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台東師院學報，民 89，11 期（下）， 171~200 頁 JOURAL OF NATIONAL TAITUNG TEACHERS COLLEGE， Vol.11-2,pp.171~ 200(2000) The Formal Organization of ’s Concerto in C-sharp Minor, Op.45

Yang,Ching-Lanã

Abstract

The purpose of this study is to reintroduce Amy Beach’s to the music public and to show Beach’s contribution to American . Furthermore, it is hoped that this study will stimulate research and performing interests in Amy Beach’s works. The study begins with a review of the related literature followed by a biographical look at Amy Beach. Critical response to the piano concerto is included. After the compositional background, the formal organization of Amy Beach’s piano concerto, which is the main focus of this study, is followed. Although the forms that Amy Beach chooses for this piano concerto are basically traditional, it is her ways of developing the thematic materials, and that connection between movements make her piano concerto very individual and representative.

Keywords: Amy Beach, Piano concerto, Form.

ã本校音樂教育學系副教授

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The Formal Organization of Amy Beach’s Piano Concerto in C-sharp Minor, Op.45

Yang Ching-Lan

INTRODUCTION Amy Beach (1867-1944) was a remarkable woman in the history of late nineteenth and early twentieth-century American music. She was the first American woman to successfully compose large scale forms and to achieve recognition both in America and Europe. Her Mass in E-Flat was performed by the in 1892; her in E-Minor was premiered by the Boston Symphony in 1896. This was followed in 1899 by a piano concerto in C-Sharp minor, which was premiered by the Boston Symphony Orchestra in 1900 with the as soloist. The Piano Concerto in C-Sharp minor was dedicated to Teresa Carreño, a well-known Venezuelan and close friend of Amy Beach. It is a long work in four movements with a brilliant and difficult piano part. From 1900 to 1915, Amy Beach’s concerto was frequently performed by major including Boston, Pittsburgh, St. Louis and Los Angeles in the United States and Berlin, and in Europe. After a performance by the Boston Symphony under Karl Muck in 1917, the concerto virtually disappeared from the concert stage until it was reintroduced by Mary Louise Boehm almost six decades later. The two-piano version of this concerto, as arranged by the composer, was published in 1900. While the full score and parts, which remain in manuscript, are in the Edwin Fleisher Collection in Philadelphia, only a musical organization is allowed to remove this material. Many of Beach’s works were frequently performed and published during her lifetime. However, it was Amy Beach’s Gaelic Symphony and her Piano Concerto that quickly established her international reputation. Although this piano concerto is virtually unknown today, it was favorably received by audiences and became an important vehicle for Mrs. Beach as both composer and performer. Her and many of her solo piano works have been brought to the concert stage and chosen as research topics in the past few years. The piano concerto,

-172- Yang , Ching-Lan The Formal Organization of Amy Beach's Piano Concerto in C-sharp Minor, Op.45 after it was reintroduced by pianist Mary Louise Boehm in 1976, is still neglected by both performers and writers. Only one recording of this work, which was made by Mary Louise Boehm with the Westphalian Symphony Orchestra, can be found. The most recent published sources that provide more detailed information on Amy Beach’s life and works are Energy and Individuality in the Art of Anna Huntington, Sculptor, and Amy Beach, Composer 1 by Myrna Eden, Amy Beach and her Chamber Music Biography, Documents, Style2 by Jeanell Brown, and The Remarkable Mrs. Beach, American Composer3 by Walter S. Jenkins. Myrna Eden expounds upon the lives and works of Anna Huntington and Amy Beach and how they relate to the “cultivated tradition.” Through an analysis of some of Amy Beach’s works, Eden shows that Amy Beach contributed a remarkable individuality and unique energy to the cultivated tradition. Published in 1994, Jeanell Brown’s book is based on her doctoral dissertation, which was written in 1993 at the University of Maryland, College Park. Having included information from Amy Beach’s personal and business correspondence and scrapbooks, Brown presents a reliable biography of Amy Beach. Through examples from her piano music and chamber music, Brown summarizes the trademarks of Amy Beach’s writing style as well as the characteristics of her melody, harmony, rhythm, texture and form. Brown also discusses how the styles of Brahms, Liszt, Rachmaninoff, and MacDowell influenced that of Amy Beach. The main focus of Brown’s work is a detailed analysis of Amy Beach’s chamber works. Walter S. Jenkin’s book, edited by John H. Baron, was published after Jenkins death in 1994. An acquaintance of Amy Beach, Jenkins was entrusted by Mrs. Lillian Buxbaum, Amy Beach’s principal heir, with Beach’s diaries, letters, newspaper clippings, and other miscellaneous documents. An analysis by Amy Beach of her Gaelic Symphony is included. One omission is to be noted in this dissertation.

