the goal.
58 Ibid.
22 Example 17. Binkerd Intermezzo, No. 1 from Essays for the Piano, fundamental structure of mm. 51-6059
Starting with the last note (C) in m. 60, the melody from the beginning of the piece is prepared for what appears to be some sort of recapitulation. In mm. 63-65, C is sustained in the bass, and can be seen as scale degree 3ˆ as it appears in the last note of m. 63. This scale degree C ( 3ˆ ) moves from B♭-A, and originates from the C that was sustained in mm. 63-66 (Ex. 18).
59 Ibid.
23 Example 18. Binkerd Intermezzo, No. 1 from Essays for the Piano, fundamental structure of mm. 61- 6860
In mm. 74-76, the fundamental line moves in the following manner: C♯-B-A (♯ 3ˆ - 2ˆ -1ˆ ) by way
of a prepared E (m. 70) - D♯ (m. 74) (Ex. 19). In m. 75, C♯ and B♯ appear simultaneously. B♯ is in fact a C♮, spelled enharmonically. As in other instances, Binkerd uses C♯ and C♮ (B♯) at the same time to emphasize the goal ( 3ˆ ).
60 Binkerd, Essays for the Piano, 4.
24 Example 19. Binkerd Intermezzo, No. 1 from Essays for the Piano, fundamental structure of mm. 69- 7661
Another fundamental line develops in the following manner: D♯-C♯ (m. 74), followed by B-A
(m. 76); these progressions involve scale degrees ♯3ˆ - 2ˆ -1ˆ (Ex. 19). In m. 77, after a fermata, the
Coda begins on A (1ˆ ) in the top voice. (Ex. 20)
61 Ibid.
25 Example 20. Binkerd Intermezzo, No. 1 from Essays for the Piano, fundamental structure of mm. 77- 8262
The note F (m. 84) serves as preparation for the E ( 5ˆ ) in mm. 87-88 (Ex. 21). In this case,
ˆ however, scale degree 5 does not function as the main note, but just a cover tone.
Example 21. Binkerd Intermezzo, No. 1 from Essays for the Piano, fundamental structure of mm. 83-9063
62 Binkerd, Essays for the Piano, 4-5. 63 Ibid., 5.
26 G♯ carries on from m. 89 to 91, and connects to A (I) in m. 93. E ( 5ˆ ) is sustained from m. 87 to
97 on an A major chord that is prepared by way of an F♮. The piece finishes with I♯3. (Ex. 22)
Example 22. Binkerd Intermezzo, No. 1 from Essays for the Piano, fundamental structure of mm. 91-9964
64 Ibid.
27 CHAPTER IV
A COMPARISON OF THE “INTERMEZZO” OF BRAHMS AND BINKERD
In terms of the investigative approaches used to compare and contrast Brahms’ and
Binkerd’s pieces, this research focuses both on a Schenkerian analysis, as well as a traditional study of the works in question. The application of Schenkerian principles is particularly elucidating to understand the incorporation of auxiliary cadences in both works. These analyses
also allow the identification of other key elements in the two compositions, namely similarities
in tonal structure and mood, as well as the extensive use of quotation.
Table 1 outlines the structure of both intermezzi. It is not surprising to observe that both
pieces are in ternary form, A-B-A with coda.
Table 1. The structure of Brahms’ Intermezzo in A Minor, Op. 118 No. 1 and Binkerd’s Intermezzo, No. 1 from Essays for the Piano.
Brahms Binkerd
A section mm. 1-11 mm. 1-33
B section mm. 12-20 mm. 34-63
(A’ section) + Coda mm. 21-41 mm. 64-99
Because both pieces share the same tonal structure, a more in-depth look of each section will
allow for a more profound understanding of the works’ characteristics.
1. Structural Application of the Auxiliary Cadence following Schenkerian Principles
Both intermezzi are in the key of A minor, and both have similar cadential progressions.
Generally, an authentic cadential progression begins and ends in the tonic, but an auxiliary
cadence has an off-tonic opening. In the book Sibelius Studies, Timothy L. Jackson and Veijo
Murtomäki describe the process by which an auxiliary cadence takes place:
28 The “initial” auxiliary cadence frequently occurs in an introduction or “secondary” space, and serves to introduce the “primary” space, which is assigned to the form proper (sonata, rondo, binary, ternary form, etc.). Typically, the “initial” auxiliary cadence supports an introduction, the envelope of introduction space being defined by the auxiliary cadence.65
The background graphs of both intermezzi can be seen in Examples 23 and 24. In example 24,
the root of the dominant chord (E) is omitted; however, it is implied in the harmonic structure.
