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Elements of Style Hongrois Within Fantaisie Hongroise, Op. 65, No.1 By Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2012 Elements of Style Hongrois within Fantaisie Hongroise, Op.65, No. 1 by J.K. Mertz Andrew Stroud Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC ELEMENTS OF STYLE HONGROIS WITHIN FANTAISIE HONGROISE, OP. 65, NO.1 BY J.K. MERTZ By ANDREW STROUD A doctoral treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music Degree Awarded: Summer Semester, 2012 Andrew Stroud defended this treatise on June 26th, 2012. The members of the supervisory committee were: Bruce Holzman Professor Directing Treatise James Mathes Outside Committee Member Melanie Punter 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. ii To my wife, mother and father. Without whom, I would fail in life and laughter. iii ACKNOWLEDGEMENTS I would like to thank a few individuals for their support. Firstly, Bruce Holzman, for listening to the continued scratching of strings and never flagging. I must give many thanks to professors Mathes and Punter for agreeing to follow me on this project. I also received wonderful direction from Matanya Ophee and Richard Long, men unsurpassed in their scholarly contributions to the history of the guitar. I owe an unending debt of gratitude to Dr. Jonathan Bellman of the University of Northern Colorado, the country’s foremost scholar of style hongrois, and someone who supplied an absolutely priceless amount of help. iv TABLE OF CONTENTS List of Examples ........................................................................................................................... vii Abstract ........................................................................................................................................ viii Chapter One .................................................................................................................................... 1 Introduction. ................................................................................................................................ 1 Purpose ................................................................................................................................... 1 Chapter Two.................................................................................................................................... 4 Mertz: Background Biographical Information............................................................................ 4 Chapter Three.................................................................................................................................. 8 Introducing the Style Hongrois ................................................................................................... 8 Hungarian/Magyar vs. Gypsy ................................................................................................... 10 Buffer Zone/Melting Pot: Historical Preface to Style Hongrois ............................................... 11 Cigányzene: Music of the Gypsies ........................................................................................... 13 Verbunkos Music ...................................................................................................................... 17 Early Use of Style Hongrois ..................................................................................................... 20 Stylistic Devices........................................................................................................................ 21 Instrumental Imitation .......................................................................................................... 22 Rhythm .................................................................................................................................. 23 Melody and Harmony ........................................................................................................... 23 Chapter Four ................................................................................................................................. 25 Usage of Style Hongrois by Johannes Brahms (1833-1897) .................................................... 25 Chapter Five .................................................................................................................................. 29 Usage of the Style Hongrois by Franz Liszt ............................................................................. 29 Chapter Six.................................................................................................................................... 35 Analysis of Mertz Fantaisie Hongroise Op.65, No.1 ............................................................... 35 v Closing Ideas Regarding Interpretation and Performance Implications ................................... 54 Chapter Seven ............................................................................................................................... 58 Overview of Extant Guitar Works in the Style Hongrois ......................................................... 58 A Note on Sources .................................................................................................................... 59 Appendix A ................................................................................................................................... 62 J.K. Mertz: Fantaisie Hongroise, Op. 65 No.1 ......................................................................... 62 Appendix B ................................................................................................................................... 67 Johann Dubez: Fantaisie sur des motifs Hongroise. (excerpts) ............................................... 67 Rákóczy March...................................................................................................................... 68 Csárdás, lassan. .................................................................................................................... 69 Palotás .................................................................................................................................. 70 Appendix C ................................................................................................................................... 71 Rákóczy March ......................................................................................................................... 71 Appendix D ................................................................................................................................... 72 J.K. Mertz: Hazai Virágom ....................................................................................................... 72 Appendix E: Permissions .............................................................................................................. 73 Bibliography ................................................................................................................................. 75 Biographical Sketch ...................................................................................................................... 79 vi LIST OF EXAMPLES Example 1: Fantaisie Hongroise Op.65, No.1: mm. 1-4 ........................................................... 38 Example 2: mm. 5 -7.................................................................................................................... 39 Example 3: mm. 8-13................................................................................................................... 40 Example 4: mm. 14-20................................................................................................................ 41 Example 5: Bardenklänge, Op.13, No. 2, Romanze. mm. 1-2. ................................................... 42 Example 6: Fantaisie Hongroise. mm. 22-28.............................................................................. 43 Example 7: mm. 29-34................................................................................................................ 44 Example 8: mm. 35 with “out of tune” glissando. ....................................................................... 44 Example 9: mm. 36 ...................................................................................................................... 45 Example 10: mm. 37-38............................................................................................................... 46 Example 11: mm. 40-43............................................................................................................... 46 Example 12: mm. 43-45............................................................................................................... 47 Example 13: mm. 46-49............................................................................................................... 48 Example 14: mm. 50-55............................................................................................................... 48 Example 15: mm. 56-60.............................................................................................................. 49 Example 16: mm. 61-68.............................................................................................................. 50 Example
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