1Myrna G. Eden, Energy and Individuality in the Art of Anna Huntington, Sculptor and Amy Beach, Composer. Metuchen N. J. And London: The Scarecrow Press, Inc., 1987. 2Jeanell Brown, Amy Beach and her Chamber Music Biography, Documents, Style. Metuchen, New Jersey: The Scarecrow Press Inc., 1994. 3Walter S. Jenkins, The Remarkable Mrs. Beach, American Composer. Michigan: Harmonie Park Press, 1994.

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When Merrill discusses the cyclic form in Amy Beach’s works, he states that the Symphony, Op. 32, and the Quintet, Op. 67, are the only two instrumental works having a theme that recurs in a later movement. As will be seen in the current study on Amy Beach’s piano concerto, the tragic theme at the beginning of the third movement recurs in the last movement (mm.128-132). Therefore, this piano concerto uses cyclic form as well. Numerous articles including personal interviews, performance reviews, and reports of events about Amy Beach were written during her lifetime. However, none of the sources has a detailed discussion of her Piano Concerto. Only three articles written since Beach’s death in 1944 deal specifically with her Piano Concerto. One is “Where Was Amy Beach All These Years? An Interview with Mary Louise Boehm”by Dean Elder (Clavier, 1976). As mentioned in the introduction, Mrs. Boehm reintroduced Amy Beach’s Piano Concerto in 1976. In Elder’s article, Mrs. Boehm briefly comments on each movement of this concerto, discussing musical style and pianistic characteristics. The second article is “‘Veritable Autobiography’? Amy Beach’s Piano Concerto in C-Sharp Minor, Op. 45” by Adrienne Fried Block (Musical Quarterly, 1994). In her essay, Block uncovers Amy Beach’s quotation of her own songs in her Piano Concerto, and discusses how the text, music, dedication and date of composition suggest extramusical meanings which could be related to Amy Beach’s life. Another article entitled “Critical Perception and the Woman Composer: The Early Reception of Piano Concertos by Clara Wieck Schumann and Amy Beach” by Claudia Macdonald (Current Musicology, 1993) was originally presented in a shorter form at the Feminist Theory and Music Conference in Minneapolis. In her research, Macdonald cites various critical reviews of Amy Beach’s Piano Concerto from the earliest performance to the latest. These reviews show us how opinions change given different times and circumstances. In addition, an outline and a basic analysis of the first movement of Amy Beach’s Piano Concerto are included. The three remaining movements are first analyzed in this paper. The Elder, Block, and Macdonald articles are all based on the two-piano version which was published during Amy Beach’s lifetime. This version later went out of print, until its republication in 1995 by

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Hildegard Publishing Company. 4

BIOGRAPHICAL INFORMATION Amy Marcy Cheney was born in Henniker, New Hampshire on September 5, 1867, the only child of Charles Abbott Cheney and Clara Imogene Marcy, both descendants of colonial settlers. Charles Cheney, a Bates College graduate, operated a paper-importing business, which was inherited from his grandfather. Clara Cheney was a fine pianist and singer and recognized her daughter’s gifts very early. Gifted with remarkable memory and absolute pitch, Amy Beach constantly surprised her family and friends when she was a child. In a letter from Clara Cheney to her cousin Anna, Clara recalled that when Amy Beach was nearly two, she could improvise a perfectly correct alto to any soprano air Clara might sing. At the age of four, Amy could play from memory, after one hearing, every four-part hymn tune which she heard in church. And she always played them in the same key in which they were written5. She revealed talent for musical composition at the age of four. Her earliest compositions were several waltzes for piano.6 In 1871, the Cheney family moved to Chelsea, a suburb of Boston. At the age of six, Amy began piano lessons with her mother and made her first public appearance as a pianist at seven,7 She continued to compose throughout her youth. Two of her songs, The Rainy Day (1883) and With Violets (1885), were published under her maiden name. With Violets, her Op. 1, No. 1, was her first piece issued by Arthur P. Schmidt. In 1875, the family moved to Boston. Despite several leading musicians’ advice, Mr. and Mrs. Cheney sent eight-year-old Amy to a private school in Boston for general education instead of sending her to Europe. Meanwhile, she studied piano with Johann Ernst Parabo (a pupil of Moscheles, Richter, Hauptmann, and Reinecke) and later with

4 Amy Marcy Cheney Beach, Piano Concerto in C# Minor, Op. 45, Hildegard Publishing Company, Pennsylvania. 1995 5 Letter from Clara Cheney to cousin Anna dated April 27, 1898, UNH: 1883 diary. 6 They were named as Golden Robin Waltz, Marlboro Waltz, Mama’s Waltz and Snow-flake Waltz. 7 Amy Beach Correspondence Collection, Special Collections, University of New Hampshire Library, Durham, NH. A letter from Mrs. Cheney to Cousin Anna.

