Florida State University Libraries

Electronic Theses, Treatises and Dissertations The Graduate School

2017 A Piano Sonata and 24 Preludes for Piano Old Forms in the New Context Tatiana Gorbunova

Follow this and additional works at the DigiNole: FSU's Digital Repository. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY

COLLEGE OF MUSIC

A PIANO SONATA AND 24 PRELUDES FOR PIANO

OLD FORMS IN THE NEW CONTEXT

TATIANA GORBUNOVA

A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music

2017

Tatiana Gorbunova defended this treatise on April 12, 2017. The members of the supervisory committee were:

Read Gainsford Professor Directing Treatise

Clifton Callender University Representative

David Kalhous Committee Member

Diana Dumlavwalla Committee Member

The Graduate School has verified and approved the above-named committee members, and Certifies that the treatise has been approved in accordance with university requirements.

TABLE OF CONTENTS

LIST OF MUSICAL EXAMPLES ...... iv

ABSTRACT ...... v

INTRODUCTION ...... 1

PART 1: LERA AUERBACH 24 PRELUDES FOR PIANO. ANALYSIS ...... 3

PART 2: BORIS TISHCHENKO PIANO SONATA OP. 114, NO. 9. ANALYSIS ...... 19

CONCLUSION ...... 34

REFERENCES ...... 35

BIOGRAPHICAL SKETCH ...... 39

iii

LIST OF MUSICAL EXAMPLES

Example 1.1: Prelude No. 6, mm. 4-5 12

Example 1.2: Prelude No. 19, mm. 15-16 12

Example 1.3: Prelude No. 1, mm. 1-6 14

Example 1.4: Claude Debussy, Prelude no. 10, Bk. 1, La Cathédrale Engloutie, mm. 1-3 14

Example 1.5: Prelude No. 4, m.3- 4 16

Example 1.6: Prelude No. 4, m. 15 17

Example 1.7: Prelude No. 7, mm. 1-3 17

Example 1.8: Prelude No. 7, mm. 7-8 17

Example 2.1: Notturne, mm. 1-8 26

Example 2.2: Notturne, mm. 33-35 26

Example 2.3: Notturne, mm. 49-51 27

Example 2.4: Pastoral, mm. 1-4 29

Example 2.5: Pastoral, mm. 22-24 29

Example 2.6: Barcarole, mm. 1-3 31

Example 2.7: Barcarole, mm. 56-58 31

Example 2.8: Barcarole, mm. 113-115 31

Example 2.9: Barcarole, mm. 171-173 32

ABSTRACT

The treatise consists of two sections. The first section focuses on 24 Preludes for Piano by Lera

Auerbach. This large-scale composition is among her most significant works. It continues the tradition of cycles of twenty-four preludes for piano written in all major and minor keys. This paper discusses the history of the genre of a prelude and analyzes Auerbach’s harmonic language, polystylism, motivic connections and pedaling. The second section of the treatise is about the Ninth Piano Sonata by Boris Tishchenko. He is a well-known composer in Russia but his music is not very often performed in the United States. The paper introduces the composer, focuses on the analysis of the texture, use of counterpoint, motivic connections, harmonic language and traditional and non-traditional treatment of the sonata form in this composition.

INTRODUCTION

This treatise combines information from two lecture recitals, one of which happened in April of

2015 and the other dated April 22, 2017. The first lecture focused on selections from 24 Preludes for Piano (1998) by Lera Auerbach while the second recital is dedicated to the Ninth Piano

Sonata by Boris Ivanovich Tishchenko (1993). Although both recitals and lectures are based on music written by Russian modern composers, there is no intrinsic connection between them and they were not intended to be linked by any common idea.

Lera Auerbach is one of the most active and prolific modern Russian composers. Her compositional output consists of orchestral, chamber, solo compositions, ballets, concerti and others. Despite her popularity in the United States and abroad, some of Auerbach’s compositions are very rarely performed. Among these are her 24 Preludes for Piano. This paper gives a short survey of the history of the keyboard prelude, discusses some elements of Auerbach’s compositional language such as harmony, polystylism, and motivic connections, points out the presence of the opposition of two contrasting elements throughout the set and analyzes the role of the pedal in performing these works.

The piano music of Boris Tishchenko is rarely performed in the United States. It is possible that the complexity of his compositional language is one of the primary reasons for this. The purpose of this paper is to introduce the composer and to analyze the form, some aspects of harmony, texture and counterpoint and to point out some of the major difficulties a pianist will encounter while learning Tishchenko’s Ninth Piano Sonata.

Although these two papers are not connected, the author hopes that they will each help spread awareness and generate more interest in the piano music of modern Russian composers.

PART 1

LERA AUERBACH 24 PRELUDES FOR PIANO. ANALYSIS

Lera Auerbach (b.1973) is one of the most widely performed modern Russian composers. She is the youngest composer on the roster of Hamburg’s international music publishing company,

Hans Sikorski, which also publishes Prokofiev, Shostakovich, Alfred Schnittke and Sofia

Gubaidulina. Also a virtuoso performer, Lera Auerbach continues the tradition of pianist- composers of the nineteenth and twentieth centuries.1 Her large-scale works, such as operas, ballets, symphonies and concertos are performed in the concert halls around the world. However,

Auerbach’s solo and chamber music compositions are not as widely known and are rarely performed on the concert stage. The purpose of this paper is to discuss some aspects of her compositional language that make one of her large-scale piano works, 24 Preludes for Piano, so attractive and original. Having been praised for her maturity, depth, and talent by such well- known artists as Sofia Gubaidulina and Gidon Kremer2, she deserves more attention from performers of all levels and all ages.

Lera Auerbach was born in Cheliabinsk, Russia, a city in the Urals bordering Siberia. She made her first public appearance as a pianist at the age of six. At eight years old she performed with an orchestra for the first time. At twelve she composed her first opera, which was immediately produced and presented in many parts of the Soviet Union. As the winner of several piano competitions, Lera Auerbach was invited to tour the USA in 1991. While in the US, she decided

1 “Lera Auerbach,” Sikorski Music Publishing Group, accessed August 2014, http://www.sikorski.de/media/files/1/12/190/222/225/1321/auerbach_biography.pdf 2 Christoph Flamm, “The Very Last of Soviet Émigré Composers: Lera Auerbach” (paper presented at the conference Creative Diaspora: Émigré Composers From the Former USSR, Seattle, WA, March 22-23, 2014). 3 not to return to Russia as she felt it was an opportunity to become an independent artist, which could not happen in the USSR. She earned her Bachelor’s and Master’s degrees in piano and music composition from the Juilliard School, where she studied piano with Joseph Kalichstein and composition with Milton Babbitt. She also graduated from the piano soloist program of the

Hannover Hochschule für Musik.

Lera Auerbach’s commissions include ballets, operas, symphonies, concertos, string quartets, and a number of other chamber and solo compositions, by such organizations as Hamburg State

Ballet, Royal Danish Ballet, ProMusica Chamber Orchestra, Bonn’s Beethoven International

Competition, Verbier International Festival, Caramoor International Festival, Lucerne Music

Festival, and Aspen Music Festival among others. Auerbach’s compositions have been performed by the Tokyo String Quartet, violinist Gidon Kremer, cellists Alisa Weilerstein and

David Finckel and by orchestras such as the New York Philharmonic, Dresden Philarmonie,

Munich Chamber Orchestra, Tokyo Philharmonic among others.