L. Poundie Burstein describes the tonal shape of an auxiliary cadence by stating the following:
The omission of an opening root-position tonic gives rise to a feeling of expectancy by shifting the weight of the tonality towards the end of a progression. That is, the point of tonal stability within the progression—and its only harmony that plays a role within the larger structure—does not arrive until its end. As such, the entire auxiliary cadence is in a constant “state of becoming” until its conclusion. 66
It is necessary to clarify that Binkerd’s use of an auxiliary cadential progression does not imply a
lack of tonic harmonies; in fact, these can be seen throughout the piece. However, the presence
of a strong tonic triad is not present until the end of the work.
Both Intermezzi have similar backgrounds. In both pieces, a moving progression of scale
degrees 3ˆ − 2ˆ −1ˆ is based on a III-V-I harmonic structure. In addition, scale degree 3ˆ can be
interpreted as the most important note in both works. This is related to the implementation of an
auxiliary cadence. A difference between both compositions arises with regard to the fundamental
line. In Brahms’ “Intermezzo,” the fundamental line ( 3ˆ − 2ˆ −1ˆ ) occurs twice, whereas Binkerd
only implements this fundamental line once. Another distinction is that Binkerd uses both scale
degrees ♯ 3 and♭3, which are used to emphasize the goal, as mentioned earlier.
65 Timothy L. Jackson and Veijo Murtomäki, Sibelius Studies (Cambridge: Cambridge University Press, 2001), 188. 66 L. Poundie Burstein, Unraveling Schenker's Concept of the Auxiliary Cadence, Music Theory Spectrum 27, No. 2 (Fall 2005), 161-62.
29 Example 23. Background graph of Brahms’ Intermezzo, Op. 118, No. 1, depicting an auxiliary cadential progression
The background of Binkerd’s “Intermezzo” is illustrated in Examples 24-27. The background
graph in mm. 1-24 denotes the prolongation of scale degree ♮ 3ˆ from m. 1 onwards; this is based
on a III-VI-III chord progression (Ex. 24). In mm. 25-46, ♯ 3ˆ is sustained from mm. 25-29; as a
result, ♮ 3ˆ surfaces in m. 30 (based on the III chord) and continues through m. 36 (Ex. 25). In
mm. 49-70, scale degree 3ˆ continues to be sustained as it is based on the III chord. In m. 53, the
pitch A appears in the bass, but this is not an actual tonic (Ex. 26). In mm. 70-98, the movement
of scale degrees 3 (m. 74) -2 (m. 76) -1 (m. 76) is based on (V) - I chord. Finally, the coda (m.
77) begins with scale degree 1 (Ex. 27).
30 Example 24. Background graph of Binkerd’s Intermezzo, No. 1 from Essays for the Piano, depicting an auxiliary cadential progression in mm. 1-24
Example 25. Background graph of Binkerd’s Intermezzo, No. 1 from Essays for the Piano, depicting an auxiliary cadential progression in mm. 25-48
31 Example 26. Background graph of Binkerd’s Intermezzo, No. 1 from Essays for the Piano, depicting an auxiliary cadential progression in mm.49-70
Example 27. Background graph of Binkerd’s Intermezzo, No. 1 from Essays for the Piano, depicting an auxiliary cadential progression in mm. 70-98
2. Similarities in Tonal Design and Mood
As mentioned earlier, both of the intermezzi in question are in the key of A minor,
although, Binkerd’s Intermezzo is in fact based on the A Phrygian mode (A-B♭-C-D-E-F-G-A).
Also, they begin with an upbeat between both works. (Example 28 and 29).
32 Example 28. Brahms Intermezzo Op. 118, No. 1, mm. 1-367
Example 29. Binkerd Intermezzo, No. 1 from Essays for the Piano, mm. 1-868
3. Binkerd’s Adaptation of Brahms’ Melodic Material in “Quotation” Fashion
A closer examination of the passage in Example 26 reveals that in fact Brahms’ melodic line is present, although it has obviously been modified. One of these changes involves a prolongation of the material. The melodic line outlined in mm. 1-3 of Brahms’ “Intermezzo” Op.