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Carl Baermann (a pupil of Liszt). These two prominent teachers prepared Amy for a professional career. She also had one year of study in harmony and with Junius Hill (professor of composition at Wellesley College) from 1881 to 1882. This ended her formal instruction in music theory. After this brief formal training, Amy began a systematic study of counterpoint, , musical form, and orchestration on her own. She learned the fugal procedure by writing out much of Bach’s Well-Tempered Clavier from memory. Then she compared her version with Bach’s.8 In order to learn their instrumentation and structure, she carefully studied the scores of standard orchestral works at the many concerts and rehearsals she was able to attend. Her knowledge of French 9 made it possible for her to translate the instrumentation treatises of Berlioz and Gavaert. There were no previous translations in English to aid her study of instrumentation. In 1883, Amy Cheney gave her concert debut at Boston Music Hall playing the Moscheles G Minor Concerto with ”grand orchestra”10 under the direction of . She also performed the Rondo in E-Flat by Chopin. According to Walter Jenkins, ten Boston newspapers and one New York paper gave favorable reviews on the debut of Amy Cheney. Due to the success of her debut, various concerts and recitals followed in Boston and other places. The most noteworthy concerts were two performances in March and April, 1885, of Chopin’s Concerto in F Minor and Mendelssohn’s Concerto in D Minor with the Boston Symphony Orchestra under Mr. Gericke and Theodore Thomas' Orchestra. Both the musical public and critics were very encouraging and enthusiastic. From 1885 to 1889, Amy began publication of her compositions including Op. 1, Op. 2, Op. 11, and Op. 12, four sets of songs; Op. 3, a cadenza to Beethoven’s Piano Concerto in C Minor; and Op. 4, a Valse Carprice for piano. In 1885 she married Dr. Henry Harris Aubrey Beach, a distinguished surgeon on the staff of the Harvard Medical School and the Massachusetts General Hospital. Dr. Beach, twenty-four years

8 Benjamin Brooks, The ‘How’ of Creative Composition with Mrs. H. H. A . Beach. Etude 61 pt. 1 (March 1943): 208. 9 Harriette Brower, Piano Master. Frederick A. Stokes Company (1917): 186. 10 Brown, 22.

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Amy’s senior, was a well-established physician and an amateur musician and music lover. He took a strong interest in Amy’s musical talents and was very supportive of her musical development. After they were married, Amy Beach chose to use her married name, Mrs. H. H. A. Beach, as her professional name. During the twenty-five years of her marriage, Amy Beach wrote her most important compositions. According to a review of the catalog by Brown, works in almost every genre, including songs, solo piano works, choral works, and chamber works, were published during this time. In 1896, Amy Beach’s monumental Gaelic Symphony was premiered by the Boston Symphony Orchestra. It was the first symphony ever composed by an American woman. It established Amy Beach as a major American composer. Due to its great success, it was later performed in New York, Brooklyn, Pittsburgh, Buffalo, Kansas City, San Francisco, Chicago, Hamburg, and Berlin. Following the Symphony, her Sonata in A minor for violin and piano was first performed in 1897 by and the composer. The same work was first introduced to Europe by Amy Beach's good friend and pianist Teresa Carreño, to whom Amy Beach dedicated her Piano Concerto in C-sharp Minor in 1899. The piano concerto, Op. 45, was premiered by Amy Beach with the Boston Symphony Orchestra under the leadership of on April 7, 1900. According to Claudia Macdonald, audience reaction to the early performances of this piano concerto was favorable. After its premiere in 1900, this concerto was frequently performed by Amy Beach with European orchestras and later with many American orchestras. It made her internationally-known as an American pianist-composer. It appears that Amy Beach's career flourished during her marriage. She not only composed her most important works, but also had almost half of her compositions (Op. 1~71) published. The happy marriage came to an end in 1910 when Dr. Beach died in an accident11. Mrs. Cheney died the following year. Suffering from the double loss, Amy Beach decided to take an extended trip to Europe. From 1911 to 1914 she performed her own works as well as standard repertoire in many leading European cities and established herself as an international pianist-composer. Due to her busy concert schedule during her stay in