Lera Auerbach has been Artist-in-Residence with German National Radio, Bremen Music

Festival, Pacific Music Festival, a number of festivals in Europe and the International Johannes

Brahms Foundation in Baden-Baden. As an active performer, she has appeared as solo pianist in

New York’s Lincoln Center, Chicago’s Symphony Hall, Carnegie Hall, Kennedy Center and many other venues. In 2005 Auerbach was awarded the Hindemith Prize and selected as a Paul and Daisy Soros Fellow (1998). In 2007 she was selected as a member of the Young Global

Leaders forum by the World Economic Forum in Davos, Switzerland.

She is also a writer. In 1996 Auerbach was named Poet-of-the-Year by the International Pushkin

Society. She wrote 5 volumes of poetry and prose. Finally, as if that is not enough, she is also very interested in visual art (photography, sculpture, painting).

24 Preludes for Piano are among only eleven compositions written for solo piano by Auerbach.

The set is very significant to the composer. In 2006 she recorded a compact disc of Dreams and

Preludes with BIM records label. Ever since then she has been including at least one of them in her solo concert programs. Even more, after completing 24 Preludes for Piano and feeling very inspired by the form of the Prelude she composed several similar sets for other instruments.

Originally a prelude (from the Latin praeludium meaning to precede or introduce) was a piece of music that preceded another composition. Its purpose was to try out the instrument, warm up the fingers as well as introduce a key or a mood of the music to follow. It was instrumental and improvised. Because of its free nature and focus on a certain instrumental technique or a style, a prelude in a written-out form could be used in teaching those who wanted to learn to improvise.

The oldest set of preludes can be traced back to 1448.3 According to David Ledbetter one of the sections of Adam Ileborgh’s notebook contained five preludes for organ that were grouped together and were written in a very improvisatory and free form.4 Both improvised and written- out preludes were also popular among composers of the Baroque era. However, some of them paired preludes with another type of piece, such as a fugue. In the Classical and especially

Romantic eras the prelude lost its purpose as preparatory music, but improvised preludes still

3 David Ledbetter and Howard Ferguson, "Prelude," Grove Music Online. Oxford Music Online. Oxford University Press, accessed August 2016, http://www.oxfordmusiconline.com.ezproxy2.library.arizona.edu/subscriber/articl e/grove/music/43302. 4 Ibid. 5 kept their popularity.5 Eventually, the prelude transformed into an independent piece for a solo instrument as many of them were lengthy and substantial enough to stand alone, and would easily overshadow any other piece in a set.6 Thus, during the course of several centuries three main types of preludes were established. They are: an unattached prelude, an attached prelude, and an independent prelude.

Some of the best examples of attached preludes are Préludes non mesurés written by French clavecinists or Preludes from the English Suites and Partita in B flat major or Preludes and

Fugues from the Well-Tempered Clavier by Johann Sebastian Bach.7 It was during the Baroque era that attached preludes became especially favored by composers. In 1722 Johann Sebastian

Bach wrote his first set of twenty-four preludes and fugues. This was the first composition written in all major and minor keys that became a part of a standard keyboard repertoire. As described in Ling-Mei Lin’s dissertation, that George B. Stauffer wrote that “the fugues could not stand alone. One had to preface them with a free introduction.”8 As Bach composed them for the purpose of his students’ learning, each prelude is based on a certain musical idea, keyboard technique or a rhythmic figuration.9 The mastery of preluding was considered to be an essential quality for a professional musician, leading to the writing of numerous collections of preludes such as Hummel’s 24 Preludes Op.67 as well as sets by Clementi, Czerny, Cramer and others

5 Ling-Mei Lin, "Collections of Piano Preludes in the Classic and Early Romantic Eras (Circa 1770 to Circa 1839): A Historical and Stylistic Study" (D.M.A. diss., University of North Carolina at Greensboro, 1997), 18-22. 6 David Ledbetter and Howard Ferguson, "Prelude," Grove Music Online. Oxford Music Online. Oxford University Press, accessed August 2016, http://www.oxfordmusiconline.com.ezproxy2.library.arizona.edu/subscriber/articl e/grove/music/43302. 7 Lin, “Collections of Piano Preludes in the Classic and Early Romantic Eras,” 7,8. 8 Ibid.,9. 9 Ibid.,10. 6 that were published for educational purposes.10 After that, influenced by the development of the piano and the popularity of solo recitals in big concert halls the tradition was favored by the composers of generations to follow. Among them are: Chopin (24 Preludes, Op 28), Alkan (25

Preludes, Op. 31), Hindemith (Ludus Tonalis), Scriabin (24 Preludes, Op. 11), Rachmaninoff

(Preludes, Op. 23 and Op. 32), Shostakovich (24 Preludes and Fugues, Op. 87 and 24 Preludes

Op. 34), Cui (25 Preludes, Op.64), Kabalevsky (Preludes, Op.38), preludes by Ginastera, Scelsi,

Martinu, Schoenberg, Ustvolskaya and others. All of these cycles established the prelude as an independent character piece. Many of these prelude sets do not function as music that precedes another composition but are simply collections of compositions expressing different moods and based on different technical problems or musical figures.11

Lera Auerbach’s 24 Preludes for Piano, Op.41, written in 1998, were commissioned by the

Caramoor International Music Festival. They introduce the same sequence of 24 major and minor keys as in the Preludes by Chopin and Scriabin. A pair of Preludes in C major and A minor is followed by Preludes in G major and E minor, and so on, alternating major keys with their relative minors and following the ascending circle of fifths. But even though Lera Auerbach followed this well-established pattern, her composition sounds very fresh and offers a new insight into the traditional genre of the prelude.

24 Preludes for Piano were written in a very short period of time and were followed by Preludes for Violin and Piano (1999) and for Cello and Piano (1999).12 In fact, the composer became so

10 Ibid, 11. 11 David Ledbetter and Howard Ferguson, "Prelude," In Grove Music Online. Oxford Music Online, http://www.oxfordmusiconline.com.ezproxy2.library.arizona.edu/subscriber/articl e/grove/music/43302 (accessed August, 2016). 12 Kimberly Hain, “Lera Auerbach’s 24 Preludes for Violin and Piano, op. 46: Unity and Musical Narrative” (DMA Doctoral Treatise, Florida State University, 2010), 10. 7 fascinated with this form that she also wrote Preludes for Double Bass and Piano (2008) and, in a sense, completed this chapter in her compositional output with a collection of seventy-two preludes for choir accompanied by saxophone quartet, titled 72 Angels (2016). In her interview on the Bloomberg TV show “Muse” Lera Auerbach said that she fell in love with this form, which offered the challenge of going through and discovering the emotional depth of each of the twenty-four major and minor keys. According to Auerbach it is essential for a listener to become transformed in the course of a concert by experiencing a deeper and wider range of emotions than what we feel on a daily basis. The Preludes written in all twenty-four tonalities offer just that.13

In a concert review of Lera Auerbach’s Preludes for Cello and Piano, the Washington Post correspondent Anne Midgette said “Lera Auerbach delivers lots of fire and passion in music that is generally tonal. Indeed, she offers 18th-century forms and a 19th-century sensibility (that of the brilliant virtuoso) expressed in a 21st-century vocabulary.14” In my opinion this quote summarizes Auerbach’s musical style well. She does use traditional forms but brings new life to them. Auerbach reflected her love for Romantic music through many character and mood indications in the score, such as appassionato, nostalgico, dolce, sognando, as in a dream, scherzando, misterioso, serioso, tragico, grandioso, etc. But Auerbach’s application of different pedaling techniques, free work with independent musical styles, intermotivic connections and peculiar harmonic language are among the trends and compositional techniques of the twenty- first century composer.

