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University of Oklahoma Graduate College UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE MUSICAL MANNERISM: A RECURRING STYLISTIC PHENOMENON IN KEYBOARD VARIATIONS BY J.S. BACH, BEETHOVEN, AND LISZT A DOCUMENT SUBMITTED TO THE GRADUATE FACULTY in partial fulfillment of the requirements for the Degree of DOCTOR OF MUSICAL ARTS By CHARLES B. LAHAN JR. Norman, Oklahoma 2016 MUSICAL MANNERISM: A RECURRING STYLISTIC PHENOMENON IN KEYBOARD VARIATIONS BY J.S. BACH, BEETHOVEN, AND LISZT A DOCUMENT APPROVED FOR THE SCHOOL OF MUSIC BY ______________________________ Dr. Jane Magrath, Chair ______________________________ Dr. Paula Conlon ______________________________ Dr. Barbara Fast ______________________________ Dr. Judith Pender ______________________________ Dr. Frank Riddick © Copyright by CHARLES B. LAHAN JR. 2016 All Rights Reserved. TABLE OF CONTENTS LIST OF FIGURES ........................................................................................................... v ABSTRACT ..................................................................................................................... vi CHAPTER I: INTRODUCTION TO THE STUDY ........................................................ 1 Purpose of the Study ..................................................................................................... 3 Need for the Study ........................................................................................................ 3 Limitations of the Study ................................................................................................ 6 Design and Procedures .................................................................................................. 6 Related Literature .......................................................................................................... 7 CHAPTER II: OVERVIEW OF MANNERISM ............................................................ 11 From Vasari through the Nineteenth Century ............................................................. 12 Twentieth Century Art Historians on Mannerism ....................................................... 21 Mannerism in Music ................................................................................................... 30 Mannerism as a Recurring Stylistic Phenomenon ...................................................... 39 CHAPTER III: ANALYSIS OF BACH’S GOLDBERG VARIATIONS ......................... 44 Bach as Mannerist ....................................................................................................... 44 Formulas and Intellectual Constructivism .................................................................. 47 Imitation of Past Styles and Manners .......................................................................... 51 Artificial Intricacy ....................................................................................................... 53 Expressionism and Surrealism .................................................................................... 56 Refinement and Preciosity .......................................................................................... 60 CHAPTER IV: ANALYSIS OF BEETHOVEN’S DIABELLI VARIATIONS ............... 63 Beethoven as Mannerist .............................................................................................. 63 Formulas and Intellectual Constructivism .................................................................. 66 Imitation of Past Styles and Manners .......................................................................... 70 Artificial Intricacy ....................................................................................................... 77 Expressionism and Surrealism .................................................................................... 80 Refinement and Preciosity .......................................................................................... 84 CHAPTER V: ANALYSIS OF LISZT’S VARIATIONS ON A THEME OF BACH, WEINEN, KLAGEN, SORGEN, ZAGEN ............................. 88 Liszt as Mannerist ....................................................................................................... 88 Formulas and Intellectual Constructivism .................................................................. 90 Imitation of Past Styles and Manners .......................................................................... 94 Artificial Intricacy ....................................................................................................... 96 Expressionism and Surrealism .................................................................................... 99 Refinement and Preciosity ........................................................................................ 