11 Jenkins, 66.

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Europe, Amy Beach composed only a few songs and the quartet for strings, Op. 89. With the growing tensions which led to the first World War, Amy Beach returned home in 1914. After she came back to the United States, Amy Beach was honorably greeted as a musical heroine with a distinctive reputation. She resumed her performing career and gave numerous solo and chamber recitals throughout the country. All of the reviews praised her musicianship and performance skills. After her return from California, Amy Beach settled in . In 1921, she started spending a portion of her summers at the MacDowell Colony in Peterborough, New Hampshire. The Colony was founded by Mrs. Edward MacDowell in 1908 for the purpose of providing artists, , poets and writers a secluded place to create. Amy Beach wrote many of her compositions while at the Colony. Among them were the Thrush Pieces for Piano; a one movement String Quartet based on Eskimo themes; numerous songs and other vocal works; and a Trio for Piano, Violin, and Cello (her last chamber work). Due to her declining health, Amy Beach greatly reduced her performances between 1931 and 1944. Despite an increasing interest in atonality and other modern music trends, Amy Beach continued to write in the Late-Romantic style. Her only opera, Cabildo, was written in 1932, at the age of sixty-five. In 1933, she received a medal from the Chicago International Exposition for creative work in music, and was by then considered one of the leading American composers. In 1944, at the age of seventy-seven, Amy Beach died of heart failure in New York.

COMPOSITIONAL BACKGROUND OF AMY BEACH’S PIANO CONCERTO

During the last decade of the nineteenth century and the first decade of the twentieth, several major European composers, including , Camille Saint-Saëns, Alexander Scriabin, Mili Balakirev, Max Reger, , Peter Tchaikowsky, Nikolai Tcherepnin, composed piano concertos 12 . In America, Edward MacDowell’s second piano concerto was completed in 1885. Between

12 Maurice Hinson. Music for Piano and Orchestra, Bloomington and Indianapolis: Indiana University Press, 1993.

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1885 and 1899, no major American composer composed a piano concerto.13 Thus, it appears that Amy Beach’s piano concerto was among the very first to be written by an American composer, and was the first to be written by an American woman composer. Amy Beach began writing her piano concerto in C-sharp minor in 1897- twelve years after she was married and one year after her monumental Gaelic Symphony was premiered by the Boston Symphony Orchestra. Before composing this work, Amy Beach had learned and performed several piano concertos, including Moscheles’s G minor, Chopin’s F minor, Mendelssohn’s D minor, Mozart's D minor, Beethoven’s C minor (with her own cadenza, Op.3), and Saint-Saëns’s G minor. Although her performances continued after her marriage, concerto performances became less frequent. According to Adrienne Fried Block, the main object of Amy Beach’s piano concerto was to present herself as a composer of an important composition with orchestra as well as a virtuoso concert pianist.14 Wilhelm Gericke, conductor of the Boston Symphony, engaged Amy Beach to play the premiere of her concerto before it was completed. She finished it in 1899 and premiered it on April 7, 1900. The themes of the four movements of the concerto are borrowed from three of her songs. The song quoted in the first movement is Jeune fille et jeune fleur, Op.1, No.3, a setting of a poem by the French poet Chateaubriand. The second movement is derived from her Empress of Night, Op.2, No.3 (1891), a setting of her husband, Dr. Henry Beach’s poem, At Night. The third movement is based on her setting of another of Dr. Beach’s poems.

FORMAL ORGANIZATION OF AMY BEACH’S PIANO CONCERTO

Movement I The first movement is in sonata allegro form. The exposition begins with the orchestra’s playing the first theme in the tonic key, C-sharp minor. (See Figure 1.)

13 Peter Dickinson. The American Concerto, In A Companion to the Concerto, 305, Ed. by Robert Layton, New York: Schirmer Books, 1989. 14 Block, 395.

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Orch.

Figure 1. The first movement, the main theme and its extension, mm. 1-6. (All figures are reprinted by permission of The Hildegard Publishing Company, Pennsylvania.)

The piano solo then enters with a brief cadenza and a fragment of the first theme. The countertheme is introduced by the piano while the orchestra again plays the first theme. (See Figure 2.)

Piano

Figure 2. The first movement, The counter theme, mm. 69-72.

In the transition section, a motive of the first theme and the complete transition theme are used in a modulatory passage which ends in the key of A major. After the transition the second theme is introduced in A major by the piano. It is then repeated in C-sharp major by a solo violin. (See Figure 3.)

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Piano

Figure 3. The first movement, the second theme, mm. 131-137.