13 John Bence. “Lera Auerbach.” Filmed September 7, 2012. YouTube video. 4:30. Posted September 7, 2012. https://www.youtube.com/watch?v=dkLEQqIM61Q 14 Anne Midgette, “Music Review: Cross Currents: Composer Lera Auerbach, Cellist Alisa Weilerstein,” The Washington Post, May 4, 2009, accessed September 2016, http://www.washingtonpost.com/wp- dyn/content/article/2009/05/03/AR2009050301982.html. 8

In “Modernism in Russian Piano Music” Peter Deane Roberts claims that modern Russian music is closely related to tonality, which is reinforced by the use of different modes, triads, ostinatos, and reference chords.15 The tonality is essential to the compositional language of Lera Auerbach.

In an interview with Joshua Kosman she said that to her, tonality is where a listener feels “at home”. In her opinion, it is impossible to create a dissonance without first establishing a feeling of a “home” as this is precisely what makes the dissonant and drama in her music stand out so much.16 The tonal harmonies and the harmonies that have no relation to the main tonality co- exist together in each Prelude. For example, the first three measures of the Prelude in A minor consist of rapid A minor scales. They are followed by the two measures of A-flat major, D major, and C major scales, which are unprepared and are in turn followed by a full measure of A minor scales again. Measure nine seems to be written in D-flat major with the broken arpeggios accompaniment but the chords in the melody include neighbor tones and make the music sound atonal. There is a slight hint of E minor or sometimes E major or A major in the E minor Prelude.

But most of the time the music is not based on any specific tonal center. The measure-long ostinato figure of the A major Prelude is a sequence of A major, A-flat major, G major and E major thirds. Played together with the left hand melody, which is centered around E minor and F- sharp minor it creates quite an atonal sounding music. Enriching the harmony by adding neighbor tones to the chords can be considered another element of Auerbach’s harmonic language. The preludes in E-flat major, D minor, G-sharp minor, and B minor could be examples among others. It is also interesting that sixteen out of twenty-four preludes finish on a dissonant

15 Peter Deane Roberts, Modernism in Russian Piano Music: Scriabin, Prokofiev, and Their Contemporaries (Bloomington & Indianapolis: Indiana University Press, 1993), 53. 16 Joshua Kosman, “Lera Auerbach puts fresh spin on tradition,” San Fransico Gate (San Fransico Chronicle), April 4, 2010, accessed October 3. 2016, http://www.sfgate.com/entertainment/article/Lera-Auerbach-puts-fresh-spin-on- tradition-3268449.php. 9 chord or interval rather than on a tonic in relation to the key of the prelude. For example, the

Prelude in C minor finishes on a C minor chord with an added f sharp. The prelude in F minor finishes on the interval of a minor seventh and the Prelude in B-flat minor has an e natural floating over the B-flat minor chord.

Lera Auerbach is not just a composer but also an acclaimed pianist who often performs her own works. Knowing her instrument so well, Auerbach leaves very detailed performance instructions in her music and the use of sustaining pedal is one of them. It carries a very significant role in the performance of the Preludes. To emphasize its importance, on the very first page the composer wrote that pedal indications should be strictly followed in all twenty-four preludes. As soon as I started playing through the music, I realized that the pedal for Lera Auerbach is not only a necessary attribute of piano-playing but a part of her musical language as well. It has several specific functions. First, it is utilized in its traditional fashion as a means of increasing volume, especially when the music is written in the very low register. It creates enough sound and vibration to fill in a large concert hall as in the Prelude in A minor. Second, in some Preludes, it creates a very spacious and airy atmosphere that is necessary for the particular character to evolve, for example, in the Preludes in C major and D major. And third, it creates a blurriness which helps separate different layers in music. When a new idea is played while the preceding music is still sounding in the background, it creates a feeling of two different events occurring simultaneously. One of these events could sound as if it is happening right in front of you, while another one is very far away and you could only get a glimpse of it, as in the very last prelude in

D minor. This compositional technique is similar to the one that Charles Ives used in his compositions. In one of the preludes the pedal is simply used to create a beautiful cloud of overtones as nothing else is going on in that particular prelude. It gives listeners a minute-long 10 opportunity to enjoy the sound of mixing overtones and created, as a result, sonorities.

Another important element of Auerbach’s compositional language is use of the ostinato principle. As Peter Deane Roberts points out, ostinato figures help to unify the texture. In

Russian modern music, the ostinato is applied to achieve a certain color, to create new harmonies and provides a frame work to unify the whole piece. Ostinato could be rhythmic, harmonic, melodic and could consist of couple of pitches or a note cluster. Eventually, ostinato with its persistence becomes a structure on which everything relies.17 All of those statements apply to

Auerbach’s Preludes. In the Prelude in A minor she used scales as a rhythmic and harmonic ostinato. In the Prelude in B minor the soprano line consists of high G quarter notes played from the beginning to the end. The melody in the first section of the Prelude in E minor, as well as the whole accompaniments of the Prelude in D major are based on rhythmic ostinatos. There are plenty of other examples could be found in Preludes as at least half of the them are based on rhythmic or harmonic ostinato principle in their entirety.

Only a few extended piano techniques are used in 24 Preludes for Piano. They are: the use of the sostenuto pedal and chromatic clusters as in the Preludes in B minor and E-flat major (see

Examples 1.1 and 1.2). At the same time Auerbach is very particular in her use of the keyboard.

The range of the music of each of the Preludes is very wide. Auerbach utilizes the whole keyboard, from the lowest to the highest register. That is how she achieves that very special feeling of space in her music.

Although, Auerbach is a very private person and never writes program notes to her own music, there are reviews and short interviews available online for an interested listener. In many of them

17 Roberts, Modernism in Russian Piano Music, 39, 40. 11 her music is described as polystylistic.

Example 1.1: Prelude No. 6, mm. 4-5

Example 1.2: Prelude No.19, mm. 15-16

In a review in San Francisco Gate Chronicle Joshua Kosman said “her music is steeped in the sounds of Bach, Liszt, Scriabin and Shostakovich, but not much after that. It spills forth in fervent waves of tonal harmony and aggressive but sinuous melody. The only reason Auerbach doesn't come off like a throwback - or rather, the reason her unapologetic neo-Romanticism doesn't chafe - is that her music is so skillfully constructed and so rich in imaginative beauty.18”

Auerbach’s music has been compared to numerous other composers, such as Bach, Liszt,

18 Joshua Kosman, “Lera Auerbach review: A Romantic Original,” San Fransico Gate (San Fransico Chronicle), February 19, 2014, accessed January 3, 2016, http://www.sfgate.com/music/article/Lera- Auerbach-review-A-Romantic-original-3413679.php. 12

Scriabin, Chopin and Shostakovich.19 According to the interview the composer gave to Meiley

Mendez, one of Auerbach’s friends once counted up to a hundred and fifty other composers that were mentioned as influential to her work. And she did not mind it, though she thought it was not important.20 For her polystylism is an opportunity to write music the way she wants it without having any boundaries as polystylism refers to the use of multiple styles of music within one composition. It was Alfred Schnittke, who had experimented with using styles of different composers in his very first Symphony, who introduced the idea of polystilism to Lera Auerbach.

This gave her an opportunity to use elements of music from all musical eras and meanings to achieve her goal with absolutely no limits. As she mentioned in her interview with Burkhard

Schäfer “we now have more information about the musical tradition than ever before. I can draw from all sources, which I love, and integrate them into my own musical language.21” Here are some of the examples of polystylism in Auerbach’s Preludes for Piano. Auerbach started the cycle with an allusion to Debussy’s La Cathédrale Engloutie by placing the C major Prelude’s opening chords in the very high and low registers and letting them ring as bells as in Examples

1.3 and 1.4. It continues with the use of similar to Henry Cowell’s The Tides of Manaunaum

(1917) from the Tree Irish Legends clusters in the second Prelude.22 In the third Prelude the repeated notes in the soprano voice are reminiscent of the ostinato figure from Chopin’s Prelude in B minor. There is also a hidden fragment of the Dies Irae motive in the right hand accompaniment in the second measure.

