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Copyright by Jonathan Leonard Ryan Fogg 2006 Copyright by Jonathan Leonard Ryan Fogg 2006 The Treatise Committee for Jonathan Leonard Ryan Fogg Certifies that this is the approved version of the following treatise: An Aggregate of Styles: Donald Martino’s Fantasies and Impromptus Committee: Elizabeth B. Crist, Supervisor Gregory Allen, Co-Supervisor Elliott Antokoletz Betty Mallard David Renner Cheney Crow An Aggregate of Styles: Donald Martino’s Fantasies and Impromptus by Jonathan Leonard Ryan Fogg, M.M.; B.M. Treatise Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts The University of Texas at Austin August 2006 Dedication This treatise is dedicated to my parents, Robert and Jeanne Fogg, whose love and support never went unnoticed, and to Dr. Randall Sulton, whose guidance as a teacher, a mentor, and a friend has been invaluable. Acknowledgements In completing this treatise, I would like to acknowledge the contributions of the following three individuals: Dr. Elizabeth Crist, who continually challenged me to write with clarity. Mr. Gregory Allen, who provided insight and assistance in my preparation of the Fantasies and Impromptus for performance. Ms. Danielle Martin, who inspired and encouraged me during my first two years as a doctoral student. She continues to be sorely missed. v An Aggregate of Styles: Donald Martino’s Fantasies and Impromptus Publication No._____________ Jonathan Leonard Ryan Fogg, D.M.A. The University of Texas at Austin, 2006 Supervisors: Elizabeth B. Crist & Gregory Allen Donald Martino has maintained a consistent and individualistic approach to composition and has established himself as one of the most prominent American twelve- tone composers of his time. In many of his works, he has successfully merged an interest in traditional formal structures with a contemporary harmonic language, balancing a concern for structure with a penchant for the dramatic and expressive. The integration of conventional forms and elements of romanticism with a progressive twelve-tone pitch organization is most evident in his Fantasies and Impromptus for solo piano. Within these pieces, he demonstrates his affinity for combining improvisation with structure, virtuosity with expression, and tradition with innovation. By fusing together classical formal structures with elements of romanticism, his unique twelve-tone language takes on a new meaning and becomes more comprehensible. These pieces are not limited to one particular style, but embody many approaches to become an aggregate, a synthesis of many influences and original ideas. vi Table of Contents List of Examples .................................................................................................. viii List of Figures........................................................................................................ xi Introduction..............................................................................................................1 Biography & Works........................................................................................1 Approach to Composition...............................................................................6 Fantasies and Impromptus............................................................................12 Chapter 1 18th-century Formal Procedures in the Fantasies and Impromptus......15 Fantasy #1: 1st movement..............................................................................19 Fantasy #2: 5th movement..............................................................................31 Fantasy #3: 9th movement..............................................................................38 Chapter 2 19th-century Romanticism in the Fantasies and Impromptus...............48 Chapter 3 20th-century Pitch Organization in the Fantasies and Impromptus......66 Conclusion .............................................................................................................82 Categorization of the Fantasies and Impromptus.........................................82 Reception of the Fantasies and Impromptus ................................................86 Appendix A Chronology of Martino's Career......................................................90 Appendix B List of Works...................................................................................92 Bibliography ..........................................................................................................95 Vita…...................................................................................................................100 vii List of Examples Example 1.1: #1 Fantasy, mm. 20-23................................................................22 Example 1.2: #1 Fantasy, mm. 20-27................................................................23 Example 1.3: #1 Fantasy, mm. 31-38................................................................24 Example 1.4a: #1 Fantasy, mm. 0-1....................................................................25 Example 1.4b: #1 Fantasy, mm. 55-59................................................................26 Example 1.5: #1 Fantasy, mm. 111-112............................................................28 Example 1.6: #1 Fantasy, mm. 31-32................................................................29 Example 1.7a: #1 Fantasy, mm. 111-114............................................................30 Example 1.7b: #1 Fantasy, mm. 115-118............................................................30 Example 1.8: #5 Fantasy, mm. 1-4....................................................................33 Example 1.9: #5 Fantasy, mm. 13-15................................................................34 Example 1.10: #5 Fantasy, mm. 22-27................................................................34 Example 1.11: #5 Fantasy, mm. 25-29................................................................35 Example 1.12: #5 Fantasy, mm. 32-35................................................................36 Example 1.13a: #5 Fantasy, mm. 1-2....................................................................36 Example 1.13b: #5 Fantasy, mm. 47-49................................................................37 Example 1.14: #5 Fantasy, mm. 48-50................................................................37 Example 1.15: #9 Fantasy, mm. 21-27................................................................40 Example 1.16a: #9 Fantasy, mm. 53-68................................................................41 Example 1.16b: #9 Fantasy, mm. 100-106............................................................41 Example 1.17: #9 Fantasy, mm. 36-42................................................................42 Example 1.18: #9 Fantasy, mm. 81-95................................................................43 Example 1.19a: #9 Fantasy, mm. 107 -117............................................................44 viii Example 1.19b: #9 Fantasy, mm. 114-122............................................................44 Example 1.20: #9 Fantasy, mm. 123-127............................................................45 Example 1.21a: #9 Fantasy, mm. 128-143............................................................46 Example 1.21b: #9 Fantasy, mm. 148-154............................................................47 Example 2.1: #1 Fantasy, mm. 31-38................................................................49 Example 2.2: #1 Fantasy, mm. 31-38................................................................50 Example 2.3: #5 Fantasy, mm. 36 -37................................................................52 Example 2.4: #1 Fantasy, mm. 53-55................................................................52 Example 2.5a: #1 Fantasy, mm. 119-122............................................................53 Example 2.5b: #4 Impromptu, mm. 43-46..........................................................53 Example 2.6a: #4 Impromptu, mm. 1-6..............................................................56 Example 2.6b: #7 Impromptu, mm. 1-10............................................................57 Example 2.7: #4 Impromptu, mm. 16-23..........................................................58 Example 2.8: #4 Impromptu, mm. 43-46..........................................................59 Example 2.9: #4 Impromptu, mm. 19-23..........................................................61 Example 2.10a: #4 Impromptu, mm. 41-42..........................................................62 Example 2.10b: Brahms’ Romanze, Op. 118, No. 5, mm. 54-57..........................62 Example 2.11a: Chopin’s Impromptu #1, Op. 29, mm. 1-4 .................................63 Example 2.11b: Chopin’s Impromptu #3, Op. 51, mm. 1-6 .................................64 Example 2.11c: Martino’s #7 Impromptu, mm. 1-20 ...........................................64 Example 3.1: #2 Impromptu, mm. 1-9..............................................................69 Example 3.2: #6 Impromptu, mm. 0-3..............................................................69 Example 3.3: #1 Fantasy, mm. 2-10..................................................................72 Example 3.4: #1 Fantasy, mm. 82-94................................................................74 Example 3.5: #5 Fantasy, mm. 13-15................................................................75 ix Example 3.6a: #4 Impromptu, mm. 1-3..............................................................76
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