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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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Violin Periphery: Nuevo Tango in Astor Piazzolla's Tango-Études and Minimalism in Philip Glass' Sonata for Violin and Piano Jenny Lee Vaughn Florida State University Libraries 2016 Violin Periphery: Nuevo Tango in Astor Piazzolla's Tango-Études and Minimalism in Philip Glass' Sonata for Violin and Piano Jenny Lee Vaughn Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC VIOLIN PERIPHERY: NUEVO TANGO IN ASTOR PIAZZOLLA’S TANGO-ÉTUDES AND MINIMALISM IN PHILIP GLASS’ SONATA FOR VIOLIN AND PIANO By 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 © 2016 Jenny Lee Vaughn Jenny Lee Vaughn defended this treatise on April 12, 2016. The members of the supervisory committee were: 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. ii 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 ..............................................................................................................
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