19 Ibid. 20 Meiley J. Mendez, “Polystilism and Motivic Connections in Lera Auerbach’s 24 Preludes for Piano, op.41” (DMA Doctoral Document, University of Arizona, 2016), 31. 21 Burkhard Schäfer, "Musik kann die Leute weinen lassen," Zeit Online: Musik, September 9, 2009, accessed January 20, 2015. http://www.zeit.de/kultur/musik/2009-09/lera-auerbach. 22 Mendez, “Polystilism and Motivic Connections in Lera Auerbach’s 24 Preludes for Piano, op.41,” 42. 13

Example 1.3: Prelude No. 1, mm. 1-6

Example 1.4: Claude Debussy, Prelude no. 10, Bk. 1, La Cathédrale Engloutie, mm. 1-3 14

The E minor Prelude sounds very similar to the Prelude in the same key from the Chopin’s set.

However, in the middle section Auerbach quoted the passage from the E minor Moment Musical of Rachmaninoff. The overall sound of the D major Prelude reminds me of Rachmaninoff’s song

Lilacs while the shape of the beginning of its melody is almost identical to Rachmaninoff’s theme from Variations on a Theme of Corelli, op. 42. The F-sharp minor Prelude is based on scales similar to Étude pour les huit doigts by Debussy. The B major Prelude begins with an ostinato figure similar to that one of the Promenade from Pictures at an Exhibition by

Mussorgsky. There are other examples that can be found throughout the cycle.

In the Preludes Auerbach not only alluded to other composers works but also used music from her own set to unify the form. For example, the music from the second phrase of the

C major Prelude is quoted in the Prelude in D minor, while its second section is heard in

Preludes in B minor and F minor. The melody from the E minor Prelude is quoted in the

Preludes in F-sharp minor, G-sharp minor, D-flat minor, C minor and D minor. The Preludes in

B major and F major are based on ostinato figures that are very similar in shape and intervallic structure.23 The beginning of the Dies Irae motive can be heard in the Preludes in G major and F major. The whole set is connected through allusions, quotations, and reappearance of motives from the preceding music. The returning material unifies polystylism and assists in developing familiar ideas in a new context.

Another interesting feature of the Preludes is their dual nature. In my opinion it is connected to the composer’s personality. In her interview with Burkhard Schäfer she said that “a profession of a composer is a contradiction in itself. On the one hand, a composer is a person who can, for a

23 Ibid.,98. 15 long time, stare at an empty sheet of paper. You stay in a shadow, you stay private. On the other hand, my own dilemma is that when I go on a tour I get exposed to many people and have to be social. I am always in two different psychological moods.”24 Robert Schumann first comes to mind when we think about a composer who reflected two sides of his own personality in his music. Auerbach’s situation is different - she is not ill but is forced to live a dual life by the circumstances of her career. The way this is reflected in the 24 Preludes for Piano is that almost every prelude portrays two different characters or images. They are written in different textures, rhythms, articulations and expressed with different dynamics as in Examples 1.5 – 1.8. In some preludes the second character is highly dissonant, rhythmically unstable, and eventually destroys the atmosphere created by the first character.

Example 1.5: Prelude No. 4, m. 3-4

Working in the genre of 24 preludes, loved by both composers and pianists Auerbach established a new outlook on the idea of a set of piano pieces in every key. She created her own individual musical dimension through the use of polystylism, harmonic language based on both tonal and atonal ideas, recurrence of thematic material and the philosophical duality of her imagery.

24 Schäfer, "Musik kann die Leute weinen lassen," http://www.zeit.de/kultur/musik/2009-09/lera-auerbach.

Example 1.6: Prelude No. 4, m. 15

Example 1.7: Prelude No. 7, mm. 1-3

Example 1.8: Prelude No. 7, mm. 7-8

I, personally, have two ways of looking at this set of pieces. I can hear the Preludes as a summary of different experiences and memories from someone’s life. And another way of looking at them is similar to the idea of Pictures at an Exhibition by Mussorgsky. I can imagine

17 the Preludes as a series of pictures at an art gallery. As you move on to the new image, the story behind it appears from nowhere, possesses you for a short moment and vanishes away as soon as you move on to the next image.

PART 2

BORIS TISHCHENKO PIANO SONATA Op.114, No.9. ANALYSIS

Boris Ivanovich Tishchenko (March 23, 1939 - December 9, 2010) was one of the most prominent modern Russian composers. His music was well received and regarded by colleagues and listeners during his lifetime. Alfred Schnittke recommended him to the prominent Russian theatre director Arseniy Sagalchik as a very talented composer, setting up a connection that soon proved fruitful.25 Tishchenko was also a close friend and a colleague of Shostakovich who in

1969 orchestrated Tishchenko’s cello concerto as a birthday gift.26 His musical oeuvre consists of a Requiem, three ballets, numerous symphonies, concertos and chamber and solo compositions which were often performed and recorded in Russia and abroad. The purpose of this paper is to analyze and introduce Tishchenko’s Ninth Piano Sonata with the hopes that it will become a part of the standard repertoire of both college level students and professional pianists.

Tishchenko was born and lived in Saint Petersburg, Russia. He earned his college degrees in piano and composition from the State Rimsky Korsakov Music College where he studied piano under Vera Mihelis and was a composition student of Galina Ustvolskaya. He continued his studies and received his master’s and doctoral degrees in both piano and composition from Saint

Petersburg State Conservatory where he studied under composers Vadim Salmanov and Dmitry

Shostakovich.27 In 1965, Tishchenko began to teach at the Saint Petersburg Conservatory. He

25 Andrei Sagalchik “In Memoriam Boris Ivanovich Tishenko,” Petersburg Theatre Journal no.1 (March 2011), accessed March 18, 2017, http://ptj.spb.ru/archive/63/in-memoriam-63/pamyati-borisa-ivanovicha-tishhenko/. 26 John Michel, liner notes for Sedmara Zakarian Rutstein plays Tishchenko, Tchaikovsky, Slonimsky and Scriabin, Albany Records, TROY 279, Compact Disk, 1998. 27 Biographical information was taken from http://www.remusik.org/boristishchenko/. Accessed March 1, 2017. 19 was on faculty in the department of musical stage direction, taught seminars in modern foreign music for the students of the orchestral department, and lectured theory and composition students in orchestration.28 While studying for his doctorate he was commissioned by Mstislav

Rostropovich to write a cello concerto. In 1966 this concerto won the first prize at the

International Composition Competition “Prague’s Spring-1966.” Among his official awards are

Glinka’s National Award (1978) for the “Symphony of Courage,” Concerto for Flute, Piano and

String Orchestra, and his Fifth Symphony dedicated to the memory of Shostakovich. That year he was also awarded the IV degree medal “for the Service to the Fatherland” (27.11.2002); and the “Distinguished Personality in Arts of RSFSR” award (1978). Later he received a “National

Artist of RSFSR” award (1987); Government Art and Culture Award (2008) for the composition of the “Dante-Symphony”; an award from the mayor of Saint Petersburg (1995) and the Golden

Pushkin Medal (2000).29

Tishchenko’s compositions were performed by Yuriy Temirkanov, Valery Gergiev, Mstislav

Rostropovich, Gennadiy Rogdestvenskiy, Vladimir Polyakov as well as by the composer himself. But Tishchenko was not merely a composer. He wrote articles, music reviews, and pamphlets. He also participated in international scientific conferences and symposia.

