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Impressionism: Trends and Parallels in Music and Painting

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Impressionism: Trends and Parallels in Music and Painting IMPRESSIONISM: TRENDS AND PARALLELS IN MUSIC AND PAINTING AS RELATL'D TO THE MIROIRS' OF MAURICE RAVEL, A tECTURE RECITAL, TOGETH R WITH FOUR RECITALS OF SELECTED WORKS OF J. S. BACH, . A. NMuZART, L. VAN BEETHOVEN, J. BRAHMlS, F. CHOPIN, F. LISZiT, S. PROKOFIEFF, AND D. MATHEW DISSERTATION Presented to the Graduat e Council of the North Texas State University in Partial Fulfillment of the Requirements For the Degree of Doctor of Musical Arts By Phyllis Mu2{oz, B. Mus., V. Mus. Denton, Texas December, 19?3 Mufoz, Phyllis, Imnressionism: f rendsand Parallels in Music and Painting as Related to the Miroirs of Maurice Ravel, A Lecture zetal, Together with Four Recitals of Selected Works of J. , Bach, ,Slloart, L. Van Beethoven, . Brahrs, Choin,b. S Liszt, j. Prokofieff, and D. iathew. Doctor of :usica Ar.ts (lano Performance), December, 1973, 38 pp., 22 illustrations, bibliography, 48 titles. The lecture recital was given April 23, 1973. A discussion of trends and parallels in Impressionist music and painting included information about specific technical devices and innovations related to and common to the arts of music and painting, as seen in the iiroirs of Ravel. BIdes of Impres sionist paintings were used as illustrations. The five pieces of the Afiroirs were then performed by memory. In addition to the lecture recital, four other public recitals were performed. These consisted of two solo piano recitals and two concerto performances, The first solo recital was on April 16, 1972, and in cluded works of Bach, Beethoven, Liszt, Prokofieff and Chopin. The second recital, on October 23, 1972, was a perfor mance of Beethoven's Piano Concerto in 0 Pa j r, _ 8 j, with the Arkansas Symphony Orchestra in Little Rock, Arkansas, under the direction of 1. Francis McBeth, The third recital, on April 9, 1973, consisted of a performance of Mozart's Piano Concerto No. 20 in D minor, K. 466, with the Graduate Chamber Orchestra of the North Texas State University School of Music, under the direction of John Giordano. The final recital, on November 12, 1973, was a solo recital, and included works by Brahms, Mathew and Prokofieff. All five programs were recorded on magnetic tape and are filed, along with the written version of the lecture material, as a part of the dissertation. Tape recordings of all performances submitted as as dissertation requirements are on deposit in the North Texas State University Library. TABLE OF CONTENTS PERFORMANCE PROGRAMS Page First Solo Recital . .0 .a V First Concerto Recital . * . .vi09 . Second Concerto Recital . * * * . ... vii Lecture Recital. Impressionism: Trends and Parallels in Music and Painting as Related to the Miroirs of Maurice Ravel . .. .ix Second Solo Recital and Program Notes . LIST OF ILLUSTRATIONS.. .q.....0 . .. .xii*. IMPRESSIONISM: TRENDS AND PARALLELS IN MUSIC AND PAINTING AS RELATED TO THE MIROIRS OF IaURICE RAVEL . , . * * . , . * . * 9 .9 1 BIBLIOGRAPHY . , . *. 35 iv NORTH TEXAS STATE UNIVERSITY SCHOOL OF MUSIC presents Phyllis Muiioz in a Piano Recital Sunday, April 16, 1972 3:30 p.m. Recital Hall Prelude and Fugue in f-sharp minor W TC Vol. II, N o. 14 ......................................... Bach Sonata in A Major, Opus 2, No. 2 ......................... Beethoven Allegro vivace Largo appassionato Scherzo: Allegretto Rondo: Grazioso intermission Les jeux d'eaux a la villa d'Este ................................ Liszt (Anndes de P&lerinage-Troisieme annde) Sarcasm s, Opus 17 ...................................... Prokofieff Tempestoso Allegro rubato Allegro precipitato Smanioso Precipitosissimo E tudes ................................................... C hopin C Major, Opus 10, No. 7 e-flat minor, Opus 10, No. 6 F Major, Opus 10, No. 8 c-sharp minor, Opus 10, No. 4 Presented in partialfulfillment of the requirementsfor the degree Doctorof Musical A rts V THE ARKANSAS SYMPHONY ORCHESTRA Francis McBeth, Conductor Phyllis Mu'noz, Piano Soloist October 23rd, 1972 8:15 P.M. UALR Fine Arts Auditorium October 24th, 1972 7:30 P.M. Pine Bluff High School PROGRAM CARNEVAL OVERTURE, OP. 92 DVORAK PIANO CONCERTO IN G MAJOR, OP. 58 BEETHOVEN Allegro moderato Andante Rondo: Vivace Intermission THREE PIECES FOR ORCHESTRA KENT KENNAN Wilbert Delaine, Viola Soloist Promenade Nocturne 17 Carnpo dei Fiori FANTASIA ON THE ALLELUIA HYMN GORDON JACOB FOUR SCOTTISH DANCES MALCOLM ARNOLD PROGRAM NOTES By Jerry E. McSpadden ANTONIN DVORAK (1841-1904): CONCERT OVERTURE "CARNEVAL", opus 92 Dvorak spent most of his life in Czechoslovakia, working his way up in musical circles from background of proverty. After a coming to the attention of Brahms, who was judging a composition contest in which Dvorak had entered a set of piano duets, Dvorak rose rapidly in fame. He eventually became recognized as the chief representative of Czech nationalism in music, and received honorary degrees in several countries. Tonight's composition, which was written on the occasion of such a