Violin Periphery: Nuevo Tango in Astor Piazzolla's Tango-Études and Minimalism in Philip Glass' Sonata for Violin and Piano Jenny Lee Vaughn

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2016 Violin Periphery: Nuevo Tango in Astor Piazzolla's Tango-Études and Minimalism in Philip Glass' Sonata for Violin and Piano Jenny Lee Vaughn

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COLLEGE OF MUSIC

VIOLIN PERIPHERY: NUEVO TANGO IN ASTOR PIAZZOLLA’S TANGO-ÉTUDES AND

MINIMALISM IN PHILIP GLASS’ SONATA FOR VIOLIN AND PIANO

JENNY LEE VAUGHN

A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music

2016

Benjamin Sung Professor Directing Treatise

James Mathes University Representative

Pamela Ryan Committee Member

Corinne Stillwell 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.

To Dr. Mary Lee Cochran, who nurtured me in so many ways and introduced me to the music of Astor Piazzolla.

iii ACKNOWLEDGMENTS

I extend thanks to my major professor, Dr. Benjamin Sung. He made my doctoral work exceedingly enjoyable and fulfilling, and continues to provide a fine example of how to approach challenges with logic and a cool head. I also appreciate the valuable input provided by my committee for this treatise. Additionally, I have known Dr. Mathes and Dr. Ryan for over fifteen years, and happily recognize their individual roles in shaping my undergraduate experience many years ago. The library faculty and staff of Florida State University are talented and accessible. Special thanks go to Avis Berry, Laura Gayle Green, Sara Nodine, and Devin Soper, each of whom helped me navigate different aspects of the research process. I wish to thank The Graduate School of Florida State University for awarding me a Dissertation Research Grant, and Allyson Royal for being a great friend in a pinch. Her logistical help towards the end of this project was a huge help as I completed my degree living out of town. My quest to deepen my understanding of Piazzolla and his Tango-Études was enhanced deeply by speaking to Dr. Tomás Cotik, Marco Granados, Stephanie Jutt, Dr. Jessica Quiñones, and Les Roettges. I would like to offer special thanks to Ms. Jutt for sharing her copy of the manuscript. I am pleased that my chapter on Philip Glass and his sonata is brightened with the cartoon by Martin Kozlowski. Not only does it serve to provide valuable social context, but it is downright fun, and Mr. Kozlowski was very agreeable in sharing his work. I am thankful that my request for archived radio interviews from WITF made its way to the Arts and Culture Desk and Cary Burkett. He was very kind to locate and send interviews that he hosted pertaining to the commission and premiere of Glass’ Sonata for Violin and Piano. I thank my father, Dr. Alfred W. Cochran, for his role of parent and mentor, and specifically for advising me on my writing over many years. I am thankful for my siblings— Dory Ann Cochran, Laura Beth Cochran, and Tyler A. Cochran—who value my endeavors and encourage me by achieving excellence in their own fields. Finally, I am indebted to my husband, Bernie Vaughn, for being stalwart, loving, and a great partner in both music and life.

iv TABLE OF CONTENTS

List of Tables ...... vi List of Examples ...... vii Abstract ...... viii

PREMISE ...... 1

1. TANGO-ÉTUDES POUR FLÛTE SEULE OU VIOLON SEULE BY ASTOR PIAZZOLLA ... 3

Introduction ...... 3 The études—a brief discussion of form ...... 4 The mystery of Tango-Études ...... 6 Interpreting Piazzolla’s accentuations, melodies, and feelings in Tango-Études ...... 8 Tango-Études as violin repertoire ...... 16

2. SONATA FOR VIOLIN AND PIANO BY PHILIP GLASS ...... 20

Introduction ...... 20 The commission and premiere ...... 20 Reactions to the piece ...... 24 The Bachmann/Klibonoff preparation ...... 26 Glass and violinists ...... 28 The sonata—a brief discussion of form ...... 29 Final words from Glass ...... 31

CONCLUSION ...... 33

APPENDICES ...... 35

A: COMMERCIAL RECORDINGS OF TANGO-ÉTUDES FOR SOLO VIOLIN ...... 35 B: COPYRIGHT PERMISSION LETTERS ...... 36

Bibliography ...... 44

Biographical Sketch ...... 52

v LIST OF TABLES

1 Formal Outline of Étude 1, Décidé ...... 5

2 Formal Outline of Étude 2, Anxieux et rubato ...... 5

3 Formal Outline of Étude 3, Molto marcato e energico ...... 6

4 Formal Outline of Étude 4, Lento-Meditativo ...... 6

5 Formal Outline of Étude 5 ...... 6

6 Formal Outline of Étude 6, Avec anxiété ...... 6

vi LIST OF EXAMPLES

1 A. Range of the flute, B. range of the violin, C. range of the bandoneon ...... 3

2 Étude 1, bars 34-35 ...... 9

3 A. Traditional milonga rhythm, B. 3-3-2 rhythm ...... 10

4 Étude 6, bars 1-2 ...... 10

5 Étude 3, bars 61-64 ...... 10

6 Étude 1, bars 1-4 ...... 11

7 Étude 1, bars 84-86 ...... 11

8 Étude 1, bars 67-71 ...... 11

9 Étude 1, bars 93-96 ...... 12

10 Étude 5, bars 1-2 ...... 12

11 Étude 5, bars 47-48 ...... 12

12 Étude 1, bars 35-38 ...... 13

13 Étude 3, bars 49-54 ...... 14

14 Étude 4, bars 1-4 ...... 14

15 Étude 2, bars 1-4 ...... 14

16 Étude 2, bars 90-91 ...... 18

17 Étude 5, bars 60-62 ...... 18

18 Étude 4, bars 44-45 ...... 18

19 Movement 1, bars 1-4 ...... 29

20 Movement 1, bars 25-28 ...... 30

21 Movement 3, bars 153-162 ...... 31

vii ABSTRACT

Tango-Études pour Flûte Seule ou Violon Seule by Astor Piazzolla and Sonata for Violin and Piano by Philip Glass are discussed. As examples of the musical genres nuevo tango and minimalism, respectively, they are presented as repertory options for violinists interested in undertaking a work from these classifications or for those interested in the music of Piazzolla or Glass. As pieces that were written in the late twentieth century and early twenty-first century, their short histories are explored and contextualized by considering why they were written, and how they typify the composers’ oeuvres. Tango-Études and Sonata for Violin and Piano have been recorded and released on commercial albums and have commanded international attention since their creation, yet they currently remain on the periphery of the mainstream repertoire for violin. Even so, their value as performing repertoire, in general, and as representations of the relatively small body of solo violin music by Piazzolla and Glass, specifically, proves great and makes them worthy of study and performance.

viii PREMISE

Composers Astor Piazzolla (1921-1992) and Philip Glass (b. 1937) represent and define two totally different musical genres—nuevo tango (new tango) and minimalism, respectively. Both men underwent rigorous classical training—including instruction with one of the most influential pedagogues of the twentieth century, Nadia Boulanger—and their compositional styles can be seen as part of the larger, general trend away from modernism after the Depression and World War II.1 Piazzolla revolutionized tango, and Glass changed the musical landscape of American music.2 Piazzolla fused his classical education with the tango tradition of his home, Buenos Aires, and the sounds of jazz he heard in New York, as a boy, to create multi-idiomatic tangos showcasing adventurous harmony and instrumentation combinations. Glass paired the technical and stylistic foundation he gained from Boulanger and the influential collaborations with sitar player and composer Ravi Shankar and ultimately developed his own style of rhythmic, melodic, and harmonic repetition in his late twenties. Both composers are known and celebrated internationally. Philip Glass is, in fact, often considered one of the most prominent living composers of our day with demonstratives attached to him such as “America’s most famous contemporary composer,” and “arguably the most successful, most widely performed and most imitated of living classical composers.”3 From a violinist’s perspective, the music of Piazzolla and Glass is relevant, fascinating, and demanding, straddling the thresholds of our established repertory. It is significant that both composers are associated with powerhouse violinists—Piazzolla with Antonio Agri and

1 Donald Jay Grout and Claude V. Palisca, A History of Western Music, 8th ed. (New York: Norton, 2010), 811-876.

2 Dick Strawser, “A World Premiere in Harrisburg: Philip Glass’s New Violin Sonata,” Dr. Dick’s Market Square Concerts Blog (blog), February 23, 2009, http://marketsquareconcerts.blogspot.com/2009/02/world- premiere-in-harrisburg-philip.html.premiere-in-harrisburg-philip.html.

3 Anastasia Tsioulcas, “Raising a Glass to America’s Most Famous Contemporary Composer,” npr.org, January 31, 2012, http://www.npr.org/sections/deceptivecadence/2012/01/27/145994321/raising-a-glass-to- americas-most-famous-contemporary-composer; John von Rhein, “Philip Glass: Pushing 80 and Still Pushing Buttons,” Chicago Tribune, February 16, 2016, http://www.chicagotribune.com/entertainment/music/vonrhein/ct- classical-glass-ent-0217-20160216-column.html.

1 Fernando Suárez Paz, Glass with the Kronos Quartet, Robert McDuffie, and Tim Fain, just to name a few. Working with, and writing for, excellent violinists has undoubtedly influenced their rich output of violin solo and ensemble writing—works such as Piazzolla’s “Adiós Nonino,” “Libertango,” and “Oblivion,” and Glass’ string quartets, operas, and film scores. As a violinist, there are two pieces—Piazzolla’s Tango-Études pour Flûte Seule ou Violon Seule and Glass’ Sonata for Violin and Piano—that are of specific interest to me. As pieces that were written in the late twentieth century and early twenty-first century, their short histories are explored and contextualized in this case study by considering why they were written, and how they typify the composers’ oeuvres. Music blogger Dick Strawser wrote on the nature of music premieres, “. . .No one knows where this work will be in the composer’s development and no one knows where it will stand a decade or more from now. For all the works a composer writes during his or her lifetime, there are some pieces that will succeed and others that will not. . .”4 Though these works are not brand new, they are not (yet) fixtures of the violin repertoire.5 Their value as performance repertoire, in general, and as representations of the relatively small body of solo violin music by Piazzolla and Glass, specifically, proves great and makes them worthy of study and performance.

4 Strawser, “A World Premiere in Harrisburg.”

5 Stephanie Jutt, interview by Jenny Lee Vaughn, March 17, 2016. Many flutists consider Tango-Études firmly part of their repertory. Stephanie Jutt commented, “Everybody plays them.” The études appear on many graded syllabi for flute, and can be heard in the studios of flute performers and pedagogues, alike.