Throughout his life Tishchenko was influenced by many different musicians and artists. Among them were writers Joseph Brodsky and Anna Akhmantova, whose poems Tishchenko used for his Requiem. He idolized and worshipped his mentor Dmitry Shostakovich and dedicated to him his third and fifth Symphonies. According to an interview with Gerard McBurney, one of the

28 Ibid. 29 Kino-Teatr. “Boris Tishchenko. Biography.” Kino-Teatr Soviet Composers. Last modified March 20, 2014. Accessed March 18, 2017. http://www.kino-teatr.ru/kino/composer/sov/25660/bio/.

20 reasons Tishchenko was so fond of his teacher was that “Shostakovich was always a genius and he was always himself. It made no difference who was in power. And under whatever tyrant he might have lived ... under Stalin, under Hitler, under Nero ... he would always have been

Shostakovich. And in 100 years, when this sick interest in Stalin and his crimes has finally died away, Shostakovich will still be remembered.”30 Tishchenko was also influenced by modern composers such as Alfred Schnittke, Edison Denisov, Sofia Gubaidulina, Arvo Pärt, Leonid

Hrabovsky, Valentin Silvestrov31 as well as by Glinka, Mussorgsky, Scriabin, Rachmaninoff,

J.S. Bach, Haydn, Beethoven, Schubert and others.32

The piano was one of Tishchenko’s favorite instruments. Following in the footsteps of Scriabin,

Rachmaninoff, Shostakovich and other composers he wrote several large-scale piano solo compositions. They are: Variations Op.1, two piano suites, eleven piano sonatas and several miscellaneous compositions. His first Sonata for Piano (1957) was written at just nineteen years of age and the Eleventh Sonata (2008) became the very last piece he composed. Although they were popular, and were even thought of as “the most important body of works in Russia since

Prokofiev”33, there is almost nothing written about them, and they are too seldom performed.

The Ninth Piano Sonata Op.114 was written in 1993 and dedicated to the senior lecturer at the

Saint Petersburg Conservatory, concert pianist Vladimir Polyakov who recorded two compact disks of Piano Sonatas by Tishchenko. The composer considered Polyakov’s interpretation of his

30 Gerard McBurney, “Boris Tishchenko Obituary,” The Guardian, December 16, 2010, accessed March 18, 2017, https://www.theguardian.com/music/2010/dec/16/boris-tishchenko-obituary. 31 Ibid. 32 Galina Ovsiankina, Piano Sonatas of Boris Tishenko. Research essay (Moscow: Gnesin RAM Press, 2001), 7. 33John Michel, liner notes for Sedmara Zakarian Rutstein plays Tishchenko, Tchaikovsky, Slonimsky and Scriabin, Albany Records, TROY 279, Compact Disk, 1998.

Sonatas “fortune’s favor”34 and maintained friendly relationships with Polyakov until his death.

It is not surprising that the Sonatas needed to be performed by a concert pianist to become popular as in reality Tishchenko’s Piano Sonatas are true “symphonies for piano.”35 In his conversations with Galina Ovsiankina he said that “when I write music for piano, I am trying to express the thoughts that did not exist in piano music before or they were not clearly defined.

The difficulty is not in the technical execution but in those thoughts themselves. I hope that my

Sonata will follow the fate of the Beethoven’s Hammerklavier and Liszt’s B minor Sonata. Both of them seemed impossible to play in their days but they are regularly performed by college students today. Nowadays my Sonatas can be played by only few pianists and well-played by even less than that. But it happens only because my thoughts are more difficult than the ones everybody is used to.36 Most likely talking about this “new thoughts” Tishchenko was not comparing them to any complex modern music we know today as even in late 1980s Russian musicians had very limited access to it. Tishchenko organized his “thoughts” in a set of rules that he followed in each Sonata. In fact, he “remained loyal to the principles which he once adopted, regardless of changes in political regimes and artistic trends.”37

His rules and principles concerned every aspect of his art including the treatment of form and thematic development. According to Mikhail Zhuravlev, Tishenko’s compositional process starts

34 Compozitor Publishing House Saint-Petersburg. “Boris Tishchenko. Sonatas.” Sales Catalog. Last modified 2013. Accessed March 15, 2017. http://www.compozitor.spb.ru/eng/catalogue_editions/the_regular/?ELEMENT_ID=5978. 35 Ibid. 36 Ovsiankina, Piano Sonatas of Boris Tishchenko, 8-9. 37 Mikhail Grigor′yevich Byalik, "Tishchenko, Boris Ivanovich," Grove Music Online. Oxford Music Online. Oxford University Press, accessed March 19, 2017, http://www.oxfordmusiconline.com.proxy.lib.fsu.edu/subscriber/article/grove/music/28018. 22 with the “formation of creation,” which is the exposition of its first elements.38 Most of the times these elements are single-voiced melodies that gradually add up to one big unit. As this unit develops it undergoes inevitable changes and modifications through ornamentation, addition of more voices, use of dodecaphonic structures, rhythmic changes, unexpected use of registers among others and transforms this unit into the structure of the opposite to its initial character. As other elements add up “the music reveals its ugly and horrible side” as it becomes more dissonant and dramatic.39 This change can come upon its hearer unprepared or its modification process can happen in phases. This process can take most of the time of the piece or happen at once. The distortion of the initial statement progresses and leads to the climax which in

Tishchenko’s Sonatas is “a point of a collapse and complete fall into the chaos”.40 But for him this is not the end but the point of transition into a new phase with its new peace and harmony and finding the way to the source of divinity.41 This compositional process is well reflected in the Ninth Piano Sonata as well as in other Tishchenko’s piano compositions.

The Sonata op.114 is in three movements. Each movement of this unique cycle was given a title.

They are: a Notturne, a Pastoral, and a Barcarole. The music does not reflect these genres in their entirety but the hints of their typical elements are present in each movement. All three of them are based on a distinct emotional idea. The Notturne is a concentration of philosophical and lyrical meditations, the Pastoral is the poetic center of the work, and the Barcarole is its dramatic epilogue, the emphasis and the climax of the form.42

38 Mikhail Zhuravlev, “The Musical Heritage of Boris Tishenko as a warning against postmodernism,” accessed February 10, 2017, http://www.splayn.com/cgi-bin/show.pl?option=MaterialInfo&user_id=1053&id=1176. 39 Ibid. 40 Ibid. 41 Ibid. 42 Ibid. 23

By the time Tishchenko wrote the Ninth Piano Sonata he was very familiar with the sonata form.

This familiarity allowed him more freedom in his compositional process and in interpretation of a sonata form. For example, he made it programmatic and did not use a sonata allegro form in the first two movements. The latter is the reason Ovsiankina describes the piece as a set of three romantic poems rather than a traditional sonata.43 In the Ninth Piano Sonata “only the Notturne and the Barcarole appeal to the Romantic element”44 while the Pastoral is based on the principles of the Baroque fugue. Another non-traditional element of the Sonata is its continuity.

Tishchenko instructed a pianist to play all of the movements attacca which is a new idea compared to the Classical concept of a sonata with three or four distinct movements.

Interestingly enough, in this piece tempo serves as one of the expressive devices. It accelerates in a proportion of two to one thus creating a feeling of increasing and accumulating of tension from movement to movement. The first movement tempo indication is Adagio with the eight note equal 56 beats per minute; the second movement, Andantino con moto with the quarter note equal 56 BPM; the last movement, Allegro molto with the half note equal 56 BPM.