118, No. 1, mm. 1-3 (C-B♭-A-A-G-F) is extended through mm.1-8 of Binkerd’s “Intermezzo.”
Another difference involves a change of mood, as the repetition of the pitches B♭-A-G-E (mm.
2-3 in Example 26) is presented in the form of a jazzy triplet upbeat, which resembles a boogie-
67 Brahms, Sechs Klavierstücke, Op. 118, 2. 68 Binkerd, Essays for the Piano, 1.
33 woogie.69 Examples 30 and 31 display a Schenkerian presentation of the fundamental structure
found in the first eight measures of both Brahms and Binkerd’s “Intermezzo.”
Example 30. Schenkerian depiction of the fundamental structure in Brahms’ Intermezzo, Op. 118, No. 1, mm.1-870
Example 31. Schenkerian depiction of the fundamental structure in Binkerd’s Intermezzo, mm. 1-871
69 Pollack, 266. 70 Brahms, 2. 71 Binkerd, Essays for the Piano, 1.
34 Another instance where Binkerd employs Brahms’ melodic line occurs in the B section
(mm. 39-66) of his “Intermezzo.” Once again, the relation to the Brahms is not easy to perceive,
as Binkerd applies the variation techniques of diminution and augmentation.72 The bass line in
Binkerd’s “Intermezzo” is a recasting of the Brahms that features a rhythmic augmentation of the
motive in question (Example 32 and 33). Originally, Brahms uses a quarter note-dotted half note-
quarter (G-G♯-A) in 2/2, whereas Binkerd modified this material to be a quarter note-tied half note and quarter note-quarter note in 2/4. Interestingly, however, Binkerd placed Brahms’ melody in the bass, instead of the top line.
Example 32. The melodic line of Brahms’ Intermezzo, Op. 118 No. 1, mm. 10-1473
72 Pollack, 266-67. 73 Brahms, 2.
35 Example 33. Binkerd’s Intermezzo, mm. 35-44. Adaptation of the melodic line from Brahms’ Intermezzo, Op. 118 No. 1, mm. 10-14 as the bass line74
Examples 34 and 35 illustrate another instance where Binkerd uses material from
Brahms’ “Intermezzo” and moves it to the bass. In this case, Binkerd does not appropriate pitches only from the melodic line, but also from the bass. The material shown in Example 31 and Example 32 denotes the importance of Brahms’ melodic and bass lines in Binkerd’s work.
The right hand part in both examples features a single voice with fast figurations; this gives the impression that Binkerd is trying to give great prominence to Brahms’ lines, as he did not hide them within a thick, complex texture.
74 Binkerd, Essays for the Piano, 3.
36 Example 34. Brahms’ Intermezzo, Op. 118 No. 1, mm. 14-20. Circled pitches from both the melody and bass are also used in Binkerd’s Intermezzo75
Example 35. Binkerd Intermezzo, mm. 49-60. Pitches in the bass line derive directly from mm. 14-20 of Brahms’ Intermezzo, Op. 118 No. 176
75 Brahms, Sechs Klavierstücke, Op. 118, 2-3. 76 Binkerd, Essays for the Piano, 3.
37 In mm. 57- 60, Binkerd prolongs the pitches E♭ and E in order to emphasize the fifth scale degree, as this is the harmonic goal (Example 36).
Example 36. Binkerd Intermezzo, mm. 62-6577
77Ibid.
38 CHAPTER V
CONCLUSION
Gordon Binkerd’s output features a wide variety of musical genres, namely orchestral,
choral, solo vocal, keyboard, and chamber music.78 His compositions, however, have regretfully
received little attention in spite of his excellent musicality. One of Binkerd’s most characteristic
attributes is his ability to reinterpret pre-existing works. Binkerd considered the art of
transcription and the use of quotations in his pieces to be an essential part of his musical
endeavors. The creation of such transformative works allowed him to continue what he defined
as an ongoing, evolving progress of well-known compositions. Binkerd had great respect for
composers of the past, and the use of their music represented for him a way to honor their
legacy.79 Furthermore, Binkerd's reference of material from other eras could be seen as a
testament to his comprehensive knowledge of music history.80 This notwithstanding, Binkerd's music does not merely serve as a vehicle to quote the works of past composers; Binkerd had strong personal views and his music is predominantly modern in conception.81
Among many of the works he reinterpreted, Binkerd’s “Intermezzo,” No. 1 from Essays for the Piano, is noteworthy because of its similarity to Brahms’ “Intermezzo,” Op. 118, No. 1.