2 CHAPTER 1

TANGO-ÉTUDES POUR FLÛTE SEULE OU VIOLON SEULE BY ASTOR PIAZZOLLA

Introduction

It is no wonder that flutists and violinists sometimes share and exchange repertoire with one another. The ranges of the instruments are similar and both have broad melodic and virtuosic scope in symphonic and solo literature (ex. 1 includes the range of Piazzolla’s bandoneon, for comparison). Violinists, for example, often program the lyrical and longing flute solo “Mélodie” from Gluck’s opera Orfeo ed Euridice, whereas flutists often undertake staples of the violin repertoire such as Violin Sonata in A Major by Franck and the Beethoven romances.˙b

And then there is repertoire to which both instruments lay equal claim;& Prokofiev, with the ˙ counsel of violinist David Oistrakh, transcribed his Flute Sonata in D, Op. 94 for violin in 1944, the year after writing it for flute. This practice of occasional repertoire exchange was well ˙b “” established when Piazzolla wrote Tango-Études pour Flûte Seule ou Violon Seule in 1987. ˙ & ˙ & ˙ A. B. C. “” ˙b ˙ ˙ ? & & & ˙ ˙ ˙ Example 1 – A. Range of the flute, B. range of the violin, C. range of the bandoneon6 “” ˙ ˙ ? I became aware of Piazzolla’s music gradually as a byproduct& of my mother’s interest, & ˙ but ˙it was in 2007 that I discovered Tango-Études. Mary Lee Cochran was the flute professor at Kansas State University, and she invited me to join her on one of her regular faculty recitals. We ˙ ů built a program of chamber music by J.S. Bach, Martin , and Charles Koechlin. She was also ? & ˙

6 Dave Black and Tom Gerou, Essential Dictionary of Orchestration: Ranges, General Characteristics, Technical Considerations, Scoring Tips: The Most Practical and Comprehensive Resource for Composers, Arrangers & Orchestrators (Los Angeles: Alfred Pub. Co.,1998) 93, 36.; Kacey Link and Kristin Wendland, Tracing Tangueros: Argentine Tango Instrumental Music (New York, NY: Oxford University Press, 2016), 26.

3 eager to perform the first Tango-Étude, “Décidé,” but instead of playing it alone, as she intended originally, she asked me to play with her. Our experimentation in rehearsals resulted in a fun performance of melody hand-off, unison playing, and our stab at some extended techniques we observed in recordings of Piazzolla’s tango bands.

The études—a brief discussion of form

In his liner notes from the first commercial release of the études by flutist Stephanie Jutt, music critic Richard Dyer describes the formal structure of the work as follows: “The form is that of the baroque suite, or partita, and the model was the solo violin and cello suites of Bach. The difference is that while the Bach suites are collections of music in different dance forms — Sarabande, Bourée, Minuet, etc. — Piazzolla’s etudes are expolorations of the chameleon personality of one dance, the tango.” Music reviewer Joseph Stevenson refutes the notion: “For no very good reason other than the solo instrumentation, these works are often likened to Bach’s partitas and sonatas for solo violin.”7 Still, Piazzolla’s study of Bach, and the resulting influence, is certain. Gunther Schuller, the jazz and classical hornist, composer, and former president of New England Conservatory, produced Jutt’s release of the piece on his record label, GM Recordings. Piazzolla wrote Schuller a note about the études, an excerpt of which is reproduced in Dyer’s liner notes, indicating, “I’m sure -– Thank God — I have a strong influence of J.S. Bach . . .”8 Early tangos tended to be organized in three parts—such as an A section, B section, and trio—with contrasting sections in relative or parallel keys. Tango of the 1940s and 1950s, however, evolved to binary or da capo ternary form.9 Piazzolla’s development of form is a key element of his nuevo tango. He wrote large, contrasting sections made of “continuous variations

7 Joseph Stevenson, “Astor Piazzolla - Études tanguistiques (6), for flute solo (‘Tango-Études’)” AllMusic, http://www.allmusic.com/composition/%C3tudes-tanguistiques-6-for-flute-solo-tango-%C3tudes-mc0002403740.

8 Stephanie Jutt. Stephanie Jutt, Flutist. Newton Centre, Mass.: GM Recordings, 1990, compact disc, Liner notes. Jessica Quiñones spoke to Schuller who indicated that the original correspondence referenced in the liner notes had gone missing. Schuller died in 2015.

9 Link and Wendland, Tracing Tangueros, 35.

4 on repeated progressions and bass lines” typical of jazz. He introduced imitative counterpoint and fugue, and expanded both phrase and formal structure.10 A majority of the études outline an ABA framework, and Piazzolla uses clear, contrasting sections in all but Étude No. 5. Yet the A1 sections are often abbreviated, lengthy rhythmic and/or melodic transitions are utilized, and his harmonic development is adventurous and often unexpected.

Table 1 – Formal Outline of Étude 1, Décidé Formal Design A Transition B Transition A1 Transition Coda Measures 1-26 27-34 35-66 67-73 74-81 82-92 93-102 Tonal/Motivic A repetitive F vi (F A Synopsis minor: minor motive minor): minor 1st in 1st motive nonfunctional motive harmony: 2nd motive

Table 2 – Formal Outline of Étude 2, Anxiuex et rubato Formal Design A Transition B A Coda (2nd ending (Tristement) + Meno mosso) Measures 1-19 20-52 53-70 71-89 90-91 Tonal/Motivic C major – Starts vii (B minor) C Major C Major Synopsis neighbor leading to B - 2 bar (ends on (Exercise in tone section motive third) C – B – C) motive motivically

10 Ibid., 240.

5 Table 3 – Formal Outline of Étude 3, Molto marcato e energico Formal Design A B C A Measures 1-31 32-48 49-60 61-92 Tonal Synopsis A minor III (C major) A minor A minor

Table 4 – Formal Outline of Étude 4, Lento-Meditativo Formal A B A1 Design Measures 1-21 22-37 38-50 Tonal E minor E minor, E minor – ii Synopsis cadencing (F# minor) on III (G major)

Table 5 – Formal Outline of Étude 5 Formal Design Non-sectional with motivic variation Measures 1-62 Tonal Synopsis A minor

Table 6 – Formal Outline of Étude 6, Avec anxiété Formal Design A B A1 Measures 1-69 70-85 86-99 Tonal Synopsis E minor E minor E minor

The mystery of Tango-Études

Though written less than thirty years ago from the time of this publication, the exact circumstances surrounding the conception and composition of Tango-Études, and much of its early history, are unknown, masked in lore, hearsay, and lost documentation. The pieces are not addressed in published scholarship on Piazzolla (with the exception of an embargoed Ph.D. treatise and a short journal profile), and do not appear to have any connection to Piazzolla’s

6 flutist Arturo Schneider.11 There is, however, supporting evidence that can shape plausible theories pertaining to the piece’s early life. Piazzolla’s note to Schuller is one of the few pieces of evidence that hint at his motivations for composing Tango-Études. Piazzolla wrote, “I composed these Tango Studies as a kind of dictionary of New Tango accentuations, melodies, feelings, all related to New Tango.”12 Likewise, flutist and Piazzolla flute music specialist Jessica Quiñones interviewed Argentinian conductor and Piazzolla authority Marcelo Costas in 2010. Quiñones detailed Costas’ remarks on the études in a British Flute Society PAN publication: “He recalled that he once heard Piazzolla refer to them in an Argentinean television interview, where the composer said he was writing the pieces so that he could ‘carry on his legacy of tango to other instruments.’ Costas suggests that Piazzolla knew his health was failing, so he chose the flute as one of the instruments to feature his music, believing it to be a popular instrument played worldwide.”13 Another theory that has circulated is that an unnamed Belgian flutist, or conservatory, commissioned the piece. I found mention of this in a set of liner notes, in a video clip of Argentinian flutist Claudio Barile, and in conversation with flutists, but was ultimately unable to corroborate the claim.14 Histoire du Tango was published in 1986 and was written for Belgian flutist Marc Grauwels and Belgian guitarist Guy Lukowsky, which may have lead to confusion about Tango-Études. A facsimile of the copied manuscript provided to Jutt for her 1990 album reveals that a combination of Italian and Spanish was used originally. The outside cover, which is typed, reads: Seis Estudios Tanguisticos para Flauta. All of the internal material (words and notation) was pristinely transferred from Piazzolla’s manuscript by his cellist and copyist, José Bragato. The handwritten title above the first étude appears:

11 Jessica Quiñones, “Constructing the Authentic: Approaching the ‘6 Tango-Etudes pour flûte seule’ by Astor Piazzolla [1921-1992] for Interpretation and Performance” (PhD thesis, University of Huddersfield, 2013); Jessica Quiñones, “The Lost (and Newly Found) History of Piazzolla’s Six Tango-Etudes for Solo Flute,” PAN 34, no. 2 (2015): 24-27.

12 Quiñones, “The Lost (and Newly Found) History,” 26; Jutt, Stephanie. Stephanie Jutt, Flutist.

13 Ibid., 25.

14 “Piazzolla on Flute – Claudio Barile,” Piazzolla on Video (blog), 4:52, posted by “Don,” April 11, 2010, http://piazzollavideo.blogspot.com/2010/04/piazzolla-on-flute-claudio-barile.html; Tomas Cotik. Solo. http://www.naxosmusiclibrary.com, 2014, Liner notes.

7 “6 ETUDES TANGUISTIQUES” (6 Estudios Tanguisticos) para Flauta Sola.

The movement titles are written in a mixture of Italian and Spanish, as are the tempo and musical markings. The entire Editions Henry Lemoine publication is in French. Besides Tanguistiques, the only French word used in the manuscript is Tristemente, a word shared by both the French and Spanish languages. 15

Interpreting Piazzolla’s accentuations, melodies, and feelings in Tango-Études

When asked what sets Tango-Études apart from Piazzolla’s other scores, Quiñones replied, The detailed-ness of his writing here is highly different than his other works. Even if you look at Le Grand Tango for cello, there is not the same type of details or depth in the writing. . . Four for Tango [is] another great example. There are similarities in the writing and, of course, there is a gold thread that always runs through his writing with the visual information. (Not just his, but of all of tango as well.) But I think these [etudes] are highly, highly detailed and very rich. It's like digging for gold.