The first movement of the Sonata is titled a Notturne. Originally the term Nocturne (Italian notturno, meaning a night music) was applied to a “nightly, quiet, and meditative in character” music.45 John Field was the first to use the French form of the term (“nocturne”) to describe some lyrical compositions published around 1812.46 Although the first movement of the Sonata is very dark and meditative, it is not lyrical and it is different from what one would expect to hear having in mind Nocturnes by Chopin or Field. Ovsiankina says that it is written in a ternary

43 Ibid. 44 Ovsiankina, Piano Sonatas of Boris Tishchenko, 87. 45 Maurice J.E. Brown and Kenneth L. Hamilton. "Nocturne (i)." Grove Music Online. Oxford Music Online. Oxford University Press, accessed March 19, 2017, http://www.oxfordmusiconline.com.proxy.lib.fsu.edu/subscriber/article/grove/music/20012. 46 Ibid. 24 form. I disagree. I think this movement consists of four distinct sections: mm. 1-29, mm. 29-57, mm. 57-74 and m. 74 to the end. Each section has three clearly defined layers: the bass line, the melody, and the accompaniment which is a rhythmic and harmonic ostinato. Written in rising and falling parallel sixths the shape of the accompaniment creates the feeling of a slow rocking on the water. The ostinato never stops. It unifies the movement from the beginning to the very end. The meter is also quite stable. It changes from 6/8 to 9/8 and back between the sections, but this change is almost undetectable.

The Notturne is a good example of the implementation of Tishchenko’s compositional process with its gradual modification of the original idea until it reaches the climax and transitions into a new peaceful phase. It starts with a four-bar introduction that sets up the ostinato, followed by the “monologue of the melody” lasting for twenty-five measures as in the Example 2.1.47

This is the “single melody” with which Tishchenko liked to begin his compositions as I described above. The melodic line of the first phrase is built on the interval of the second, and the second phrase masks it by adding an extra melody note in each beat. The texture expands with the addition of sixteenth note-figurations in the third phrase almost completely concealing the main melody until the last phrase reaches its climax at the top of the keyboard. Notably, the overall shape of the first section foreshadows the shape of the whole movement. The second section begins a half-step lower than the first one, on D versus E-flat. In addition, the composer added a voice to the main melody which is an inversion of the very first theme as can be seen in

Example 2.2.

47 Ovsiankina, Piano Sonatas of Boris Tishchenko, 88. 25

Example 2.1: Notturne, mm. 1-8

Example 2.2: Notturne, mm. 33-35

Ovsiankina quotes Tishchenko as saying “I consider a piano to be an analog of an orchestra. I write for the piano with the same precision in voice-leading and thematic development as for an orchestra: to me it is my ideal to which I aspire, trying, of course, not to imitate it.”48 The music intensifies as both melodic voices add new dynamic rhythmic figurations that seem to develop independently from each other. The voices clash in clusters, move below and over each other

48 Ibid., 5. 26 making it impossible for a listener to recognize by ear which voice is which as can be seen in

Example 2.3 in m. 49. As in the previous section the music reaches its climax in the top register after which the bass transitions into the introduction to the next section which starts at a step below the previous one, on a C. The third section is a climax of the movement. It follows the same shape of the rise and fall with an addition of one more melodic voice. The whole section is written on three staves and in the range from the low F to the very high C. It is very contrapuntal and dissonant. Finally, music reaches its most dramatic moment with all melodic voices descending in fortissimo opposing the ostinato accompaniment persistently rising up. The climax gradually transitions into the last section which smoothly changes from three-part counterpoint to two-part counterpoint finishing the movement with the thematic material from the first section unifying it as an arch.

Example 2.3: Notturne, mm. 49-51

Although the music of the movement is at times dramatic, the clarity of the musical language and the expressivity of the musical material prevent any harshness in the sound.49 The music is

49 Ibid. 27 mostly atonal but the occasional use of reference chords such as triads helps a listener better navigate through it. Another important detail is that the composer shaped sixteenth-note figurations in the melody in such a way that the highest notes always come on a weak beat of the measure, which then feel like downbeats. It keeps going like this until the climax when all the voices finally come together on a downbeat.

The second movement of the Sonata is called Pastoral. The name is from Italian pastorale which refers to a composition inspired by the scenes of the country side and nature.50 As if intentionally Tishchenko opposes genres of a Nocturne and a Pastoral creating traditional character contrast between the first two movements of a sonata cycle. Ovsiankina claims that the second movement is a three-part invention.51 It could also be called a two-subject fugue.

Whether it is an invention or a fugue, neither form is used in its traditional way. The reasons are these. First, the first three subject entrances are in the same key, of F major. Second, the second subject is introduced as early as in the exposition. Third, the movement is in a binary form.

Overall, the development of the music follows the same pattern as in the first movement. It starts with a single-voice subject as shown in Example 2.4. As Tishchenko adds more layers, figurations, and different rhythmic patterns, the music intensifies and reaches a very dissonant and dramatic climax in the outer keyboard registers, followed by a rapid decline with the quick melody shift from the very high register to the area of middle C. The second half of the movement follows the exact same pattern.

50 Geoffrey Chew and Owen Jander, "Pastoral," In Grove Music Online. Oxford Music Online. Oxford University Press, accessed March 19, 2017, http://www.oxfordmusiconline.com.proxy.lib.fsu.edu/subscriber/article/grove/music/40091. 51 Ovsiankina Piano Sonatas of Boris Tishchenko, 89. 28

Example 2.4: Pastoral, mm. 1- 4

Despite this movement’s calm and pastoral character, the thematic material is actively developed and transformed. For example, both subjects go through different keys, beginning motive of the first subject is often singled out and played in sequences, and the composer introduces parallel movement and alternates subject entrances with episodes. As in the previous movement

Tishchenko confuses the listener by placing the beginning of the second subject on the weak beat of the measure. Together with the descending shape of the subject it creates the impression of the false downbeat (see Example 2.5).

Example 2.5: Pastoral, mm. 22-24

Interestingly, most of the second subject entries in the Pastoral happen on a weak beat and each time on a different one, for example, on the end of the first, the third or a fourth beat in a 4/4

29 measure. In those cases the syncopated fourths that fall on the true downbeat make the music sound even more unstable. In addition, the music is very dissonant. It does not gravitate towards a particular tonal center but is not completely atonal either. In fact, since almost all downbeats are supported by diatonic triads there is the aural illusion of tonal music.

The third movement is a Barcarole, traditionally referring to the music-barcarola- the Venetian gondoliers sang while moving their boats along the canals.52 Perhaps one of the most famous barcaroles that comes to mind is Chopin’s Barcarolle in F-sharp major. The Barcarole from the

Ninth Piano Sonata by Tishchenko is very different. First of all, it is not written in traditional 6/8 or 12/8 time but in 4/4. It does not have any kind of ostinato accompaniment to help create the feeling of rocking of a boat. It is a very fast movement and it is full of flourishing passages of thirty-second and sixteenth notes. The movement has a very light texture with lots of grace notes, repetitions, scales and without a sustained melody line. The form of this movement is reminiscent of a sonata-form. The two themes are introduced in m. 1 and m. 57 (see Examples

2.6 and 2.7). The development section starts with the entrance of the new theme in m. 110 (see

Example 2.8). The music gradually comes to a climax that echoes the cadenza from the first movement of the second Prokofiev’s Piano Concerto53 with the piano part sounding as if it was written for an orchestra.

52 Maurice J.E. Brown and Kenneth L. Hamilton, "Barcarolle," In Grove Music Online. Oxford Music Online. Oxford University Press, accessed March 20, 2017, http://www.oxfordmusiconline.com.proxy.lib.fsu.edu/subscriber/article/grove/music/02021. 53 Sergey Prokofiev, Concerto no. 2 for piano and orchestra, op. 16 in G minor (Melville, N.Y.: Belwin Mills, 1979). 30

Example 2.6: Barcarole mm. 1-3

Example 2.7: Barcarole, mm. 56-58

Example 2.8: Barcarole mm. 113-115

The recapitulation starts in m. 171(see Example 2.9). Both themes start on different pitches: D- flat and G-sharp in the exposition versus F and G in recapitulation but they develop in a similar to the exposition way. The movement finishes with a slow coda recapitulating the theme from the development.