The second theme group ends in the key of A major, followed by a modulatory closing group with all of the themes that were previously used. The development continues the modulatory treatment of the closing group, which ends in C-sharp minor. The first theme, the countertheme, the second theme, and materials that are unrelated to the preceding themes are presented in the development section. After the development, a brief retransition presents a fragment of the first theme in C-sharp minor. (See Figure 4.)

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Orch.

Piano.

Figure 4. The first movement, the retransition, mm. 278-281.

The recapitulation enters without textural separation from the development. The piano and the orchestra play together through the end of the development and into the first theme group of the recapitulation. The first theme is stated first in C-sharp minor and then repeated in F major. The second theme is first presented in D-flat major and is then repeated in F major. At the end of the second theme group, the second theme modulates through D-flat major to C-sharp minor. The following cadenza incorporates the first theme, the countertheme, the transition theme, and the beginning motive of the second theme along with materials that are unrelated to these themes. Motives of the first theme and the transition theme are used in the coda in C-sharp minor. (See Figure 5.)

Orch.

Figure 5. The first movement, the coda, mm. 407-417

Movement II The second movement is a scherzo in three-part form. It opens with a brief orchestral introduction featuring the beginning motive of theme A. (See Figure 6.)

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Orch.

Piano

Orch.

Figure 6. The second movement, the introduction and the beginning theme A, mm. 1-14.

Theme A is presented and repeated in several modified forms in the first section, which modulates from A major to C-sharp major. The first section ends in G major. The second section starts by presenting theme B in G major; followed by theme C, theme B, and a motive of theme A, employed in a modulatory passage. (See Figure 7 and Figure 8.)

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Orch.

Piano

Figure 7. The second movement, theme B, mm. 101-108.

Orch.

Figure 8. The second movement, Theme C, mm. 117-118.

The piano cadenza presents modulatory, free materials in the middle of the second section, which is followed by a short cadential passage formed by theme C in F major. In the third section theme A recurs in the key of A major. Theme B and theme C are also presented in the third section, modulating from D major to A major. This movement closes with a coda in A major featuring a motive of theme B and a chromatic scale in thirds. (See Table 2 on page 191) Movement III The third movement is through-composed and monothematic. It opens with a brief orchestral introduction presenting the motto motive of the main theme twice in F-sharp minor. (See Figure 9.)

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motto motive

Orch.

Figure 9. The third movement, mm. 1-4.

After the orchestra introduces the main theme in F-sharp minor, the piano cadenza presents the beginning part of the main theme and extends it with a sequence of the ending three notes from the second measure of the main theme. Following a brief cadenza, the piano presents the ornamented main theme in F-sharp minor accompanied by the orchestra. When the tempo changes to Poco piu mosso, fragments and motives of the main theme are presented as the basic developmental materials. The development section begins in A major and then becomes modulatory. After the return to tempo I, the orchestra again presents the main theme in F-sharp minor accompanied by the piano. The beginning motive of the main theme comprises the closing section. This movement ends on the dominant seventh chord of D major which transforms enharmonically to become the German sixth of C-sharp minor. (See Figure 10.)

Orch.

V7 Ger6 # / D / C

Figure 10. The end of the third movement, mm. 77-78.

Movement IV The final movement, which continues from the third movement without pause, is in rondo form. The piano solo introduces the first two notes of theme A, which are anticipated at the end of the preceding

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movement. (See Figure 11.)

Piano

# Ger6/C

Figure 11. The fourth movement, theme A, mm. 1-4.

The orchestra repeats theme A in the same key (C-sharp minor) without the piano accompaniment. Theme B, a bolero-like dance, is first introduced by the piano in E major accompanied by the orchestra (See Figure 12.) The orchestra repeats theme B in the same key with the piano accompanying it.

Orch.

Piano

Figure 12. The fourth movement, theme B, mm. 46-49.

Before theme A recurs, a cadential passage, combining theme B and a fragment of theme A, is followed by a piano cadenza using free materials. Theme A recurs in C-sharp minor played by the orchestra. This is followed by a bridge-like passage which changes the meter (from 6/8 to 9/8) as well as the tempo (from allegro to lento). In the lento section the piano begins a quasi-fantasy of theme A materials; the piano then recalls the motto motive of the third movement. The

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Orch.

Piano

motto motive of the third movement

Orch.

Piano

Figure 13. The fourth movement, mm. 128-132.