Indeed, nearly every bar has multiple articulation markings. Piazzolla uses regularly accents and staccatos (sometimes in combination), tenuto marks and slurs. There are many breath marks, especially in No. 1 and No. 4. One also sees fermatas and caesuras, sometimes in combination. Then there is a symbol that is reminiscent of a check mark that appears rather inconsistently in the first two études—sometimes between formal sections, sometimes between phrases, and often not at all (ex. 2). And though they appear to be indicative of division, it is unclear what kind of performance practice, if any, was intended by including them in the score. Interestingly, the check mark symbol appears to represent more of a V or string up-bow symbol in the copied manuscript and other Editions Henry Lemoine parts.16

15 Astor Piazzolla. Seis Estudios Tanguisticos para Flauta. Facsimile of the copied manuscript. From personal library of Stephanie Jutt.

16 Ibid.; Astor Piazzolla, Tango-Études: pour Flute Seule (ou Violon) (Paris: Editions H. Lemoine, 1987); Astor Piazzolla, Tango-Études: pour 2 Flûtes, transcribed for 2 flutes by Exequiel Mantega, revised by Paulina Fain (Paris, France: Éditions H. Lemoine, 2014); Astor Piazzolla, Tango-Études, ou, "Etudes Tanguistiques:" pour Flûte et Piano, reviewed and annotated by Yann Ollivo (Paris: Editions H. Lemoine, 2006); Astor Piazzolla, Tango- Études, ou, "Etudes Tanguistiques:" pour Saxophone Alto et Piano (ou Clarinette et Piano), reviewed and annotated by Yann Ollivo (Paris: Editions H. Lemoine, 2003).

Tango Etudes by Astor Piazzolla © Editions Henry Lemoine, Paris – France Example 2 – Étude 1, bars 34-35

Flutist and conductor Pierre-André Valade served as editor for the first Editions Henry Lemoine publication. He spoke with Quiñones in a 2012 interview and indicated that Piazzolla was not apt to make corrections to the editorial drafts. Valade verified that he aimed to represent the musical markings and indications just as was notated on Piazzolla’s manuscript from which he worked. Meanwhile, Piazzolla was not very concerned with the publishing process. Valade recalled, “It is very rare that you send a copy of the score to [a] composer and it is returned untouched with a note, ‘this is absolutely fine.’”17

Accentuations International flutist and Latin American music expert Marco Granados spoke to the specific skill-set needed to successfully interpret Piazzolla’s music, “Very true of tango music is that the phrasing should be thought of as rhythmic rather than melodic. All one has to do is listen to Piazzolla to hear his unique sense of rubato—more than any other artist—and that sense of rubato is highlighted with rhythmic phrasing.”18 With the nearly eight hundred accents that span the ten pages of music that make up Tango-Études, Piazzolla offers ample invitation for rhythmic phrasing and demonstrates his rhythm-dominant style of composition.19 Especially prevalent is the fundamental tango rhythm 3-3-2 that developed from the music, dance, and poetic form of the Argentine milonga and Cuban habanera by way of a syncopated bass line used in the milonga campera (country milonga) (ex. 3).20 The 3-3-2 pattern began surfacing in both tango melody and accompaniment

17 Quiñones, “The Lost (and Newly Found) History,” 26.

18 Marco Granados, interview by Jenny Lee Vaughn, March 15, 2016.

19 Link and Wendland, Tracing Tangueros, 235.

20 Ibid., 7. The milonga campera is a slow, minor-keyed tango with a descending melodic line that is associated with the Argentine Pampas.

9 ˙b & ˙

˙b “” ˙ & in the 1920s and was present˙ in Klezmer music & to which Piazzolla was exposed at Jewish ˙ weddings.21 Piazzolla developed his own signature 3-3-2 meta-rhythm that was fast and “” ˙b ˙ ˙ 22 accented; he used the pattern in his melodic ? and accompanimental writing. & & & ˙ ˙ ˙

“” ˙ A. ˙ B. ? & & ˙ ˙

? & Example˙ 3 – A. Traditional milonga rhythm, B. 3-3-2 rhythm

Étude No. 6 exhibits the 3-3-2 grouping prominently in its opening bars and throughout its A sections (ex. 4). The delineation of eighth notes that constitute the 3-3-2 is clearly defined by Piazzolla’s placement of accents. Example 4 shows two consecutive 3-3-2 patterns.

Tango Etudes by Astor Piazzolla © Editions Henry Lemoine, Paris – France Example 4 – Étude 6, bars 1-2

Étude No. 3 also showcases the 3-3-2 pattern, but pairs it with a 4-4 rhythmic grouping to form a two bar rhythmic ostinato of 3-3-2 + 4-4 (ex. 5). Piazzolla’s accent placement once again informs how the ostinatos are constructed.

Tango Etudes by Astor Piazzolla © Editions Henry Lemoine, Paris – France Example 5 – Étude 3, bars 61-64

21 Ibid., 48; Natalio Gorin, Astor Piazzolla: A Memoir, translated, annotated, and expanded by Fernando Gonzalez (Portland, Ore: Amadeus Press, 2001), 30.

22 Link and Wendland, Tracing Tangueros, 31.

10 Étude No. 1 features a two bar riff of 3-3-3 + 3-2-2 (ex. 6).23 The frequent breath marks that separate the longer note values result in a perceived shortened time value that serves to further accentuate the syncopation.

Tango Etudes by Astor Piazzolla © Editions Henry Lemoine, Paris – France Example 6 – Étude 1, bars 1-4

Though not the defining rhythmic motive of Étude No. 1, the 3-3-2 pattern does appear in the transition to the coda (ex. 7).

Tango Etudes by Astor Piazzolla © Editions Henry Lemoine, Paris – France Example 7 – Étude 1, bars 84-86

It is prefaced, however, with a 3-3-2 mirror image configuration of 2-3-3 in the transition out of the B section (ex. 8).

Tango Etudes by Astor Piazzolla © Editions Henry Lemoine, Paris – France Example 8 – Étude 1, bars 67-71

The coda, then, is an exercise in grouping sets of 3s that produce a syncopated effect. The descending motion that sets off each new repetition of 3 accentuates the following beats over the span of two bars: the & of 1, beat 3, the & of 4, beat 2, and the & of beat 3 (ex. 9).

23 Jessica Quiñones, interview by Jenny Lee Vaughn, March 10, 2016. Riff is usually used to describe short, repeated phrases in popular and jazz music. Quiñones used the word to describe the 3-3-3 + 3-2-2 ostinato of Étude No. 1.

Tango Etudes by Astor Piazzolla © Editions Henry Lemoine, Paris – France Example 9 – Étude 1, bars 93-96

Étude No. 5 exhibits the 3-3-2 pattern, but with a 3-2-3 prefix. The resulting two-bar ostinato is 3-2-3 + 3-3-2 (ex. 10).

Tango Etudes by Astor Piazzolla © Editions Henry Lemoine, Paris – France Example 10 – Étude 5, bars 1-2

Sometimes the 3-3-2 staple is abandoned, such as in the 3-2-3 + 4-4 two-bar grouping (ex. 11).

Tango Etudes by Astor Piazzolla © Editions Henry Lemoine, Paris – France Example 11 – Étude 5, bars 47-48

Just as Piazzolla took the existing 3-3-2 accompanimental pattern and repurposed it in his melodies, he did the same with yet another accompanimental pattern—marcato. Similar to, but not to be confused with, the articulation of the same name, marcato is a tango accompanimental style that marks beats with short, angular accents. The most basic manifestation, marcato in 4, marks every beat in common time. Variations include marcato in 2, which emphasizes beats 1 and 3 over 2 and 4, pesante marcato, which is used in “soft and calm passages” and is articulated with a tenuto, and coral marcato (choral), which describes emphasizing a progression of half- note chords.24 Marcato, along with another accompanimental rhythm category of various

24 Link and Wendland, Tracing Tangueros, 94-95.

12 syncopated patterns called síncopa, virtually replaced the milonga rhythm and came to define the sound of tango in the early twentieth century.25 Piazzolla rarely incorporated traditional síncopa in his compositions, but his use of marcato in both melody and accompaniment is another hallmark of his writing (Link and Wendland 2016, 235). In Étude No. 1, the B section, actually marked Marcato, exhibits Piazzolla’s own melodic take on the rhythmic pattern, effectively changing the motivic and textural fabric from what came before (ex. 12). Despite the time signature changes and the metrical displacement in the 5/4 bars, one feels the drive due to the heavy marking of beats 1, 3, and 4.

Tango Etudes by Astor Piazzolla © Editions Henry Lemoine, Paris – France Example 12 – Étude 1, bars 35-38

Melodies Piazzolla’s melodies fall into tango’s two most basic contrasting melodic styles—rítmico (rhythmic) and cantando (singing). True of the examples seen in the previous section, rítmico tango is fundamentally motivic by way of “two- and three-note groups sharply articulated by accents, staccatos, and neighbor tone ornaments” (Link and Wendland 2016, 32). Piazzolla uses rhythm to define his melodies to such a degree in this style of tango that scale and line become almost secondary. These melodies often include “jazz-like short syncopated motives and rapid scalar fills” (Link and Wendland 2016, 237). Conversely, cantando tango offers a “smooth, flowing, and lyrical melodic style” (Link and Wendland 2016, 32). And, as is typical, Piazzolla often uses the cantando style as a contrasting section within a larger rítmico tango, as is the case in the C section of Étude No. 3, marked “Meno mosso e più cantabile” (ex. 13). This melody showcases Piazzolla’s approach to spinning a lyrical, sustained line.

25 Ibid., 28-29. There are helpful illustrations of traditional marcato and síncopa accompanimental rhythms on page 29.

Tango Etudes by Astor Piazzolla © Editions Henry Lemoine, Paris – France Example 13 – Étude 3, bars 49-54

Études No. 2 and 4 are generally slow and expressive, and showcase the manifestation of Piazzolla’s adornos (ornaments) in cantando tango (exs. 14-15).

Tango Etudes by Astor Piazzolla © Editions Henry Lemoine, Paris – France Example 14 – Étude 4, bars 1-4

Étude No. 2, in particular, illustrates the way Piazzolla developed his use of adornos to structurally connect slow-moving melody notes (ex. 15).