Example 2.9: Barcarole, mm. 171-173

This is not a traditional Barcarole a listener would expect to hear, but it reflects the ideas of being on water and of a song, just in a different way. The light and lively passages create the impression of the splashes of the water in the air, while the second theme resembles a song.

Although the second theme is very atonal, the contrast between the fast chromatic figures in the accompaniment and the step-wise moving melody written in the longer note values makes the second theme sound lyrical.

The Ninth Piano Sonata requires time not only to understand how its music works but also to figure out all the technical difficulties and the ways to solve them. Tishchenko was a good pianist himself and performed his own compositions on several occasions. Ovsiankina quotes him “My performing experience helps me. The knowledge of the grand piano forces me to look for something completely new, for the ways how else to twist my hands to create something new.

Neihaus said that only striving for impossible you can achieve possible. The main thing for me is the idea. I am not thinking about the struggles of the pianists. And afterwards I search for the fingering for myself. At times it is can be very hard.”54 Indeed, the Ninth Piano Sonata is a very technically challenging composition. Each movement offers a variety of difficulties. The main problem of the first movement is the distance between the hands. They are so far apart that the

54 Ovsiankina, The Piano Sonatas of Boris Tishchenko, 9. 32 pianist needs to lean back to oversee the whole keyboard in order to better control the coordination between the hands. Even the voices in the right hand at times are more than two octaves apart or cross each other making it very difficult to hear and read the music. The passages of parallel thirds, sixths, and chords and the frequent distribution of the middle voice between the hands are the difficulties of the Pastoral. The last movement is quite comfortable for the hands with its multiple five-finger and black key passages and frequent repetitions. Its main challenge is a constant stream on passages based on random and often unexpectedly changing patterns.

Boris Tishchenko stayed loyal to his compositional principles until the end of his life.55 And one of these principles was to write for piano. His last Piano Sonata was the last piece he finished.

His piano was his orchestra, a source of inspiration and an instrument for experimentation. His music is complex and requires time to understand it but once the initial stage is passed it becomes a source of great enjoyment.

55 Mikhail Grigor′yevich Byalik, "Tishchenko, Boris Ivanovich," Grove Music Online. Oxford Music Online. Oxford University Press, accessed March 19, 2017, http://www.oxfordmusiconline.com.proxy.lib.fsu.edu/subscriber/article/grove/music/28018. 33

CONCLUSION

Auerbach’s 24 Preludes for Piano and Tishchenko’s Sonata for Piano Op.114 are proof that the forms that were popular in the previous eras still have great potential and attract both composers and performers nowadays. Unfortunately, it takes time to discover some compositions among the abundance of music composed today. And it can take even longer for these works to find their way in the concert hall.

Fascinated by the idea of writing music in all 24 major and minor keys Lera Auerbach wrote several sets of 24 preludes for different instrument including piano. Each of the Piano Preludes is less than a minute in length but altogether they create a unique set in which a Baroque form is filled with tonal and atonal harmonies, various modes, polystylistic elements and other twenty- first century compositional techniques.

Following in the footsteps of Scriabin, Rachmaninoff, and Shostakovich, Boris Tishchenko composed eleven Piano Sonatas and other various pieces for solo piano. His Ninth Piano Sonata is a mature virtuosic composition dedicated to his friend and a colleague, pianist Vladimir

Polyakov. The composer turned one of the most popular classical genres into a drama with elements of a dance suite using modern harmonic language and compositional elements.

REFERENCES

Auerbach, Lera. http://www.sikorski.de/225/en/auerbach_lera.html. Accessed August 2014

Auerbach, Lera. http://www.leraauerbach.com. Accessed September 22, 2014.

Auerbach, Lera, composer. Preludes and Dreams. Lera Auerbach, piano. Cedille Records, BIS 1242 Digital, Compact Disk, 2006.

Auerbach, Lera. 24 Preludes for Piano. Hamburg, Germany: Musikverlag Hans Sikorski Gmbh & Co., 2006.

Auerbach, Lera. “Borderless Creativity,” Huffington Post: Arts and Culture. February 10, 2014. http://www.huffingtonpost.com/lera-auerbach/borderlesscreativity_ b_4761375.html. Accessed July 23, 2015.

Back, Regina. Musik und Gender im Internet: Lera Auerbach. http://mugi.hfmthamburg. de/Artikel/Lera_Auerbach. Accessed June 13, 2014.

The Best American Poetry. http://thebestamericanpoetry.typepad.com/the_best_american_poetry/lera-auerbach-the-trouble- clef/. Accessed August 2014.

Bence, John. “Lera Auerbach.” Filmed September 7, 2012. YouTube video. 4:30. Posted September 7, 2012. https://www.youtube.com/watch?v=dkLEQqIM61Q

Beuerman, Eric Gilbert. “The Evolution of the Twenty-four Prelude Set for Piano.” DMA Doctoral Document, University of Arizona, 2003.

Brown, Maurice J.E., and Kenneth L. Hamilton. "Barcarolle." Grove Music Online. Oxford Music Online. Oxford University Press, accessed March 20, 2017, http://www.oxfordmusiconline.com.proxy.lib.fsu.edu/subscriber/article/grove/music/02021.

Brown, Maurice J.E., and Kenneth L. Hamilton. "Nocturne (i)." Grove Music Online. Oxford Music Online. Oxford University Press, accessed March 19, 2017, http://www.oxfordmusiconline.com.proxy.lib.fsu.edu/subscriber/article/grove/music/20012.

Byalik, Mikhail Grigor′yevich. "Tishchenko, Boris Ivanovich." Grove Music Online. Oxford Music Online. Oxford University Press, accessed March 19, 2017, http://www.oxfordmusiconline.com.proxy.lib.fsu.edu/subscriber/article/grove/music/28018.

Chew, Geoffrey and Owen Jander. "Pastoral." Grove Music Online. Oxford Music Online. Oxford University Press, accessed March 19, 2017, http://www.oxfordmusiconline.com.proxy.lib.fsu.edu/subscriber/article/grove/music/40091.

Compozitor Publishing House Saint-Petersburg. http://www.compozitor.spb.ru/eng/our_authors_engl/index.php?ELEMENT_ID=19404. Accessed January 15, 2017.

Compozitor Publishing House Saint-Petersburg. “Boris Tishchenko. Sonatas.” Sales Catalog. Last modified 2013. Accessed March 15, 2017. http://www.compozitor.spb.ru/eng/catalogue_editions/the_regular/?ELEMENT_ID=5978.

Contemporary Music Center “reMusic.org.” “Boris Tishchenko.” Russian Composers. Accessed March18, 2017. http://www.remusik.org/boristishchenko/.

Hain, Kimberly. “Lera Auerbach’s 24 Preludes for Violin and Piano, op. 46: Unity and Musical Narrative.” DMA Doctoral Treatise, Florida State University, 2010.

Hathaway, Daniel, “Review: Pianist/Composer Lera Auerbach Opens Mixon Masters Series on September 7,” Cleveland Classical Blog. September 24, 2013. Accessed October 4, 2016. http:// https://clevelandclassical.wordpress.com/2013/09/24/review- pianistcomposer-lera-auerbach-opens-mixon-masters-series-on-september-17/.

“I Carry Russia in Me.” http://millionaire.ru/persona/-еу-и--ее/, accessed October 3, 2016.

Katz, Boris. About the Music of Boris Tishchenko. Leningrad, Russia: Soviet Composer, 1986.