As the slow tempo proceeds, theme C is introduced by a cello solo in B major accompanied by the piano. It is stated only once and closes with the piano’s playing the beginning motive of theme A. After theme C, theme B recurs in A-flat major in its original meter (6/8) and tempo. It modulates through C major, D-flat major, and ends in B-double-flat major. Only the motives of theme A appear in the last section. The coda modulates, with fragments of theme B and theme A in sequence. The last movement ends in D-flat major, the parallel major to the main tonality of this work, C-sharp minor. (See Table 4 on page 194)

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TABLE 1.

FORMAL ORGANIZATION (MOVEMENT I). The first movement: Sonata Allegro Form

Section Description Key Measures Exposition: First theme group Orchestra The first theme C# minor (mm 1-35) Piano Cadenza with ragment C# minor (mm 35-68) of the first theme Orchestra & Piano First theme and C# minor (mm 69-92) countertheme Transition Orchestra & Piano First theme and Modulatory (mm93-131) ransition theme (keys of E-B-D-F-A majors)

Second theme group Piano Second theme A major (mm132-47) Violin & Orchestra & Second theme C# major to A (mm147-165) Piano major Closing group Orchestra & Piano Countertheme, Modulatory (mm166-182) transition theme and the first theme Piano Cadenza Ending on G# (mm182-192) minor

(continued).

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Section Description Key Measures

Orchestra First theme and Modulatory (G# (mm 192-215) second theme minor - B major - G major) Development Orchestra & Piano Countertheme, first Modulatory (mm 215-278) theme, and second Ending in C# theme minor Retransition Orchestra & Piano Fragment of the C# minor (mm 278-285) first theme Recapitulation First theme group Orchestra & Piano First theme C# minor - F (mm 286-303) major Second theme group Orchestra & Piano Second theme Db major – F (mm 304-349) major - Db major - C# minor Cadenza Piano First theme, Modulatory (mm 350-407) countertheme, transition theme, and motive of the second theme Coda Orchestra & Piano First theme and C# minor (mm 407-440) transition theme

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TABLE 2.

FORMAL ORGANIZATION (MOVEMENT II). The second movement: Scherzo.(Perpetuum mobile). Three-part form

Section Description Key Measures Introduction Orchestra Motive of theme A (mm 1-9) A Orchestra & Theme A A major – C# (mm 10-28) Piano minor Fragment of Theme A C# major (mm 29-37) Transformation of A major (mm 37-53) Theme A Transformation of D major - A (mm 53-71) Theme A major Fragment of Theme A C major - Eb (mm 73-100) major – G major B Orchestra & Theme B, theme C, and G major – G (mm 101-156) Piano motive of theme A minor – Bb major – C major Cadenza Piano Free materials Modulatory (mm 157-188) Closing of B Orchestra & Theme C F major (mm 189-199) Piano Ends on Ger.6 of A major (continued).

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Section Description Key Measures A Orchestra & Theme A A major – C# minor (mm 199-235) Piano Theme B D major (mm 236-243) Theme C & theme A A major (mm 244-249) Theme B A major (mm 260-267) Fragment of theme A A major (mm 267-277) Coda Orchestra & Motive of theme B A major (mm 278-292) Piano

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TABLE 3.

FORMAL ORGANIZATION (MOVEMENT III). The third movement (Through-composed)

Section Description Key Measures Largo Introduction Orchestra Motive of the main F# minor (mm 1-6) theme Orchestra The main theme F# minor (mm 7-15) Ends on V Cadenza 0 0 # Piano Fragment of the main VII 7 of F (mm 15-20) theme Orchestra & Piano The main theme with F# minor – A (mm 21-30) elaboration major Poco Piu Mosso Orchestra & Piano Fragments of the main Start with A (mm 31-56) theme major Modulatory Tempo I Orchestra & Piano The main theme F# minor (mm 57-66) Orchestra & Piano Motive of the main Modulatory (mm 67-78) theme Ends on V7 of D major, transformed to the Ger. 6 of C# minor

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TABLE 4.

FORMAL ORGANIZATION (MOVEMENT IV). The fourth movement: Rondo Form

Section Description Key Measures A Piano Theme A C# minor (mm 1-27) Orchestra Theme A C# minor (mm 28-43) B Orchestra & Piano Theme B E major-G# major (mm 46-74) Theme B Modulatory Closing section Orchestra & Piano Theme A & theme Ends on V7 of D (mm 74-86) B Cadenza Piano Free materials (mm 87-94) A Orchestra & Piano Theme A C# minor (mm 95-119) Bridge Orchestra & Piano Motive of theme B G# minor (mm 119-124) (Cyclic section) Theme A & theme G# minor (mm 125-135) from the third movement (continued).

