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A Study of Selected Piano Toccatas in the Twentieth Century: a Performance Guide Seon Hwa Song

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A Study of Selected Piano Toccatas in the Twentieth Century: a Performance Guide Seon Hwa Song Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2011 A Study of Selected Piano Toccatas in the Twentieth Century: A Performance Guide Seon Hwa Song Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC A STUDY OF SELECTED PIANO TOCCATAS IN THE TWENTIETH CENTURY: A PERFORMANCE GUIDE By SEON HWA SONG A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music Degree Awarded: Spring Semester, 2011 The members of the committee approve the treatise of Seon Hwa Song defended on January 12, 2011. _________________________ Leonard Mastrogiacomo Professor Directing Treatise _________________________ Seth Beckman University Representative _________________________ Douglas Fisher Committee Member _________________________ Gregory Sauer Committee Member Approved: _________________________________ Leonard Mastrogiacomo, Professor and Coordinator of Keyboard Area _____________________________________ Don Gibson, Dean, College of Music The Graduate School has verified and approved the above-named committee members. ii ACKNOWLEDGEMENT Above all, I am eagerly grateful to God who let me meet precious people: great teachers, kind friends, and good mentors. With my immense admiration, I would like to express gratitude to my major professor Leonard Mastrogiacomo for his untiring encouragement and effort during my years of doctoral studies. His generosity and full support made me complete this degree. He has been a model of the ideal teacher who guides students with deep heart. Special thanks to my former teacher, Dr. Karyl Louwenaar for her inspiration and warm support. She led me in my first steps at Florida State University, and by sharing her faith in life has sustained my confidence in music. I also would like to express a sincere appreciation to Seth Beckman, Douglas Fisher, and Gregory Sauer for their invaluable time as my committee members. Without their insightful advice during all the working process, it would not have been possible to finish this treatise. To my dearest friend, Kirsten Mitak, I am grateful for her incredible kindness and help during the past four years. As my personal editor, she has always offered valuable suggestions. Thanks are also due to Nicole Agostino DeGoti and Brooks Hafey for proofreading and helpful comments in spite of their busy schedules. A note of thanks from my heart is extended to my Korean colleagues for their precious friendship over the course of many years. It is a great value to share many unforgettable memories with them. Finally, during my entire life in the USA, my deepest gratitude should go to my families in Korea, who have supported me sincerely and lovingly. They have always given me strength to keep working toward my goal. There is no word to express their endless contribution, patience and love for me. iii TABLE OF CONTENTS TABLE OF CONTENTS ........................................................................................................... iv LIST OF TABLES ...................................................................................................................... v LIST OF MUSICAL EXAMPLES ............................................................................................. vi ABSTRACT ........................................................................................................................... viii 1. HISTORICAL REVIEW OF KEYBOARD TOCCATA Definition of Toccata ......................................................................................................... 1 The Renaissance to the Baroque Period .............................................................................. 3 Disappearance of Toccata between Classical and Romantic Periods ................................... 5 2. REVIVAL OF TOCCATA IN EARLY TWENTIETH CENTURY Impressionism: Debussy and Ravel .................................................................................... 7 Toccata from Pour le piano ........................................................................................... 8 Toccata from Le tombeau de Couperin ........................................................................ 10 Comparison between Debussy and Ravel .................................................................... 13 Neoclassicism: Prokofiev ................................................................................................. 14 Toccata, Op. 11 ........................................................................................................... 15 3. CONTEMPORARY PIANO TOCCATAS Lee Hoiby – Toccata Op.1 (1953) ................................................................................... 