Tango Etudes by Astor Piazzolla © Editions Henry Lemoine, Paris – France Example 15 – Étude 2, bars 1-4

Feelings The history of the genre, and the lyrics that accompany traditional tango, are steeped with connotations of sexuality, anger, sadness, regret, desolation, and nostalgia. Piazzolla references ‘meditativo’ (meditatively), ‘con ansiedad’/‘ansioso’ (anxiously/anxious), ‘tristemente’ (sadly), and ‘deciso’ (decidedly) in the manuscript. In addition, Piazzolla wrote a note encouraging the

14 performer to go beyond the introverted realm of feelings to that of a specific behavior or behaviors. The following subscript, signed “A.P.,” appears under the handwritten title in the copy of the manuscript. “Estos estudios tanguisticos dependen de la gracia del solista, sobre todo exagerando los acentos y respiraciones que debieran parecerse a la manera de tocar los tangos en el bandoneon.”26 (“These tango studies depend upon the grace of the soloist, who should exaggerate the accents and the breathing in order to imitate the way in which tangos are played on the bandoneon.”)27 Piazzolla’s own bandoneon playing was bold and improvisatory.28 Regarding the concept of grace in performance, Quiñones shared, For me, I would say that it's the theme, the thread that runs through the research that I offer for Piazzolla. The performer is very much ‘the creative’ - it's the creative responsibility for the performer to be as musically spontaneous in the style that Piazzolla would be in his own playing. I think it's really important. I think if you read these [études] as is, it can still sound very beautiful in tango, because Piazzolla wrote them quite detailed. But I think that that's almost missing the point of what can be done with them. I think that they're a learning method for further tango work, and I think that that grace, ‘la gracia del solista,’ is part of something—a wider ethos of Piazzolla's composer-performer relation. People miss the point when they're trying to find the correct way to play these or trying to tell people how to play them. I think it misses the point. I think that's not the point. The point is, how can it open up wider possibilities for performance.29

Similarly, when asked about the specific lessons Piazzolla was trying to convey in his “dictionary” of Nuevo Tango, Quiñones responded, “We can only speculate what Piazzolla was trying to achieve in these Etudes, because that's all we have, is speculation, at least that's all I found. But I think that Piazzolla was trying to get across the very many different ways that a melodic line could be ornamented, the very different ways a tango rhythmic line could be ornamented, as well as being able to mix and match certain ornaments within those styles based on Piazzolla's own performances and his notational style, and the wider tango performance

26 Piazzolla, Seis Estudios Tanguisticos, manuscript.

27 Quiñones, “The Lost (and Newly Found) History,” 26; Tomas Cotik. Solo. http://www.naxosmusiclibrary.com, 2014, Liner notes. I based my translation on both sources.

28 "Bandoneon." Grove Music Online. Oxford Music Online. Oxford University Press, accessed March 20, 2015, http://www.oxfordmusiconline.com.proxy.lib.fsu.edu/subscriber/article/grove/music/47694. A bandoneon is a square-built button accordion or concertina that has been used as a solo virtuoso instrument in the tango orchestras of Argentina, Uruguay and Brazil since about 1900. Piazzolla is probably the most famous bandoneonist.

29 Jessica Quiñones, interview by Jenny Lee Vaughn, March 10, 2016.

15 practice as a whole.”30 When Stephanie Jutt undertook recording Tango-Études for her 1990 album, Stephanie Jutt, Flutist, she was new to tango, but she was offered the opportunity to meet with Piazzolla in New York to play for him. She recollected that Piazzolla was friendly, polite, ingratiating, and above all encouraging. He invited her to explore the études and what she might like to say through them. She shared, “He had a very open mind and creative view of how these pieces were to be played,” and “within the pulse there was an infinite variety with what you could do, and he was really encouraging me to explore that variety within the pulse.”31 Quiñones was asked how a musician might negotiate today’s recording and performing standards (and the corresponding ideals of accuracy and perfection) with the desire to present Piazzolla’s music in an unconstrained, imaginative way. She responded, “I think the expectations have to change about what makes a good musician. Because if you think what makes a good musician is reading exactly what's on the score as perfectly as possible, I think that that misses the spirit of tango.”32 In his note to Schuller, Piazzolla turned from speaking of his classical influences to what he deemed most significant. “I’m sure – Thank God – I have a strong influence of J.S. Bach, but I’m also sure that the most important for a creator-composer is the word style; and I always try not to lose my feeling of Tango in all of my music.”

Tango-Études as violin repertoire

Another sentence from Piazzolla’s note to Schuller reads, “I wrote these pieces. . .for flute or violin and also for alto sax and piano.” Piazzolla collaborated with French saxophonist Claude Delangle in 1988 to create a version for solo alto saxophone that was published the following year. Editions Henry Lemoine printed a note explaining the genesis of the piano accompaniment in their alto saxophone and piano edition. Some time in 1988, after he had returned the manuscript of the Tango-Études. . .we asked

30 Ibid.

31 Stephanie Jutt, interview by Jenny Lee Vaughn, March 17, 2016.

32 Jessica Quiñones interview.

16 Astor Piazzolla if he could not harmonize them, echoing the requests of flautists after the original edition had been published for their instrument in 1987. In February 1989, the composer wrote to us from Punta del Buenos Aires: ‘Dear friend, finished the piano part of the Etudes tanguistiques for saxo alto and piano… Good luck to Mr Delangle and please tell him to forgive my music handwriting. I was in a hurry and could not do it better… Please let me know if you received the music.’33

The music did arrive in short order, but the project was put on hold for several years due to the nature of the manuscript. It was not easy to navigate for several reasons. The notes’ position on the staff was not always decipherable. And whereas the piano accompaniment for all six études was in Piazzolla’s hand, the saxophone line, affixed atop the accompaniment, was in a copyist’s handwriting (presumably Bragato’s) for all but the first étude. Piazzolla had written the saxophone line for étude No. 1 at concert pitch, a sixth below the version for solo alto saxophone. The copyist followed suit and copied No. 2-6 at concert pitch, but a number of transposing errors resulted. And then there were a number of systemic ambiguities involving seemingly missing key signatures, both absent and redundant accidentals, and harmony that appeared to contradict the melody line. Pianist and arranger Yann Ollivo undertook the challenge of reviewing and annotating the score, and it was eventually released with the alto saxophone part in 2003. In a preface of that edition, Ollivo detailed many contradictions and disclosed the following, “Le manuscrit des ‘6 études tanguistiques’ dans la version harmonisée par Astor Piazzolla présente plusieurs difficultés au lecteur. . .en rendant l’interprétation forcément quelque peu arbitraire” (“The manuscript of Astor Piazzolla’s harmonization of ‘6 études tanguistiques’ is difficult to read for several reasons. . .making the interpretation, necessarily, somewhat arbitrary”).34 The alto saxophone and piano version was transposed for flute and piano and released in 2006. And while the title in this version does not include the word violin, violinists can use the score as easily as the shared solo version for flute or violin solo.35 And, significantly, Piazzolla’s note to Schuller (“I wrote these pieces. . .for flute or violin. . .”) suggests that even if he did not conceive the pieces with violin in mind, he soon endorsed the idea. When I asked Marco

33 Piazzolla, Tango-Étude pour Saxophone Alto et Piano.

34 Ibid.

35 Piazzolla, Tango-Études: pour 2 Flûtes. Paulina Fain’s review of the publication and notes on suggested performance practice and applicable extended techniques for flute can enrich a violinist’s interpretation.

17 Granados whether, in his opinion, violinists offer something special to the interpretation and performance of the repertoire, or rather miss the mark, he replied, “The violin actually brings something to the études more in line with the aesthetics of tango playing because the violin has a longer history with the genre.”36 Violinist Rachel Barton Pine recorded her own arrangement of Étude No. 3 for her 2011 album, Capricho Latino. She references Tango-Études in her liner notes, “. . .those pieces are clearly defined by the flute, having a smaller range, slurring and figurations idiomatic for a wind instrument, and no double-stops or chords.”37 Indeed, the études present unusually awkward left hand fingering and string crossing challenges for violinists. Piazzolla’s use of extended ornamentation under slurs and disjunct melodic writing can result in unwanted bumps and halts as the violinist crosses strings and shifts with the left hand (exs. 16-18).

Tango Etudes by Astor Piazzolla © Editions Henry Lemoine, Paris – France Example 16 – Étude 2, bars 90-91

Tango Etudes by Astor Piazzolla © Editions Henry Lemoine, Paris – France Example 17 – Étude 5, bars 60-62

Tango Etudes by Astor Piazzolla © Editions Henry Lemoine, Paris – France Example 18 – Étude 4, bars 44-45

36 Marco Granados, interview by Jenny Lee Vaughn, March 15, 2016.

37 Rachel Barton Pine and Hector Elizondo. Capricho Latino. Chicago, Ill.: Cedille Records, 2011, compact disc, Liner notes.

18 Argentinian violinist Tomás Cotik embraces the task of navigating the demands of the etudes. He observed that, “the technique was a nice challenge, and the fact that they are quite awkward to play. I found that interesting, and it challenged me.” He emphasized the value of the compositions, and classified them as an exploratory composition for Piazzolla. “While there is so much violin literature altogether, there is not much solo violin music from this time. It’s refreshing to find solo violin literature that is so very interesting and unique.”38 Since 1997 the études have been featured (singularly or in groups) in their version for solo violin on twelve commercially released recordings (app. A). They have been released as a complete set twice—first in 2001 by a champion of Piazzolla’s music, Gidon Kremer, and again in 2014 by Tomás Cotik.39 Other violinists are using the pieces as encore repertoire, or releasing them in professional music videos.40 Whether one perceives Tango-Études as a study piece or true concert repertoire, it is a rich addition to other Piazzolla works violinists play such as Oblivion, Histoire du Tango, Four for Tango (written for the Kronos Quartet), Escualo, (written for Suárez Paz), and the vast repertory he wrote for his ensembles.

38 Tomás Cotik, interview by Jenny Lee Vaughn, March 13, 2016.

39 Gidon Kremer, Ula Ulijona, Marta Sudraba, Sol Gabetta, Leonid Desyatnikov, Horacio Ferrer, and Kremerata Baltica (musical group). Tracing Astor: Gidon Kremer Plays Astor Piazzolla. New York, N.Y.: Nonesuch, 2001, compact disc; Tomas Cotik. Solo. http://www.naxosmusiclibrary.com, 2014, Liner notes. Kremer’s release indicates that he arranged the études. He experiments with range, double stops, and extended techniques, especially in the last three études. Tango-Études has also been recorded for violin and piano, and other chamber settings, but that is beyond the scope of this discussion.

40 “Piazzolla | Tango-Étude for violin | Karen Gomyo,” YouTube video, music video, 4:04, posted by Louisiana Music Videos, November 20, 2012, https://www.youtube.com/watch?v=cN7niGEg8fg.