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Section Description Key Measures C Orchestra & Piano Theme C B major (mm 135-147) B Orchestra & Piano Theme B Ab major – C (mm 148-168) major – Db major – Gb major - Bbb major A Orchestra & Piano Motive of theme Modulatory (mm 168-184) A Coda Orchestra & Piano Fragments of Modulatory Ends (mm 185-205) theme B & theme on Db major A

CONCLUSION

Often being mentioned as a member of the New England School, Amy Beach was trained in the United States, but her self-directed study mainly focused on the European Masters. Her music reflects aspects of Brahms, Wagner, and MacDowell, representing an extension of the late-Romantic style in early twentieth-century America. This study reveals certain stylistic traits of Amy Beach’s writing. The forms that she chooses for this piano concerto are traditional, including introductions, cadenzas, and codas. In the exposition of the sonata allegro form in the first movement, Amy Beach creates a recurring counter theme and a transition theme in addition to the two contrasting main themes, and uses all of them as development materials. Multiple thematic ideas also appear in the ternary form of the second movement where a new melodic idea (Theme C) is added and juxtaposed with theme B in the middle section. The third movement serves as an introduction to the finale in two ways: it goes without pause into the last movement, and both movements share the same thematic material. Cyclical use of thematic materials is found in the last

-194- Yang , Ching-Lan The Formal Organization of Amy Beach's Piano Concerto in C-sharp Minor, Op.45 movement. The fact that this last movement is a rondo belies the statement by E. Lindsey Merrill: “The rondo form does not exist in the works of Mrs. Beach.”15 In the past few years many of Amy Beach’s compositions, including piano works, organ works, choral music, chamber music, and art songs, have been republished and have been chosen as dissertation topics. However, many of her works are still waiting to be studied. This piano concerto is found to be imaginative, fresh, and well-crafted, requiring performers of considerable technical skill. It is hoped that this project will stimulate interest in Amy Beach’s piano concerto and will help the reader gain an insight into and an understanding of the piece. Furthermore, it is hoped that enthusiastic conductors and will bring this work to the concert stage again.

15 Merrill, 283.

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SELECTED BIBLIOGRAPHY

Books Ammer, Christine. Unsung: a History of Women in American Music. Westport, Conn. Greenwood Press, 1980. Block, Adrienne Fried (assisted by Nancy Stewart). “Women in American Music, 1800-1918”. Women and Music: a History. Ed. by Karen Pendle, Bloomington and Indianapolis: Indiana University Press, 1991. Block, Adrienne Fried. Amy Beach: Passionate Victorian. New York: Oxford University Press, Inc., 1998. Brower, Harriette. “Mrs. H. H. A. Beach: How a Composer Works,” Piano Mastery, Ed. by Harriette Brower, 179-187, New York: F. A. Stokes, 1917. Brown, Jeanell Wise. Amy Beach and Her Chamber Music: Documents, Biography, Style. Metuchen, New Jersey: The Scarecrow Press Inc., 1994. Dickinson, Peter. “The American Concerto.” A Companion to the Concerto. Ed. by Robert Layton, 305-325, New York: Shirmer Books, 1989. Eden, Myrna G. Energy and Individuality in the Art of Anna Huntington, Sculptor and Amy Beach, Composer. Metuchen N. J. And London: The Scarecrow Press, Inc., 1987. Elson, Louis C. The History of American Music. New York: The Macmillan Company, 1904. Goetschius, Percy. Mrs. H. H. A. Beach and Analytical Sketch. Boston: Arthur P. Schmidt, 1906. Howard, John Tasker. Our American Music. 4th ed., New York: Thomas Y. Crowell Company, 1965. Jenkins, Walter S. The Remarkable Mrs. Beach, American Composer. Ed. by John H. Baron. Michigan: Harmonie Park Press, 1994. Jezic, Diane Peacock. Women Composers: The Lost Tradition. City University of New York, New York: The Feminist Press, 1988. Tick, Judith. “Passed Away is the Piano Girl: Changes in American Musical Life: 1870-1900.” Women Making Music: The Western Art Tradition. Ed. by Jane Bowers and Judith Tick, 325-344, Urbana and Chicago: University of Illinois Press, 1986.