degree from the University of Prague in 1891, depicts a European Mardi Gras celebration in which solemnity of Lent is prepared the for in almost wanton abandon. Dvorak once described the depicting overture as "a lonely, contemplative wanderer reaching at twilight a city where is in full the Mardi Gras carnival sway. On every side is heard the clangor of instruments, mingled hilarity with joy and unrestrained of the people giving vent to their feelings in songs and dance opening section, tunes." After the orgiastic a middle episode of quiet romantic quality suggests a more intimate encounter by the and personal wanderer. At the end, the merrymaking resumes with the Slavic dance theme. return of the opening LUDWIG VAN BEETHOVEN (1770-1827): CONCERTO FOR PIANO & ORCHESTRA MAJOR, opus 58 NO. 4 IN G This concerto was first performed publicly in an all-Beethoven program with the composer himself presiding at the pianoforte. Various accounts have been given, some of which suggest that Beethoven's increasing deafness, plus a somewhat out-of-tune piano left something to be desired. Nevertheless, the concerto has survived on its compositional mertis to hold a most honored place in the concert repertory. standard The concerto begins, unusually, with the main thematic material being presented by the solo instrument alone. The orchestra takes up battle with the piano in alternating moods and virtuoso cadenza creates themes. A the climax of the first movement; and a short coda brings it expansive crescendo. to a close with an The 2nd movement also contains many oppositions of moods between piano and orchestra. Towards the end of the movement, the contrast lessens, and the contemplative mood of the piano prevails. The last movement, succeeding the "Andante" without pause, begins with form, strings. In loose rondo the piano and orchestra engage in boisterous, rhythmic interplay. brilliant virtuoso The movement ends with a cadenza, followed by restatements of the opening theme and brief passages. concluding KENT WHEELER KENNAN: THREE PIECES FOR ORCHESTRA Kent Kennan was born in Milwaukee, Wis. in 1913. He studied at the University of Michigan, at the Eastman School of Music, and in Rome with Pizetti. Several of his compositions have been recorded by Mercury Records. He has taught composition at the University of Texas at Austin since 1949. His textbook "Orchestration" is standard in many schools throughout the country, including several colleges in Arkansas. Vi NORTH TEXAS STATE UNIVERSITY SCHOOL OF MUSIC presents THE GRADUATE CHAMBER ORCHESTRA John Giordano conductor Phyllis Mu~oz piano Mary Beth Armes soprano monday april 9 8:15 p.m. recital hall vii '4. program Signals ....... ............................. John W atts Warning Certification Notice Mary Beth Armes Piano Concerto No. 20 in D minor, K. 466 ...... W. A. Mozart Allegro Romanza Rondo Phyllis Mufioz intermission vii i NORTH TEXAS STATE UNIVERSITY SCHOOL OF MUSIC presents PHYLLIS MUNOZ, Pianist in a LECTURE RECITAL IMPRESSIONISM: TRENDS AND PARALLELS IN MUSIC & PAINTING as related to The Miroirs of Maurice Ravel Monday, April 23, 1973 4:00 P.M. Recital Hall MIROIRS (Mirrors)............................ Ravel (1905) Noctuelles (Moths) Oiseaux Tristes (Mournful Birds) Une Barque sur l'ocean (A Boat on the Ocean) Alborada del gracioso (Morning Music of a Minstrel -Clown) La Vallee des cloches (The Valley of the Bells) Presented in partial fulfillment of the requirements for the degree Doctor of Musical Arts ix NORTH TEXAS STATE UNIVERSITY School of Music presents PHYLLIS MUNOZ, PIANIST Monday, November 12, 1973 8:15 p.m. Recital Hall program Walzer, Op. 39....................Johannes Brahms Moods II.............................David Mathew first performance intermission Sonata No. 8 in B-flat Major, Op. 84..... ...... Sergei Prokofieff Andante dolce Andante sognando Vivace Presented in partial fulfillment of the requirements for the degree Doctor of Musical Arts x NOTES ON MOODS II 1. The pianist is to construct a multi-colored overlay. This may be done by randomly placing small pieces of self-adhesing colored acetate on one score-sized piece of clear acetate, or by painting clear acetate with thinned acrylics. The overlay should be affixed to the score. 2. The pianist is to follow the route indicated in the score, making choices as desired. Repetition of an event is possible. 3. Each event (square) is to be repeated ad lib., as deter mined by the pianist. Duration of the work is dependent upon the pianist's artistic sense. 4. The pianist is to derive all interpretive directions (tempi, dynamics, attacks, releases, pedaling, etc. from the colors on the overlay. Thus, the pianist's feelings about the various colors directly determine content, 5. The pianist may transpose or double any written pitch, David Mathew, 1973 xi LUP TF IL LU TR A TONS Figure Page 1. Claude Monet: Imression: Sunrise * . * 2 2. Thirteenth-century French: A usician . e , 3 3. if teenth-century Burgundian. Virgin and Child . , , . , , , , , , 5 , 3 4. idr Degas: In -the. Jins 5. Gustave Courbet: Young Women on the Banks *, , 6 of the Seine .
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