19 CHAPTER 2

SONATA FOR VIOLIN AND PIANO BY PHILIP GLASS

Introduction

I first became fascinated with Glass’ music due to his scores for the motion pictures Koyaanisqatsi and The Hours, from 1982 and 2002, respectively, and his ‘Trilogy’ Sonata for piano, arranged in 2000 by pianist Paul Barnes using material from his trilogy of portrait operas: Einstein on the Beach (1976), Satyagraha (1980), and Akhnaten (1983). But I had not investigated any of Glass’ works for violin until, when I returned to graduate school in 2012 and began investigating new violin literature, I saw that Glass had written a sonata for violin and piano just a handful of years earlier, in 2008. I ordered the sheet music and giddily undertook preparing the work with my friend and colleague, Krista Heslop. The piece proved a most accessible and highly satisfactory gateway to Philip Glass and his capacity for duality. Some may presume that minimalist music and emotivity are mutually exclusive; that is not the case in Glass’ sonata.

The commission and premiere

Sonata for Violin and Piano was commissioned in 2008 by retired architect and amateur violinist Martin Murray to honor his wife, Lucy, on her seventieth birthday. Lucy Miller Murray is a program annotator, concert presenter, and author of chamber music listening guides. She also wrote the liner notes to Bachmann and Klibonoff’s 2010 record, Glass Heart, that features Glass’ violin sonata. She is an amateur pianist, avid chamber music enthusiast, and founder of Market Square Concerts—an arts organization in Harrisburg, Pennsylvania, that brings in world- class chamber musicians that can usually only be heard in big-city venues. Glass wrote the piece for, and in collaboration with, violinist Maria Bachmann and pianist Jon Klibonoff.

20 After months of covert planning, Bachmann and Klibonoff arrived on Miller Murray’s doorstep the evening of her birthday party in September 2008.41 Miller Murray did not expect that they were there to fulfill a mysterious, musical surprise. In fact, no one knew; Martin Murray listed a vague evening agenda on the birthday invitation as the “presentation of the husband’s gift.” The presentation was the first movement of the sonata, as that was the only complete movement at the time.42 What follows in an excerpt of an interview with local radio station WITF’s Cary Burkett the day before the premiere. Lucy Miller Murray: I suspected that there might be some music because he asked that we have our piano tuned, so I thought, “Oh, won’t this be nice,” and then an hour before the party started Maria Bachmann showed up at my door, and then Jon Klibonoff and even at that I thought, “Well, it’s awfully nice that Martin has asked such wonderful musicians to play.”

Cary Burkett: But Martin had done more than ask the musicians to play. He had, in fact, commissioned a new work to be written in honor of Lucy’s birthday, a work composed by one of the outstanding composers of our time, Philip Glass.

LMM: Maria Bachmann and Jon Klibonoff played the first movement in our living room. I joked to the party members, “I was expecting perhaps a new set of mixing bowls,” but instead I got a new work by Philip Glass and it was certainly an extraordinary gift, and I am overwhelmed by it, truly.

Martin Murray: I spent more than a year on this project without her knowing anything about it.

CB: And why was it that you chose Philip Glass?

MM: Well, I didn’t really choose Philip Glass. I had the idea of choosing a composer who would be rather well-established, and the idea was to find a known quantity and then I would know exactly how I felt about that person’s music, and therefore, perhaps how Lucy felt about it.

CB: Martin got in touch with Meet the Composer, a non-profit organization dedicated to the purpose of facilitating the commissioning of new music.

41 Corinna da Fonseca-Wollheim, “Even Bach Needed Goldberg,” The Wall Street Journal, updated July 2, 2009, http://www.wsj.com/articles/SB124649012944782951.

42 Dick Strawser, “The Premiere of Philip Glass’s Violin Sonata,” Dr. Dick’s Market Square Concerts Blog (blog), March 2, 2009, http://marketsquareconcerts.blogspot.com/2009/03/premiere-of-philip-glasss-violin- sonata.html.

Figure 1 - Illustration by Martin Kozlowski for the Wall Street Journal

MM: I contacted Ed Harsh who is the CEO of Meet the Composer, and he immediately said “Well, we have to involve the people who will be performing the piece,” and so through Ed we began to talk to Maria Bachmann.

Maria Bachmann: I said of course I was thrilled to do it and I would love to be involved and start talking about composers and I said, “You know, I’ve just been recently getting to know Philip Glass, and I don’t know if he would be too busy, but maybe I can ask him.”

22 MM: Ed Harsh at Meet the Composer and I, both (and I think also Maria) felt that this was a long shot so we were very anxious that Maria talk to him, get him to say “no” so we could get on with the real act of choosing a composer.

MB: Well, I did ask Mr. Glass about it and he was actually very happy to do it and seemed that the timeframe that we were taking about—we had about a year to get it done—he was able to do it in the time. So we were just really, really thrilled that it could all come together.

CB: Martin Murray commissioned the work to feature violin and piano, as he says, “more or less equally.”

MM: And that was because I play the violin, Lucy plays the piano, and part of the idea of this gift was that I was saying to her that “I enjoy playing with you, and here’s a piece just for us.”

LMM: We hope this is not just a gift to me, but a gift to the community including WITF and Whitaker Center and Market Square Concerts and the whole artistic community.

Bachmann and Klibonoff gave the official world premiere of the sonata on 28 February 2009 at the Whitaker Center in Harrisburg as part of Miller Murray’s Market Square Concerts. It appears that Glass may have initially planned to call the work Duo No. 1 for Violin & Piano, as it was described in a promotional piece just days before the concert.43 Glass was concertizing in California and thus unable to attend the premier, but he did send prepared remarks that were read by Burkett: Among my earliest memories of enjoying music are the many hours spent listening to the great masterpieces of 19th century chamber music with my father, Benjamin Glass. He had a small record shop in downtown Baltimore and he regularly would bring home albums of 78 rpm’s, the staple for music lovers in those days. Among his favorites were the violin/piano sonatas of Brahms, Faure and the great masterpiece of Franck. I spent many, many hours with my father listening to these works.

When Maria Bachman approached me about a new work for her and Jon Klibonoff, these musical memories immediately came to mind. Of course, the great composers of the past have set an almost impossible standard for the present. However, it is fair to say that they continue to inspire today's and, hopefully, future generations. Also it is fair to say that, even as the language of music continues to grow with the times, many basic elements of structure, harmony and rhythm will have a somewhat familiar sound to today's audiences.

During the composition of the music you are about to hear, I met numerous times with Maria and Jon to hear them play through new movements and revisions as they were

43 Strawser, “A World Premiere in Harrisburg.”

23 completed. I want to thank Maria for the many suggestions regarding bowing, phrasing and other musical details that became part of the work. On his part, Jon, with his wealth of experience, provided the support and encouragement that make the work of a composer somewhat easier and most enjoyable.

Again I would like to thank Martin and Lucy Murray for commissioning this work, thereby making it possible for it to be composed. I understand that they themselves are amateur musicians who hope to play at least part of it themselves. I thought that the second movement might be a good place for them to start.

Finally, I want to thank the audience for being present at this premiere performance. Without devoted and committed listeners the music world would be a lonely place indeed.

I regret very much I can't be with you for this special evening. I am in California also performing and will have to catch up with this violin/piano sonata at a later date.

I hope you enjoy the music.

Regards,

Philip Glass44

Reactions to the piece

Classical music blogger Dick Strawser was in the Harrisburg audience the evening of the premiere. He relates on his Dr. Dick’s Market Square Concerts Blog, “It would be an understatement to say the audience at Whitaker Center did enjoy the music. I have rarely seen such a spontaneous standing ovation after a piece of ‘new music’ in this city. . .and the enthusiasm was definitely genuine.”45 He continues to write that the performance filled the hall, drawing audience members from New York and Philadelphia, and also a large and unusual contingency of youth and students. He describes that the community felt a sense of pride for being able to witness the premiere of a work that they adopted as their piece. Bachmann and Klibonoff gave the New York premiere of the work at Rockefeller University on 18 December 2009.

44 Maria Bachmann and Jon Klibonoff. Glass Heart. New York, NY: Orange Mountain Music, 2010, compact disc, Liner notes; Strawser, “The Premiere of Philip Glass’s Violin Sonata.”

45 Strawser, “The Premiere of Philip Glass’s Violin Sonata.”

24 Bachmann said of the work, “Philip is a romantic at heart, and I think he also feels that his music is romantic. I’ve heard him perform his own music, and I’ve actually played with him, and he does play his music in a very romantic, emotional way. And so, actually, the fact that it came together for him to write this piece I think is perfect because it’s not only a new piece by someone we consider to be a contemporary composer but also a very romantic and emotional piece and I find it very, very touching and emotionally rooted.”46 Strawser wrote, “his latest music sounds like there’s a more emotional drive in the style, perhaps a synthesis of the old ‘minimalism’ style with a more directly emotional Romanticism of traditional tonal music.”47 Music critic Corinna da Fonseca-Wollheim also commented on how the romantic nature of the sonata represented a different style of writing from Glass’ early works. She wrote, “Mr. Glass’s recent works—many for solo string instruments—are far removed from the electronically enhanced early pieces he wrote for his Philip Glass Ensemble. While they retain the hypnotic quality that comes from the cyclical arrangement of rhythmic and harmonic building blocks, works like ‘Songs and Poems for Solo Cello’ or the ‘Sonata for Violin and Piano’ are imbued with a lush sound and searching expressivity far removed from the mechanical pulse of his earlier works.”48 This contrast can be seen when comparing the sonata with one of his early pieces for amplified violin, Strung Out (1967). Strawser speculated that Glass’ age and long career may have created a desire to re-examine and self-assess. “Glass himself or at least his musical style is perhaps changing a bit, now that he has passed the 70- year-mark. From his earliest ‘reductive’ works of the mid-1960s. . .to his most recent works – the ‘Songs and Poems for Solo Cello’ premiered a year ago and now this new violin sonata – he may be looking at different ways to handle his own musical language.”49 Glass spoke to Da Fonseca-Wollheim regarding the disparate nature between his works for the Philip Glass Ensemble and smaller genres. “With the Ensemble music the issue was always about form and content. The thesis of the music was that the structure and the material were

46 Maria Bachmann, Lucy Miller Murray, and Martin Murray, interview by Cary Burkett, ArtBeat, WITF, February, 2009.

47 Strawser, “The Premiere of Philip Glass’s Violin Sonata.”

48 Corinna da Fonseca-Wollheim, “Where Music Meets Science,” The Wall Street Journal, updated November 24, 2009, http://www.wsj.com/articles/SB10001424052748704782304574542181512990994.