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Periodicals Adams, Mrs. Crosby. “The American Genius of World Renown: Mrs. H. H. A. Beach.” Etude (January 1928): 34. . “Debuts & reappearances.” High Fidelity/Musical America (July 1976): MA-29. Block, Adrienne Fried. “‘Veritable autobiography’? Amy Beach’s Piano Concerto in C-Sharp Minor, Op. 45.” Musical Quarterly 78 (1994), 394-416. . “Why Amy Beach Succeeded as a Composer: The Early Years.” Current Musicology 36 (Spring 1983): 41-59. Brooks, Benjamin. “The ‘How’ of Creative Composition.” Etude (March 1943): 151. Browne, C. A. “Girlhood of Famous .” Etude (July 1909): 488-9. Cowen, Gertrude, “Mrs. H. H. A. Beach, the celebrated composer,” Musical Courier LX/23 (June 1910): 14-15. Elder, Dean. “Where was Amy Beach All These Years? An Interview with Mary Louise Boehm.” Clavier 15/9 (December 1976): 14-17. Freed, Richard. “The Piano Works of Mrs. H. H. A. Beach: Demonstrating the Irrelevance of Gender.” Stereo Review 35 (December 1975): 82-3. Hughes, Edwin. “The Outlook for the Young American Composer.” Etude 33/1 (January 1915): 13-14. Jacob, O. P. “Mrs. Beach’s New Concerto Played: Berlin Audience Hears Ambitious Work by American Woman Who Appears as Pianist.” Musical America XIX/10 (10 January 1914): 35. Macdonald, Claudia. “Critical Perception and the Woman Composer: The Early Reception of Piano Concertos by Clara Wieck Schumann and Amy Beach. Current Musicology 55, 1993. Peyser, Herbert F. “Believes Women Composers Will Rise To Greater Heights in World Democracy.” Musical America 25 (21 April 1917): 3. Tuthill, Burnet C. “Mrs. H. H. A. Beach.” Musical Quarterly 26/3 (July 1940): 297-306.

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Unpublished Dissertations and Theses Merrill, Lindsey E. “Mrs. H. H. A. Beach: Her Life and Music.” Ph.D., Diss., Eastman School of Music, University of Rochester, 1963. Miles, Marmaduke Sidney. “The Solo Piano Works of Mrs. H. H. A. Beach.” D. M. A. Diss., Peabody Institute of Johns Hopkins University, 1985.

Bibliographies and Other Reference Works Block, Adrienne Fried. “Beach, Amy March (Cheney)” in The new Grove Dictionary of American Music, edited by H. Wiley Hitchcock and . London: Macmillan Press Limited, 1986. ______. “Amy Marcy Beach” The Norton/Grove Dictionary of Women Composers. Edited by Julie Anne Sadie and Rhian Samuel. New York: W. W. Norton & Company, Inc., 1995. Block, Adrienne Fried, and Neuls-Bates, Carol. Women in American Music, a bibliography of Music and Literature. Westport, CT. Greenwood Press, 1979. Cohen, Aaron. International Encyclopedia of Women Composers, 1, 2nd ed., New York: Books and Music USA, 1987. Sadie, Julie-Anne, and Rhian Samuel, eds. The Norton/Grove Dictionary of Women Composers. New York: W. W. Norton, 1995.

Discogrophy Beach, Amy. and Daniel Gregory Mason. Beach Concerto in C-Sharp Minor for Pianoforte and Orchestra, Op. 45 Mason Prelude and Fugue for piano and Orchestra, Op. 20. Turnabout QTV34665, 1976, Record, New York: Vox Production Inc.

Music Beach, Amy. Piano Concerto in C# Minor, Op. 45. Score. 1900, Fleisher Collection, Free Library, Philadelphia. . Piano Concerto in C# Minor, Op. 45. Bryn Mawr, Penn.: Hildegard Publishing Company, 1995.

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AMY BEACH 升 C 小調鋼琴協奏曲的 曲式組織之分析

楊景蘭

摘 要

本文的目的是想藉著分析 Amy Beach 的代表性創作，讓世人再一次認識這位曾 對美國浪漫派音樂有卓越貢獻的女作曲家，進而引起音樂學習者研究或演奏的興趣， 並提供愛好音樂者一個選擇。 本文先就相關文獻逐一探討，再介紹 Amy Beach 的生平事蹟。其中並包含了在 不同時期樂評家對這首鋼琴協奏曲所給予不同的評價。接著介紹該曲的作曲背景及本 研究的重心-升 C 小調鋼琴協奏曲的曲式組織之分析。 分析的結果發現 Amy Beach 雖在這首協奏曲仍選用傳統的曲式，但其所採用主 題的發展方式，以及主題在樂章間的關連，都充滿作曲者個人獨特的風格，是一首非 常具有代表性的作品。

關鍵字: Amy Beach， 鋼琴協奏曲，曲式。

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