101 CHAPTER VI: SUMMARY AND CONCLUSIONS .................................................. 104 Suggestions for Further Research ............................................................................. 106 BIBLIOGRAPHY ......................................................................................................... 111 APPENDIX A: IRB RELEASE FORM ....................................................................... 115 APPENDIX B: G. HENLE PUBLISHERS RELEASE ................................................ 116 iv LIST OF FIGURES Figure 1. Handel, Chaconne avec 62 variations, mm. 1-8 ............................................. 51 Figure 2. Bach, Goldberg Variations, Variation 2, mm. 1-9 .......................................... 54 Figure 3. Bach, Goldberg Variations, Variation 28, mm. 5-6 ........................................ 54 Figure 4. Bach, Goldberg Variations, Variation 12, mm. 1-3; Variation 15, mm. 1-3 .. 55 Figure 5. Bach, Goldberg Variations, Variation 25, mm. 1-3 ........................................ 56 Figure 6. Bach, Goldberg Variations, Variation 25, mm. 20-25 .................................... 58 Figure 7. Bach, Goldberg Variations, Variation 25, mm. 1-3 ........................................ 58 Figure 8. Bach, Goldberg Variations, Variation 30, mm. 1-3 ........................................ 59 Figure 9. Bach, Goldberg Variations, Variation 27, mm. 1-3 ........................................ 61 Figure 10. Beethoven, Diabelli Variations, Variation 25, mm. 1-3 ................................ 68 Figure 11. Beethoven, Diabelli Variations, Variation 22, mm. 1-4 ................................ 71 Figure 12. Beethoven, Diabelli Variations, Variation 23, mm. 1-2; Cramer, Pianoforte- Method, No. 1, mm. 1-2 .......................................................................................... 72 Figure 13. Beethoven, Diabelli Variations, Variation 24, mm. 1-6 ................................ 74 Figure 14. Beethoven, Diabelli Variations, Variation 29, mm. 1-3; Bach, E-flat minor Prelude, WTC. I, mm. 12-14 ................................................................................... 75 Figure 15. Beethoven, Diabelli Variations, Variation 31, mm. 3-4; Bach, Goldberg Variations, Variation 25, mm. 1-3 .......................................................................... 75 Figure 16. Beethoven, Diabelli Variations, Variation 32, mm. 1-6 ................................ 76 Figure 17. Beethoven, Diabelli Variations, Variation 33, mm. 1-4 ................................ 77 Figure 18. Beethoven, Diabelli Variations, Theme, mm. 20-25 ..................................... 81 Figure 19. Beethoven, Diabelli Variations, Variation 5, mm. 16-28 .............................. 82 Figure 20. Beethoven, Diabelli Variations, Variation 9, mm. 22-27 .............................. 82 Figure 21. Beethoven, Diabelli Variations, Variation 12, mm. 25-28 ............................ 83 Figure 22. Beethoven, Diabelli Variations, Variation 14, mm. 10-12 ............................ 83 Figure 23. Beethoven, Diabelli Variations, Variation 30, mm. 12-13 ............................ 83 Figure 24. Beethoven, Diabelli Variations, Variation 20, mm. 9-13 .............................. 85 Figure 25. Beethoven, Diabelli Variations, Variation 32, mm. 161-166 ........................ 85 Figure 26. Liszt, Weinen, Klagen Variations, ms. 195 ................................................... 91 Figure 27. Liszt, Weinen, Klagen Variations, mm. 16-18 .............................................. 91 Figure 28. Liszt, Weinen, Klagen Variations, mm. 170-2 .............................................. 92 Figure 29. Liszt, Weinen, Klagen Variations, mm. 215-230 .......................................... 92 Figure 30. Liszt, Weinen, Klagen Variations, mm. 319-23 ............................................ 93 Figure 31. Bach, Cantata: BWV 12, Chorus: Lento, mm. 1-5 ........................................ 94 Figure 32. Liszt, Weinen, Klagen Variations, mm. 18-22 .............................................. 95 Figure 33. Liszt, Weinen, Klagen Variations, mm. 324-30 ............................................ 95 Figure 34. Liszt, Weinen, Klagen Variations, mm. 1-9 .................................................. 97 Figure 35. Liszt, Weinen, Klagen Variations, mm. 18-29 .............................................. 98 Figure 36. Liszt, Weinen, Klagen Variations, mm. 199-202 ........................................ 100 v ABSTRACT Mannerism was an artistic style that flourished in the sixteenth century between the High Renaissance and the emergence of the Baroque era. Originating in Rome and Florence in the 1520s, Mannerism eventually spread throughout Europe. Important Mannerist painters include Michelangelo, Pontormo, Parmigianino, Rosso, Bronzino, and El Greco.
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