Three Case Studies in Twentieth-Century Performance Practice Tina Huettenrauch Louisiana State University and Agricultural and Mechanical College, [email protected]
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Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2012 Three case studies in twentieth-century performance practice Tina Huettenrauch Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Huettenrauch, Tina, "Three case studies in twentieth-century performance practice" (2012). LSU Doctoral Dissertations. 547. https://digitalcommons.lsu.edu/gradschool_dissertations/547 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. THREE CASE STUDIES IN TWENTIETH-CENTURY PERFORMANCE PRACTICE A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The School of Music by Tina Huettenrauch B.A., Millsaps College, 2005 M.M., Louisiana State University and Agricultural and Mechanical College, 2008 August 2012 ACKNOWLEDGEMENTS First and foremost I wish to express my deepest gratitude to my dissertation advisor, Jan Herlinger, for his tireless commitment to this project, unceasing encouragement, precise and careful editing of my writing, and many insightful suggestions and comments. His dedication to his students and the field of musicology has always been a tremendous inspiration and I am truly grateful to have had him to guide me on this journey. I wish to thank my committee, Brett Boutwell, Andreas Giger, Alison McFarland, Robert Peck, and John Pizer for their continuous support, meticulous reading of the chapter drafts, and ready willingness to help. It has been a pleasure working with and learning from faculty who support their students so unequivocally. Finally, I am grateful to Rod Parker, for giving his time, enthusiasm, and support to serve as my Dean’s Representative. I am grateful to Margaret Leng Tan for giving her time and insight on Cage, the prepared piano, and Sonatas and Interludes and to Bill Kelley of the LSU School of Music for providing the sound equipment during my studies of the different preparation materials of the Sonatas and Interludes. My studies would not have been possible without the continuous support from my family, especially my sister Conny, my mother Beate, and my grandmother Eva. I am forever grateful for their love, encouragement, and willingness to let me go on this journey a continent away. Their many letters, care-packets, and phone calls have been a great source of comfort and support. Lastly, I wish to thank the many wonderful friends that have made my journey in the states an experience to treasure forever: My deepest thanks to Anita and Margaret for many encouraging phone calls; to Grant, Jamie, Karl, Megan, and Tim, my colleagues in the LSU Musicology department, for many cups of coffee, trips to AMS, and laughter shared; my gaming ii buddies, Jeremy, Nico, Richard, Stephanie, and Tim for many enjoyable Saturday nights; the staff of the LSU Resident Life program, Mrs. Lori and Michele, for providing a listening ear and encouragement; and most of all, to my dear friends Charlie and Glenn, for many home-cooked meals, fellowship, unwavering support, and careful editing of several drafts of this project. * * * Permission to reprint musical examples in the dissertation is gratefully acknowledged from the following sources: String Quartet, No. 4, op. 37 by Arnold Schoenberg Copyright © 1939 (Renewed) by G. Schirmer, Inc (ASCAP) International Copyright Secured. All Rights Reserved. John Cage, Sonatas and Interludes © Copyright 1960 by Henmar Press, Inc. Used by Permission of C. F. Peters Corporation. All Rights Reserved. Luciano Berio, “Sequenza III: Für Frauenstimme” © Copyright 1968 by Universal Edition (London) Ltd., London © Copyright assigned to Universal Edition A. G., Wien/UE 13723 iii TABLE OF CONTENTS ACKNOWLEDGEMENTS ...................................................................................................ii ABSTRACT ...........................................................................................................................vi CHAPTER 1 INTRODUCTION .....................................................................................................1 Aims and Directions of This Study .........................................................................2 Selection of the Recordings ....................................................................................5 Structure ..................................................................................................................7 2 SCHOENBERG’S STRING QUARTET NO. 4, OP. 37 ..........................................8 The Fourth String Quartet .......................................................................................9 Schoenberg and the Performer ................................................................................13 The First Recording of the String Quartets .............................................................15 Recordings ..............................................................................................................17 Tempo .....................................................................................................................20 Ritardando ..............................................................................................................34 Score Annotations ...................................................................................................36 Hauptstimme ..................................................................................................36 Nebenstimme ..................................................................................................40 Articulation ....................................................................................................42 Dynamics ................................................................................................................48 Movement III: First Occurrence of the Theme ..............................................49 Movement III: Second Occurrence of the Theme..........................................50 Rapid Dynamic Changes................................................................................52 Conclusion ..............................................................................................................53 3 JOHN CAGE’S SONATAS AND INTERLUDES ...................................................57 The Prepared Piano .................................................................................................60 Recordings ..............................................................................................................71 Preparations: Screws, Bolts, and Nuts ....................................................................73 Preparations: Mutes and Hybrids ............................................................................82 Dynamics ................................................................................................................88 Tempo .....................................................................................................................90 Fermata ...................................................................................................................97 Pedaling...................................................................................................................98 Articulation .............................................................................................................102 Conclusion ..............................................................................................................104 4 BERIO’S SEQUENZA III ..........................................................................................108 The Conception of Sequenza III .............................................................................108 Sequenza III ............................................................................................................113 Text ........................................................................................................................115 Emotive Expressions ...............................................................................................117 The Artists and Their Recordings ...........................................................................120 iv Speech and Muttering .............................................................................................123 Laughter ..................................................................................................................127 Tempo .....................................................................................................................130 Conclusion ..............................................................................................................143 5 CONCLUSION ..........................................................................................................148 Recordings as Evidence of the Composer’s Intentions...........................................148 Elements of Performance Specified by the Composer ...........................................151 Authority of the Score ....................................................................................152