49 Strawser, “A World Premiere in Harrisburg.”

25 identical. . That’s it, end of story. When you get into chamber music, it’s a whole different thing. It’s a musical dialogue that happens between people.”50 Comparing his violin sonata to those by the nineteenth century masters, Glass says: “It probably could not have been written by someone who hadn’t heard the Brahms, the Franck and the Fauré. But does it sound like that? No, it doesn’t, but it stands on the shoulders of that.”51

The Bachmann/Klibonoff preparation

Dialogue and partnership was valued highly by Murray when contracting the commission, and he emphasized that violin and piano should have an equally prominent role. Burkett asked Klibonoff if Glass was successful in his aim to feature both instruments equally. He responded, Absolutely! I think it’s harmonically based (more than, let’s say, melodically based) and the piano has to provide a tremendous foundation for the harmonic behavior of the music and the colors [that] are so inviting to play. It seems so simple in its approach to the structure, and in that way it’s very transparent; and every note one plays in his music carries significance. It has to sound effortless and pure very much like Mozart or Bach, and that’s challenging, actually. It seems [upon] the first impression that this would not be that complicated, but Maria and I have been working on this piece and discussing that very same thing—the intent of every sound, every harmonic color. The architecture of the piece is something we very much have to be involved with (and) putting across. Every note is powerful and it’s been a real pleasure to work on the piece.52

As Murray envisioned playing the sonata together with his wife, he stipulated that he “wanted it to be a piece that would be playable by middle-level amateurs—whatever that is.”53 As Murray suggests, interpreting such a request requires a certain level of subjectivity, and the final composition proves technically demanding. Bachmann detailed some of the challenges of the third movement, in particular: “[It] is really quite difficult in the violin part, probably because

50 Da Fonseca-Wollheim, “Where Music Meets Science.”

51 Ibid.

52 Maria Bachmann and Jon Klibonoff, interview by Cary Burkett, Classical Air, WITF, February 27, 2009.

53 Da Fonseca-Wollheim, “Even Bach Needed Goldberg.”

26 he’s either having quite a lot of fast arpeggiation going on on the violin—which it doesn’t sound hard, but it is—and then he alternates that writing with double stops. . .that also is difficult. And it’s a very high-energy movement so the tempo—the pace of it—is quite quick. So there’s all this technical stuff thrown in in a very fast tempo and the violin never stops playing—there’s no rest anywhere—so it’s a really challenging movement, actually.”54 Bachmann and Klibonoff performed the third movement of the sonata for a group of students the day before the official premiere as part of the Market Square Concerts Soundscape educational program. Lucy Miller Murray and Strawser were also in the audience. After being surprised with the performance of the first movement of the sonata at her birthday party, this was the next glimpse she had of the piece. After the Soundscape performance, Bachmann and Klibonoff performed the second movement on air during an interview with Cary Burkett, so each movement had, in fact, been performed for an audience prior to the premiere. During the Soundscape presentation Bachmann and Klibonoff addressed their collaboration with Glass, explaining that they played for him before he started writing the piece as a sort of musical introduction, and then they played the sonata for him during his composition process to allow for suggestions and revisions. Glass had intended for the last chord of the first movement to cadence in G Major, for example, but Bachmann suggested the end of the movement remain in G minor, a suggestion that Glass ended up observing.55 Bachmann reflected to Burkett later that day that one of the students in the audience wanted to know even more about Glass’ involvement. “One girl asked us what it was like working with Philip Glass on his piece—‘did he tell us how to play everything in his music?’ And we said, ‘No, he really leaves a lot up to the artists to interpret—to put their individual feelings on the piece. And it is, in a way, a great responsibility for Jon and I being the first ones to play this work because we’re going to sort of set a certain tone, or approach, to the work.

54 Maria Bachmann and Jon Klibonoff interview.

55 Dick Strawser, “Soundscape with Maria Bachmann & Jon Klibonoff,” Dr. Dick’s Market Square Concerts Blog (blog), March 1, 2009, http://marketsquareconcerts.blogspot.com/2009/03/soundscape-with-maria- bachmann-jon.html.

27 But that doesn’t mean other people after us will play it the same way; they will be totally free to do other things with the piece.”56 In 2014, Andrea Cortesi and Marco Venturi released the second commercial recording of the sonata and contributed officially to the ongoing interpretation of the sonata.57

Glass and violinists

Twenty years after writing Strung Out, Glass returned to writing for the violin as solo instrument in 1987 with his Concerto for Violin and Orchestra. It was commissioned and premiered by the American Composers Orchestra and violinist Paul Zukofsky.58 Zukofsky had been a student of the legendary Ivan Galamian. Glass liked the sound of Galamian students such as Zukofsky and Dorothy Pixley. Glass said, “There was a style of playing that was nurtured by this one teacher [Galamian], that you’d hear in the students, and I always was attracted to that sound. It wasn’t a very sweet sound. It had a very clear, precisely defined tonality, and the timbre was a bit hard, but it’s the kind of playing that I liked.”59 Bachmann is also a former Galamian student. Glass’ collaboration with her did not end with the sonata. She premiered and recorded his String Sextet as a member of the Glass Chamber Players (the sextet was arranged in 2009 by Michael Riesman from Glass’ Symphony No. 3 of 1995). Then, in 2010, Glass wrote his Double Concerto for Violin and Cello for Bachmann and cellist Wendy Sutter. Other violinists associated with Glass’ works include David Harrington and John Sherba of the Kronos Quartet (string quartets nos. 1, 5, 6), Edna Mitchell and Yehudi Menuhin (Echorus), and Robert McDuffie (Concerto for Violin and Orchestra No. 2 “The American Four Seasons”). Most recently, Glass has collaborated with violinist Tim Fain on his Partita for Solo Violin and Pendulum for Violin and Piano, which he wrote between 2010 and 2011.

56 Bachmann and Klibonoff, interview by Burkett, Classical Air, WITF, February 27, 2009.

57 Andrea Cortesi and Marco Venturi. Music for Violin and Piano. Leeuwarden: Brilliant Classics, 2014, compact disc, Liner notes.

58 Zukofsky recorded Strung Out the year it was written, 1967.

59 Richard Kostelanetz and Robert Flemming, eds., Writings on Glass: Essays, Interviews, Criticism (New York: Schirmer Books, 1997), 25-26.

28 The sonata—a brief discussion of form

The sonata is in three untitled movements. Instead of “minimalist,” Glass prefers to be labeled a “composer of music with repetitive structures.”60 This sonata is built upon just such structures of repetitive eighth note, triplet, or sixteenth note rhythmical patterns, often arranged in repeating triads. None of the movements have a key signature, but Glass clearly establishes a key for each movement harmonically, progressions of which often repeat within the movements. Most chords are established during the length of one measure, but Glass sometimes uses faster or slower harmonic pacing. The first movement is moderately fast, in G minor, and opens with a 3-3-2-2 syncopation that feels like an extended reconfiguration of Piazzolla’s 3-3-2 staple (ex. 19).

SONATA FOR VIOLIN AND PIANO By Philip Glass Copyright © 2008 by Chester Music and Dunvagen Music Publishers, Inc. International Copyright Secured. All Rights Secured. Movement 1 bars 1-4. Example 19 – Movement 1, bars 1-4

Glass often uses non-chord tones in his chord structures. His harmonic progressions often employ sudden shifts between related chords, though not necessarily placed within a progression typical of traditional functional harmony. Still, Glass writes with strong cadential motion. Glass’ phrase lengths of two, four, or five measures are often repeated. Glass groups notes together in contrasting patterns to enhance the rhythmic texture. Early in the first movement, for example, Glass distorts the pulse of the sixteenth note motor by grouping the violin’s sixteenth notes in patterns of three, while the piano continues the established pattern of grouping four sixteenth notes under a slur (ex. 20). He uses this technique in the third movement, as well.

60 “Philip Glass Biography,” Philip Glass, accessed April 4, 2016, http://www.philipglass.com/bio.php.

The second movement is slow, in E minor, and loosely resembles the form of an eight- bar chaconne. While the violin supports with a slow-moving accompanimental line, the piano opens the movement with the most melodic writing of the piece. The melody is embellished by the violin, and returns, in fragments, in both instruments. Strawser wrote, “Here were chords (outright or implied) sliding past each other, one strand in the violin, the other in the piano, creating a kind of dissonance or tension I had not expected to find.”61 Bachmann explained to Burkett how she and Klibonoff decided to perform the work slightly slower than the metronome marking suggested by Glass. “It just seems to need that little extra time to speak. It has such an incredible, intimate sentimentality—this movement, in particular. It’s really like a love song. And you can’t sing a love song really, really fast. . .to put those feelings and the emotions behind it, it needs a little time.”62 Strawser wrote, “It’s the second movement I found stunning.”63 The third movement returns to G minor, and is divided into three sections, each to be played progressively faster. The first section opens with the violin playing arpeggiated chords outlining the initial nine-bar harmonic progression that is replicated, and sometimes altered, within the section. The second section, Piu mosso, begins with a resonant, chorale-like repetition of chords each bar. And though the tempo has quickened, the rhythmic values have slowed for the violin’s sustained, impassioned melodic line. The last section is the culmination of the piece,

61 Dick Strawser, “The Premiere of Philip Glass’s Violin Sonata.”

62 Maria Bachmann and Jon Klibonoff interview.

63 Strawser, “The Premiere of Philip Glass’s Violin Sonata.”

30 with energetic contrary motion in the piano, and the only time that the instruments are in true rhythmic unison (ex. 21). The piece ends with four bars of hushed chromatic scalar lines that evaporate into a G minor chord that is not expected after the rhythmic and harmonic whir of what precedes it.

Final words from Glass

Those involved in the early life of the sonata were all surprised that Glass accepted the commission. His stature as a composer, his international performing demands, and his seemingly endless docket of projects made it seem that a family commission would be unobtainable. Yet he did accept the commission. In addition to the warm remarks that he relayed for the premiere of the sonata, he shared the following, “To bring a new piece into the world is a great privilege. You live your life on the edge of the unknown.