19 Robert Muczynski – Toccata (1961) ................................................................................ 29 George Rochberg – Toccata-Rag from Carnival Music (1971) ........................................ 37 Emma Lou Diemer – Toccata for Piano (1979) ............................................................... 46 4. SUMMARY .................................................................................................................... 54 BIBLIOGRAPHY ..................................................................................................................... 57 BIOGRAPHICAL SKETCH ..................................................................................................... 63 iv LIST OF TABLE Table 3.1: Hoiby, Toccata, Op. 1, Formal Structure and Typical Characteristics ....................... 22 Table 3.2: Muczynski, Toccata, Op. 15. Formal Structure and Characteristics ........................... 32 Table 3.3: Rochberg, Toccata-Rag, Indications and Musical Materials ...................................... 39 v LIST OF MUSICAL EXAMPLES Example 2.1: Debussy, Toccata, mm. 81-84. Counterpoint writing ............................................. 9 Example 2.2: Ravel, Toccata, mm. 94-97. Interlocking hand position ....................................... 11 Example 2.3: Ravel, Toccata, mm. 57-59. Use of 9th and 11th chords ........................................ 12 Example 2.4: Ravel, Toccata, mm. 1-4. Ostinato figures and Appoggiatura............................... 12 Example 2.5: Prokofiev, Toccata, mm. 1-4. Hypermetric rhythm .............................................. 16 Example 2.6: Prokofiev, Toccata, mm. 25-28. Hypermetric rhythm .......................................... 16 Example 2.7: Prokofiev, Toccata, mm. 77-79 and mm. 111-113................................................ 17 Example 2.8: Prokofiev, Toccata, mm. 49-50 and mm. 57-58. Ostinato Effects......................... 17 Example 2.9: Prokofiev, Toccata, mm. 67-68. Sarcastic Elements ............................................. 18 Example 3.1: Hoiby, Toccata, Op. 1, mm. 1-5 ........................................................................... 23 Example 3.2: Hoiby, Toccata, Op. 1, mm. 6-7 ........................................................................... 23 Example 3.3: Hoiby, Toccata, Op. 1, mm. 8-9 ........................................................................... 24 Example 3.4: Hoiby, Toccata, Op. 1, mm. 16-18 ....................................................................... 24 Example 3.5: Hoiby, Toccata, Op. 1, mm. 20-21 ....................................................................... 25 Example 3.6: Hoiby, Toccata, Op. 1, mm. 68-79. The opening of the B section ........................ 26 Example 3.7: Hoiby, Toccata, Op. 1, mm. 158-161 ................................................................... 27 Example 3.8: Muczynski, Toccata, Op. 15, mm. 6-7 and mm. 30-31 ......................................... 32 Example 3.9: Muczynski, Toccata, Op. 15, mm. 130-133 and mm. 163-166 ............................. 33 Chromatic elements Example 3.10: Muczynski, Toccata, Op. 15, mm. 138-138 and mm. 232-235 ........................... 33 Tone-cluster effects Example 3.11: Muczynski, Toccata, Op. 15, mm. 58-61 and mm. 80-84 .................................. 34 From the B section vi Example 3.12: Muczynski, Toccata, Op. 15, mm. 114-121. Contrapuntal writing...................... 34 Example 3.13: Muczynski, Toccata, Op. 15, mm. 27-28 and mm. 217-219 ............................... 35 Use of whole-note bar or full bar rest Example 3.14: Rochberg, Toccata-Rag, mm. 1-5 ...................................................................... 40 Example 3.15: Rochberg, Blues, mm. 63-67. A coda section ..................................................... 41 Rochberg, Toccata-Rag, mm. 6-11. “Blues” section Example 3.16: Rochberg, Toccata-Rag, mm. 72-82................................................................... 42 Example 3.17: Rochberg, Toccata-Rag, mm. 114-122 ............................................................... 43 The opening of the first movement “Fanfares and March” Example 3.18: Rochberg, Toccata-Rag, mm. 178-186 ............................................................... 43 Example 3.19: Rochberg, Toccata-Rag, m. 170 ......................................................................... 44 Example 3.20: Diemer, Toccata for Piano. The opening section................................................ 49 Example 3.21: Diemer, Toccata for Piano. One of the extended piano techniques ..................... 50 Example 3.22: Diemer, Toccata for Piano. A part of tone-cluster passages ..............................
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