Parallels between both works can be specifically found in terms of the works’ tonal and harmonic structures. Throughout Binkerd’s piece, melodic and harmonic motions are at times derived from Brahms’ “Intermezzo,” but in fact, the entire piece stands as a complete reorganization of the original work. As noted earlier, Binkerd himself stated that he was unsure whether the relation from his “Intermezzo” to Brahms’ piece would be at all perceivable.
78 Schackelford, 2. 79 Ibid., 7. 80 Howard, 267. 81 Ibid.
39 As this study has revealed through the application of Schenkerian analysis principles,
Binkerd incorporated a series of influences and compositional elements from Brahms’ music. In turn, this research has revealed the originality of ideas and processes by which Gordon Binkerd’s music serves as a bridge to connect the past with the present.
40 BIBLIOGRAPHY
Books
Hinson, Maurice. Guide to the Pianist's Repertoire, 3rd ed. Indiana University Press, 2000.
Jackson, L. Timothy and Murtomäki, Veijo. Sibelius Studies. Cambridge University Press, 2001.
Magrath, Jane. The Pianist's Guide to Standard Teaching and Performance Literature. Alfred Music, 1995. Musgrave, Michael. The Cambridge Companion to Brahms. Cambridge University Press, 1999.
Pollack, Howard. Harvard Composers: Walter Piston and his students, from Elliott Carter to Frederic Rzewski. Scarecrow Press, 1992.
Strimple, Nick. Choral Music in the Twentieth Century, Portland, Oregon: Amadeus Press, 2002.
Articles
Burstein, L. Poundie. “Unraveling Schenker’s Concept of the Auxiliary Cadence.” Music Theory Spectrum 27, no. 2 (2005): 159-86.
Saladino, David. “An Interview with Gordon Binkerd.” Choral Journal 35, no.9 (1994–5): 33- 41.
Shackelford, Rudy. “The Music of Gordon Binkerd.” Tempo 114 (Sep 1975): 2-13.
Dissertations
Griffith, Patricia Barnes. “The Solo Piano Music of Gordon Binkerd.” D.M.A. diss., Peabody Conservatory of Music, 1984.
Hawthorne, Loyd Furman. “The choral music of Gordon Binkerd,” Thesis, University of Texas, Austin, 1973.
Miller, Melvine Eugene. “A Stylistic Study of the Songs of Gordon Binkerd,” Thesis, University of Oklahoma, 1974.
Paulin, Carolyn Ruth. “The Treble Choral Music of Gordon Binkerd: A survey,” DMA diss., University of Illinois at Urbana-Champaign, 1989.
41 Saladino, David A.“Influence of Poetry on Compositional Practices in Selected Choral Music of Gordon Binkerd,” Ph. D. Thesis, Florida State University, 1984.
Scores
Brahms, Johannes. Sechs Klavierstücke, Op. 118. Berlin: N. Simrock, 1893.
Complete Songs Vol. 1 (Medium Voice), Peter Editions.
Binkerd, Gordon. Essays for the Piano. New York: Boosey & Hawkes, 1978.
Second Sonata for Piano. New York: Boosey & Hawkes, 1984.
Suite for Piano: Five Fantasies. New York: Boosey & Hawkes, 1978.
Electronic Resources Rozas, Angela. Gordon Binkerd, 87: Composer Excelled at Choral Music, Chicago Tribune News, http://articles.chicagotribune.com/2003-09-10/news/0309100287_1_choral-music- st-louis-symphony-orchestra-carnegie-hall.
Saladino, David. Sigma Alpha Iota, Gordon Binkerd, http://www.sai- national.org/home/ComposersBureau/BinkerdGordon/tabid/634/Default.aspx.
Fletcher, Stanley. Liner notes to Gordon Binkerd: Sonata for Piano (1955), Composers Recordings, Inc. (Cri) 201. CD. 1965. www.newworldrecords.org/uploads/fileakvD4.pdf.
Encyclopedia Britannica. Johannes Brahms, http://www.britannica.com/EBchecked/topic/77209/Johannes-Brahms/256312/Aims-and- achievements.
42