31 Some people don’t want to go there. This couple [Martin Murray and Lucy Miller Murray], they’ve wandered into this world.”64

64 Da Fonseca-Wollheim, “Even Bach Needed Goldberg.”

32 CONCLUSION

When one hears the music of Astor Piazzolla or Philip Glass, connecting the music with the composer is often an easy task—both composers have a musical language that is clearly identifiable. Through manipulation of motives, rhythm, texture, ensemble, and instrumentation, Piazzolla sounds like Piazzolla, and Glass sounds like Glass. And though they sound nothing like one another, perhaps Piazzolla and Glass are similar in that they can be seen as part of a postmodernist trend that rippled throughout the classical music world in the late twentieth century.65 Both Tango-Études and Sonata for Violin and Piano are representative of Piazzolla and Glass as mature composers. Piazzolla was in his mid-sixties in 1987 when he wrote the études. It was during the time that he was performing and touring with his most successful of ensembles—the Second Quintet. The quintet had released its significant album Tango: Zero Hour in 1986, and Piazzolla also wrote a score to the film El Exilio de Gardel that year. These accomplishments occurred towards the end of Piazzolla’s career, some three decades after he had established his style of nuevo tango.66 Glass was just a number of years older than Piazzolla had been (in 1987) when he accepted the commission for the violin sonata. By 2008 he had been composing minimalist music for nearly fifty years, and though his writing was still defined, fundamentally, by the repetition of motives, it had evolved from the “electronically enhanced. . .mechanical pulse” of his early writing. Listeners described later works as having an expressive, even Romantic, quality not detected in his earlier music.67 Glass, seventy-nine at the time of this publication, is still composing and rehearsing at a breakneck pace.68 Arthur Miller’s The Crucible opened on Broadway just weeks ago on 31 March 2016. Glass’ new score for the production includes thirty

65 Jann Pasler. "Postmodernism." Grove Music Online. Oxford Music Online. Oxford University Press, accessed April 2, 2016, http://www.oxfordmusiconline.com.proxy.lib.fsu.edu/subscriber/article/grove/music/40721.

66 Gorin, Astor Piazzolla, 239. Though he suffered a heart attack in 1988, it was the cerebral hemorrhage of 1990 that incapacitated him.

67 Da Fonseca-Wollheim, “Where Music Meets Science.”

68 Glass declined my request for an interview, his representation citing the exhaustive nature of his schedule.

33 minutes of music for violin and cello, which, along with other works for the pairing, constitutes what Glass Notes author Richard Guérin describes as a micro-genre.69 Piazzolla’s Tango-Études pour Flûte Seule ou Violon Seule and Glass’ Sonata for Violin and Piano are examples of the respective genres that Piazzolla and Glass forged and defined— nuevo tango and minimalism. The sheet music for the pieces is easily accessible for purchase, and they have been recorded commercially. Still, they reside on the periphery of mainstream repertoire for violin. They merit attention not only because they are new, true gems in the catalogue of violin literature, but because they are two of a small number of pieces by Piazzolla and Glass that feature the violin in such a soloistic capacity.

69 Richard Guérin, “On The Crucible – Opening March 31,” Glass Notes (blog), March 28, 2016, http://www.philipglass.com/news.php.

34 APPENDIX A

COMMERCIAL RECORDINGS OF TANGO-ÉTUDES FOR SOLO

VIOLIN

Year Artist Album Title Études Recorded

1997 Interensemble Padova (Stefano Antonello Piazzolla Chamber Music No. 1 - 3

or Alessandro Fagiuoli)

2001 Gidon Kremer Tracing Astor No. 1 - 6

2007 Angèle Dubeau Solo No. 1, 3, 4

2009 Sveinung Lillebjerka The Lady of Shalott No. 4

2011 Rachel Barton Pine Capricho Latino No. 3 con Libertango

(self-arrangement)

2011 Stephanie Sant’Ambrogio Going Solo: Unaccompanied No. 3 - 5

Works for Violin and Viola

2012 Linda Wang Violin Solo No. 3 - 4

2013 Maria Bessmeltseva Soliloquy Music for No. 3 - 5

Unaccompanied Violin

2014 Tomás Cotik Solo No. 1 - 6

2014 Roman Mints Dance of Shadows No. 2

2014 Piercarlo Sacco Piazzolla: Café 1930, Music No. 1, 4, 5, 6

for Violin and Guitar

2015 Lucia Lin Astor Piazzolla: Escualo No. 3

Synthesis of Data

Étude No. 3 was the most recorded (9) followed closely by No. 4 (8). Étude No. 1 and No. 5 were recorded equally (5 each). Étude No. 2 (4) and No. 6 (3) proved the least recorded.

35 APPENDIX B

Subject: Re: copyright questions regarding Piazzolla's "Tango Études"

From: Marie Seite ([email protected])

To: jennyleeﬁ[email protected];

Date: Monday, February 9, 2015 8:27 AM

Dear Jenny Lee Vaughn,

First of all, I apologize for the delay of my answer.

Editions Henry Lemoine can grant you the authorization to reproduce short excerpts of the Six Etudes by Astor Piazzolla as musical examples in your university treatise. The following credit line has to be reproduced under each excerpt : Tango Etudes by Astor Piazzolla © Editions Henry Lemoine, Paris - France.

But, we do not authorize the publication of any violin version that you could have done, neither in your treatise nor for a commercial publication.

Sincerely yours,

Marie Séité

Marie SÉITÉ Licensing/Copyright Editions Henry Lemoine - Jobert - Delrieu - Van de Velde Editions Combre - Paul Beuscher Publications - HL Prod 27, boulevard Beaumarchais F-75004 Paris tel. +33 1 56 68 86 60 fax. +33 1 56 68 90 66

Le 18 sept. 14 à 20:49, Jenny Lee Vaughn a écrit :

Bonjour Mademoiselle Séité,

I am a doctoral violin student at Florida State University in the United States. The topic of my treatise is Astor Piazzolla's "Tango Études." I am writing to inquire about two separate copyright issues.

First of all, I am seeking permission to reproduce short excerpts of the six études in my treatise for the sake of referencing musical examples in my analysis of the work. Secondly, I would like to produce my own performer's edition for violin, both for inclusion in my treatise, and for commercial publication (unless there is a similar project already scheduled). Though your 1987 edition says that it is intended for flute or violin, it does not include fingerings, bowings, extended percussion

36 Subject: Re: Philip Glass cartoon 2009 WSJ

From: Martin Kozlowski ([email protected])

To: jennyleeﬁ[email protected];

Date: Friday, March 18, 2016 9:19 PM

Hi Jenny—

Sure, it would be ﬁne if you used it so long as the published piece was not for sale. If, at any point, you do sell copies, please contact me for separate rights.

Here’s a larger CMYK version of the art for print reproduction. Please credit me: Illustration by Martin Kozlowski

If you want to add: for the Wall Street Journal

Best, Martin [email protected] www.martinkozlowski.com www.nowwhatmedia.com www.inxart.com cell: 917-602-1009

April 6, 2016

Jenny Lee Vaughn 5375 Ortega Farms Blvd., #211 Jacksonville, FL 32210

RE: SONATA FOR VIOLIN AND PIANO, by Philip Glass

Dear Jenny,

This letter is to confirm our agreement for the nonexclusive right to reprint measures from the composition(s) referenced above for inclusion in your thesis/dissertation, subject to the following conditions:

1. The following copyright credit is to appear on each copy made:

SONATA FOR VIOLIN AND PIANO By Philip Glass Copyright © 2008 by Chester Music and Dunvagen Music Publishers, Inc. International Copyright Secured. All Rights Secured. x Movement 1 bars 1-4, Movement 1 bars 25-28, Movement 3 bars 153-162

2. Copies are for your personal use only in connection with your thesis/dissertation, and may not be sold or further duplicated without our written consent. This in no way is meant to prevent your depositing three copies in an interlibrary system, such as the DigiNole collection of the university you attend, or with ProQuest.

3. Permission is granted to ProQuest to make single copies of your thesis/dissertation, upon demand.

4. A one-time non-refundable permission fee of seventy-five ($75.00) dollars, to be paid by you within thirty (30) days from the date of this letter.

5. If your thesis/dissertation is accepted for commercial publication, further written permission must be sought.

Sincerely,

Duron Bentley Print Licensing Manager

38 Stephanie Jutt

39 INTERVIEW RELEASE FORM

My name is Jenny Lee Vaughn, and I am a violinist and doctoral candidate at Florida State University. The subject of my treatise research is two pieces that have recently entered the violin repertory: Philip Glass’ Sonata for Violin and Piano and Astor Piazzolla’s Tango-Études for solo flute. I would like to interview you due to your expertise with the latter. I would like to use some, or all, of your comments, either paraphrased or quoted directly, in my published treatise and in a public lecture recital at Florida State University. This interview will be audio recorded. If you are willing to participate in this interview, please complete the form, below.

I understand that this interview and resulting recording are part of scholarly research by the individual at the institution named above. I have voluntarily consented to participate in this interview, and by signing, below, I give my permission to Jenny Lee Vaughn to use the content of the interview for scholarly publications and presentations.

Name of Person Interviewed (please print): ______Jessica Quinones

Signature: ______sent via email 10 March 2016

Address: ______

Phone: ______

Date of birth: ______VIA SKYPE Place of Interview: ______

Date Signed: ______10 March 2016

Date of Interview: ______10 March 2016

Interviewer’s Contact Information: Interviewer’s Major Professor: Jenny Lee Vaughn Dr. Benjamin Sung 5375 Ortega Farms Blvd., #211 College of Music /KMU 316B Jacksonville, FL 32210 Florida State University [email protected] Tallahassee, FL 32306 785.341.5677 [email protected]/812.327.8376 !

41 03/13/16

42 INTERVIEW RELEASE FORM

Name of Person Interviewed (please print): ______Marco Granados

Signature: ______

Address: ______26 Chestnut Street #6 Boston, MA 02108

Phone: ______917-553-7138

Date of birth: ______10-11-61

Place of Interview: ______Boston/Phone

Date Signed: ______03-15-16

Date of Interview: ______03-15-16

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44 Kostelanetz, Richard, and Robert Flemming, eds. Writings on Glass: Essays, Interviews, Criticism. New York: Schirmer Books, 1997.

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Link, Kacey Quin, "Culturally Identifying the Performance Practices of Astor Piazzolla's Second Quinteto." MM thesis, University of Miami, 2009. University of Miami Open Access Theses. Paper 194.

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Prieto, Carlos. Adventures of a Cello. Translated by Elena C. Murray. Austin: University Of Texas Press, 2011.

Quiñones, Jessica. “Tango Like a Tanguero: Five Little Tips to Help a Classical Flute Player Perform Tango Music.” Flute 30, no. 2 (2011): 49-53.

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Yuiko Asaba. “Current Trends in Ethnomusicology 2013,” YouTube video, 4:34, from a performance and interview from The International Doctoral Workshop in Ethnomusicology 2013, posted by Nepomuk Riva, September 21, 2014, https://www.youtube.com/watch?v=VJJXUvAzZDU&feature=youtu.be.

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"Burton, Gary/Astor Piazzolla - The New Tango." Encyclopedia of Popular Music, 4th ed.. Oxford Music Online. Oxford University Press, accessed September 6, 2014, http://www.oxfordmusiconline.com.proxy.lib.fsu.edu/subscriber/article/epm/90642.

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Dick Strawser. Dr. Dick’s Market Square Concerts Blog (blog). http://marketsquareconcerts.blogspot.com.