Kazinik, Michael. “The Ages coming to Bear,” Music and Literature, August 26, 2016, accessed October 3, 2016, http://www.musicandliterature.org/excerpts/2016/4/24/the-ages-coming-to- bear.

Kino-Teatr. “Boris Tishchenko. Biography.” Kino-Teatr Soviet Composers. Last modified March 20, 2014. Accessed March 18, 2017. http://www.kino- teatr.ru/kino/composer/sov/25660/bio/.

Kosman, Joshua. “Music review: Lera Auerbach, Alisa Weilerstein.” San Francisco Gate (San Francisco Chronicle), April 8, 2010, accessed October 3, 2016, http://www.sfgate.com/music/article/Music-review-Lera-Auerbach-Alisa- Weilerstein-3267747.php.

Kosman, Joshua. “Lera Auerbach review: A Romantic Original.” San Francisco Gate (San Francisco Chronicle), February 19, 2014, accessed October 3, 2016, http://www.sfgate.com/music/article/Lera-Auerbach-review-A-Romanticoriginal- 3413679.php.

Kosman, Joshua. “Music review: Lera Auerbach’s Beautiful Time Capsule.” San Fransico Gate (San Fransico Chronicle), January 21, 2015, accessed October 3, 2016, http://www.sfgate.com/music/article/Music-review-Lera-Auerbach-s-beautiful-time- 6030420.php.

Ledbetter, David and Howard Ferguson. "Prelude." In Grove Music Online. Oxford Music Online. Oxford University Press. http://www.oxfordmusiconline.com.ezproxy2.library.arizona.edu/subscriber/articl e/grove/music/43302 (accessed August, 2016).

Lin, Ling-Mei. “Collections of Piano Preludes in the Classical and Early Romantic Eras (circa 1770 to circa 1839): A Historical and Stylistic Study.” DMA diss., University of North Carolina at Greensboro, 1997.

Lindley, Mark. "Well-tempered clavier." In Grove Music Online. Oxford Music Online. Oxford University Press. http://www.oxfordmusiconline.com.ezproxy2.library.arizona.edu/subscriber/articl e/grove/music/30099 (accessed August, 2016).

McBurney, Gerard. “Boris Tishchenko obituary,” The Guardian, December 16, 2010, accessed March 18, 2017, https://www.theguardian.com/music/2010/dec/16/boris-tishchenko-obituary.

Mendez, Meiley J. “Polystilism and Motivic Connections in Lera Auerbach’s 24 Preludes for Piano, op.41.” DMA Doctoral Document, University of Arizona, 2016.

Michałowski, Kornel and Jim Samson. "Chopin, Fryderyk Franciszek." Grove Music Online. Oxford Music Online. Oxford University Press. http://www.oxfordmusiconline.com.ezproxy1.library.arizona.edu/subscriber/articl e/grove/music/51099 (accessed August, 2016).

Moroney, Davitt. "Prélude non mesuré." Grove Music Online. Oxford Music Online. Oxford University Press. http://www.oxfordmusiconline.com.ezproxy2.library.arizona.edu/subscriber/articl e/grove/music/22290 (accessed August, 2016).

Morrell, Galya. “My own private independence day,” The Arctic Journal, July 8, 2016, accessed October 3, 2016, http://arcticjournal.com/culture/2432/my-own-private-independence-day.

Ovsiankina, Galina. Piano Sonatas of Boris Tishchenko. Research essay. Moscow: Gnesin RAM Press, 2001.

Prokofiev, Sergey. Concerto no. 2 for piano and orchestra, op. 16 in G minor. Melville, N.Y.: Belwin Mills, 1979.

Renansky, Dmitry, and Marina Nastieva. “After Tishchenko,” accessed February 10, 2017, http://os.colta.ru/music_classic/events/details/19296/?expand=yes&view_comments=all. 37

Roberts, Peter Dean. Modernism in Russian Piano Music. Bloomington & Indianapolis: Indiana University Press, 1993.

Sagalchik, Arseniy. “In Memoriam Boris Ivanovich Tishchenko.” Petersburg Theatre Journal no.1 (March 2011). Accessed March 18, 2017. http://ptj.spb.ru/archive/63/in-memoriam- 63/pamyati-borisa-ivanovicha-tishhenko/.

Schafer, Burkhard. "Musik kann die Leute weinen lassen." Zeit Online: Musik. Accessed October 1, 2016. http://www.zeit.de/kultur/musik/2009-09/lera-auerbach.

Schweitzer, Vivien. “Listening to a Disconnected Society,” The New York Times, July 5, 2013, accessed October 3, 2016, http://www.nytimes.com/2013/07/07/arts/music/the-blind-lera- auerbachs-opera-confronts-isolation.html?pagewanted=all&_r=0.

Skorobiashenskaya, Olga. Boris Tishchenko: Interview Robusta. Saint-Petersburg: Compozitor Publishing House, 2010.

Tishchenko, Boris. Composer. Piano Sonata No. 9. Sedmara Zakarian Rutstein, piano. Albany Records, TROY 279, Compact Disk 1998.

Tishchenko, Boris. Sonata No.9 for piano. Russia, Saint-Petersburg: Publishing House Compozitor Saint-Petersburg, 2003.

Tremblay, Jean-Benoit. “Polystylism and Narrative Potential in the Music of Alfred Schnittke.” PhD diss., University of British Columbia, Canada, 2007.

Ustinov, Andrew, and Pavel Raigorodskiy. “Be Honest in Every Piece,” Muzobozrenie, July 2015, accessed October 3, 2016, http://muzobozrenie.ru/lera-aue-rbah-by-t-chestny-m-v- kazhdom-proizvedenii/.

Zhuravlev, Mikhail. “A Monograph about Tishchenko,” accessed February 15, 2017, https://www.proza.ru/2013/04/16/784.

Zhuravlev, Mikhail. “The Musical Heritage of Boris Tishchenko as a warning against postmodernism,” accessed February 10, 2017, http://www.splayn.com/cgi- bin/show.pl?option=MaterialInfo&user_id=1053&id=1176.

BIOGRAPHICAL SKETCH

Russian pianist Tatiana Gorbunova is an active soloist, teacher, and chamber musician. Recent performances include the Nizhny Novgorod State Conservatory, Nizhny Novgorod Musical College, the Mayakovsky Library, and Toledo Museum of Arts in Ohio. Her past performances include solo, lecture recitals, and masterclasses in the states of Florida, North Carolina, Ohio and Indiana. During the 2017-2018 season her schedule includes solo concerts and masterclasses in Georgia, New Jersey, New York and Alabama.

Recent awards include first prize in the Chapman-Neesen graduate solo piano competition at Florida State University, a Tallahassee Music Guild scholarship, and a ProMusica grant with a special scholarship to attend Brevard Music Festival. In the Dr. Marjorie Conrad Art Song Competition, she was awarded with a performance broadcasted on the Bowling Green radio and television network; and she won the prize at the 44th Annual Competition in Music Performance in Bowling Green, Ohio, to perform the Schumann Concerto with the Bowling Green State Philharmonic in February 2011. While studying in Russia, Gorbunova became one of the winners in the All-Russia Chamber Music Competitions in Sizran.

As a collaborative pianist, Gorbunova has performed with saxophone, clarinet, cello, violin, and voice students at the Nizhny Novgorod State Conservatory and Bowling Green State University. She was also employed at the Interlochen Center for the Arts as a collaborative pianist. She has developed interest in lesser-known chamber repertoire and recently performed the Piano Quintet by Sergei Taneyev. She is currently a doctoral graduate assistant in the Piano Performance program at Florida State University. Her major piano teachers include Prof. Bella Alterman, Dr. Robert Satterlee, Dr. Joel Hastings and Dr. Read Gainsford.