46 Frances Barulich and Jan Fairley. "Habanera." Grove Music Online. Oxford Music Online. Oxford University Press, accessed March 21, 2015, http://www.oxfordmusiconline.com.proxy.lib.fsu.edu/subscriber/article/grove/music/12 16.

Karen Gomyo. “Piazzolla | Tango-Étude for violin | Karen Gomyo,” YouTube video, music video, posted by Louisiana Music Videos, November 20, 2012, https://www.youtube.com/watch?v=cN7niGEg8fg.

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Mark Shanahan and Meredith Goldstein, “Former Critic Richard Dyer Adding to His Resume,” The Boston Globe, August 11, 2013, https://www.bostonglobe.com/lifestyle/names/2013/08/10/richard-dyer-former-globe- classical-critic-adds-his-resume/3BdAGFMsF7XQres1rdwc7M/story.html.

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Discography

Bachmann, Maria, and Jon Klibonoff. Glass Heart. New York, NY: Orange Mountain Music, 2010, compact disc, Liner notes. Includes music by Philip Glass, Charles Gounod, Franz Schubert, and Maurice Ravel.

Barton Pine, Rachel, and Hector Elizondo. Capricho Latino. Chicago, Ill.: Cedille Records, 2011, compact disc, Liner notes. Includes music by Isaac Albéniz, Roque Cordero, César Espéjo, Manuel Quiroga Losada, Eugène Ysaÿe, et al.

Bessmeltseva, Maria. Soliloquy: Music for Unaccompanied Violin. Lansing, MI: Blue Griffin Recording, 2013, compact disc. Includes music by Georg Philipp Telemann, Sergey Prokofiev, Nicolò Paganini, Astor Piazzolla, and Fritz Kreisler.

Coppola, Francis Ford, Godfrey Reggio, Ron Fricke, Philip Glass, Michael Riesman, and Michael Hoenig. Koyaanisqatsi. Metro-Goldwyn-Mayer Film Co, Institute for Regional Education (Albuquerque, N.M.), and MGM Home Entertainment Inc. MGM DVD. Santa Monica, CA: MGM Home Entertainment, 2002, DVD.

Cortesi, Andrea and Marco Venturi. Music for Violin and Piano. Leeuwarden: Brilliant Classics, 2014, compact disc, Liner notes. Includes music by Philip Glass, Giya Kancheli, and Erkki-Sven Tüür.

Cotik, Tomas. Solo. http://www.naxosmusiclibrary.com, 2014, Liner notes. Includes music by Georg Philipp Telemann, Johann Sebastian Bach, Franz Schubert, and Astor Piazzolla.

Cotik, Tomas, Glenn Basham, and Tao Lin. Tango Nuevo. Place of publication not identified: Naxos, 2013, compact disc. Includes music by Astor Piazzolla. Recorded 2012.

Daldry, Stephen, Scott Rudin, Robert Fox, David Hare, Meryl Streep, Julianne Moore, Nicole Kidman, et al. The Hours. Special collector's ed. Widescreen collection; Widescreen DVD collection. Hollywood, Calif.: Paramount Home Entertainment, 2003, DVD.

Dibb, Michael, Tony Staveacre, Ferenc van Damme, and Astor Piazzolla. Astor Piazzolla in Portrait. Heathfield, East Sussex: Opus Arte, 2004, DVD.

Dubeau, Angèle. Solo. Québec: Analekta, 2007, compact disc. Includes music by Pierre Lebeau, Blair Williams, Pietro Antonio Locatelli, Georges Enesco, Astor Piazzolla, Alan Ridout, Srul Irving Glick, Dave Brubeck, and Bartolomeo Campagnoli.

Hobson Pilot, Ann, Lucia Lin, and J. P. Jofre. Escualo. France: Harmonia Mundi, 2015, compact disc. Includes music by Astor Piazzolla.

Interensemble Padova, with Stefano Antonello (violin) and Alessandro Fagiuoli (violin). Piazzolla: Chamber Music. Place of publication not identified: Newton Classics, 2012, 2 compact discs. Includes music by Astor Piazzolla. Recorded 1995-1996.

Jutt, Stephanie. Stephanie Jutt, Flutist. Newton Centre, Mass.: GM Recordings, 1990, compact disc, Liner notes. Includes music by Randall Hodgkinson, William Thomas McKinley, Charles Tomlinson Griffes, Astor Piazzolla, and André Jolivet.

Kremer, Gidon, Ula Ulijona, Marta Sudraba, Sol Gabetta, Leonid Desyatnikov, Horacio Ferrer, and Kremerata Baltica (musical group). Tracing Astor: Gidon Kremer Plays Astor Piazzolla. New York, N.Y.: Nonesuch, 2001, compact disc. Includes music by Astor Piazzolla, Giovanni Sollima, and Georgs Pelēcis.

Kronos Quartet, Earl L. Miller, Christian Marclay, and Ohta Hiromi. Winter Was Hard. New York, NY: Elektra/Nonesuch, 1988, compact disc. Includes music by Aulis Sallinen, Terry Riley, Arvo Pärt, et al.

Lacombe, Pierre, Astor Piazzoll, Pierre Lacombe, Daniel Harvey, Alain Simard, Héctor Console, Oscar López Ruiz, Pablo Ziegler, et al. Astor Piazzolla: Live at the Montreal Jazz Festival. Film series concerts; Film series concerts. Burbank, CA: Milan, 2008, DVD.

Lillebjerka, Sveinung. The Lady of Shalott. Norway: Euridice. 2009, compact disc. Includes music by Johann Sebastian Bach, Nicolò Paganini, Eugène Ysaÿe, Astor Piazzolla, and Bent Sørensen.

Mints, Roman. Dance of Shadows. England: Quartz, 2014, compact disc. Includes music by Eugène Ysaÿe, Astor Piazzolla, Dobrinka Tabakova, Alfred Schnittke, and Valentyn Vasylʹovych Sylʹvestrov.

Montes-Baquer, José, Astor Piazzolla, Alvaro Pierri, Pinchas Steinberg, Andres Salcedo, Kölner Rundfunk-Sinfonie-Orchester, Deutsche Grammophon (Firme), and Unitel Classica (Firme). The Next Tango: Astor Piazzolla in Conversation and in Concert. Germany: Deutsche Grammophon, 2007, DVD.

49 Piazzolla, Astor, Fernando Suárez Paz, Pablo Ziegler, Horacio Malvicino, Héctor Console, and Fernando Gonzalez. La Cammorra: La Soledad De La Provocacion Apasionada (La Camorra: The Solitude of Passionate Provocation). New York: Just A Memory, 1993, compact disc. Includes music of Astor Piazzolla.

Piazzolla, Astor, Héctor Console, Fernando Suárez Paz, Pablo Ziegler, and Oscar López Ruiz. Libertango. New York: Milan Records, 1997, compact disc. Includes music by Astor Piazzolla.

Piazzolla, Astor, Michael Dibb, Tony Staveacre, Daniel Binelli, José Bragato, Héctor Console, Horacio Malvicino, Gerardo Gandini, James Crabb, and Joanna MacGregor. 2005. Astor Piazzolla in Portrait. Waldron, Heathfield, East Sussex, U.K.: Opus Arte.

Piazzolla, Astor, Pablo Ziegler, Fernando Suárez Paz, Oscar López Ruiz, and Héctor Console. Adiós Nonino. Switzerland: Radio Svizzera Italiana, 1998, compact disc. Includes music of Astor Piazzolla.

Piazzolla, Astor, and Quinteto Tango Nuevo. Tango, Zero Hour. New York, N.Y.: Nonesuch, 1998, compact disc. Includes music by Astor Piazzolla.

Sacco, Piercarlo, and Andrea Dieci. Café 1930: Music for Violin and Guitar. Leeuwarden, The Netherlands: Brilliant Classics, 2014, compact disc.

Sant'Ambrogio, Stephanie. Going Solo: Unaccompanied Works for Violin & Viola. Newton, CT: MSR Classics, 2011, compact disc. Includes music by Georg Philipp Telemann, Henri Vieuxtemps, Eugène Ysaÿe, Fritz Kreisler, Augusta Read Thomas, James Winn, Ervín Schulhoff, Quincy Porter, and Astor Piazzolla.

Wang, Linda. Sonata No. 4. Baton Rouge, Louisiana: Centaur, 2012, compact disc. Includes music by Eugène Ysaÿe, Max Reger, Fritz Kreisler, Johann Sebastian Bach, and Astor Piazzolla.

Musical Scores

Glass, Philip. Sonata for Violin and Piano: In 3 Movements. London: Chester Music, 2008.

Piazzolla, Astor. Four for Tango: pour Quatuor à Cordes. Paris: Editions H. Lemoine, 1989.

Piazzolla, Astor. Histoire du Tango: pour Flûte ou Violon et Piano. Arranged by Dmitriĭ Varelas. Paris: Editions H. Lemoine, 2005.

Piazzolla, Astor. Tango-Études: pour Flute Seule (ou Violon). Paris: Editions H. Lemoine, 1987.

Piazzolla, Astor. Tango-Études: pour 2 Flûtes. Transcribed for 2 flutes by Exequiel Mantega. Revised by Paulina Fain. Paris, France: Éditions H. Lemoine, 2014.

50 Piazzolla, Astor. Tango-Études, ou, "Etudes Tanguistiques:" pour Flûte et Piano. Reviewed and annotated by Yann Ollivo. Paris: Editions H. Lemoine, 2006.

Piazzolla, Astor. Tango-Études, ou, "Etudes Tanguistiques:" pour Saxophone Alto et Piano (ou Clarinette et Piano). Reviewed and annotated by Ollivo. Paris: Editions H. Lemoine, 2003.

BIOGRAPHICAL SKETCH

Jenny Lee Vaughn is a member of the Jacksonville Symphony. Her principal teachers include Lynn Blakeslee, David Brickman, Linda Cerone, Karen Clarke, Cora Cooper, Ellen dePasquale, and Benjamin Sung. She underwent specialized study during her doctoral work, earning a Certificate in Early Music from Florida State University, where she also earned a Presser Award as an undergraduate. While earning her Master’s degree at the Eastman School of Music, Jenny Lee received a grant from the Hanson Institute for American Music’s Commissioning Program and premiered the resulting composition by Matthew Schreibeis. She has held title chairs in ensembles such as the Mansfield Symphony Orchestra and the Blue Water Chamber Orchestra, and has given master classes and performed on several concert series at Kansas State University. Jenny Lee maintains a private violin studio and is a Suzuki-registered teacher.