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Reconsidering Conventional Techniques in the Performance of the Violin Music of the Second Viennese School

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Reconsidering Conventional Techniques in the Performance of the Violin Music of the Second Viennese School Emily Westen Doctor of Music Schulich School of Music McGill University, Montreal A paper submitted to McGill University in partial fulfillment of the requirements of the degree ofD.Mus. Performance Studies August 2011 © Emily Westell, 2011 ABSTRACT This thesis provides possible solutions for incorporating the musical language of the Sec­ ond Viennese School into the canon of violin technique. Following a review of the pre­ existing literature in order to assess the areas of contemporary technique that have al­ ready been studied and published, the influence of two violinists is examined, that of Rudolf Kolisch and Louis Krasner. Both artists performed the music during the compos­ ers' lifetimes and both worked directly with each composer during the performance preparations. This important historical fact allows us to understand how certain elements of violin technique were used in performances heard by the composers. Subsequently, in order to expand the technical abilities and musical understanding of today's violinists, sample technical exercises and etudes are provided with explana­ tions that attend to matters specific to the violin music of the Second Viennese School. Sample exercises include left hand techniques such as fingering, shifting, and intonation, as well as right hand techniques, addressing issues of bowing, dynamics, and extended techniques. Musical considerations such as ensemble playing, gesture, and syntax are also included, as these are directly connected to the School's compositional techniques. The concepts presented in this thesis provide a framework for, and suggest guidelines to, ap- proaching the School's violin music in order to expand the pedagogical approach to vio­ lin technique while incorporating other issues found in this music. Ease of study and exe­ cution of this repertoire as well as other non-diatonic music will naturally follow. ABREGE La these procure de possibles solutions afin d'incorporer le langage musical de la Se­ conde Ecole de Vienne dans les canons de la technique et le jeu du violon. Suivant une revue de la litterature existante dans le but d'evaluer divers aspects de la technique contemporaine deja etudiee et sur lesquels des publications existent, !'influence de deux violonistes sera examinee, celle de Rudolf Kolisch et Louis Krasner. Ces deux artistes ont interprete cette musique alors que les trois Viennois etaient encore vivants, et tous deux ont travaille etroitement avec chaque compositeur lors des repetitions. Ce fait historique important nous permet de comprendre de queUe maniere la technique et le jeu du violon etaient employes lors d'interpretations que ces compositeurs ont pu entendre. Par la suite, afin d'accroitre les habiletes techniques et la comprehension musicale des violonistes d'aujourd'hui, des exercices modeles et des etudes sont foumis avec des explications liees aux questions specifiques en ce qui conceme le violon a la Seconde Ecole de Vienne. Les modeles s'adressent ala technique pour la main gauche, telle que le doigte, les demanches et !'intonation, de meme que la technique pour la main droite, no­ tamment le mouvement de l'archet, les dynamiques, et des techniques plus avancees. Au­ tres considerations musicales telles que le jeu d'ensemble, la gestuelle et la syntaxe sont egalement examinees, puisqu'elles sont directement liees aux techniques compositionnel­ les de l'Ecole. Les concepts presentes dans cette these procurent done une structure ainsi que des directives afin d'aborder la musique pour violon avec une pedagogie elargie, tout en incorporant d'autres considerations presentes dans cette musique. La facilite d'etude et d'execution de ce repertoire, de meme que d'autres musiques non diatoniques, s'ensuivra naturellement. ii ACKNOWLEDGEMENTS I would like to gratefully acknowledge the following individuals and organizations: The Social Sciences and Humanities Research Council of Canada (SSHRC) for its generous funding and support of this project Dr. John Rea, my Music Research supervisor for this project, along with the other members of my doctoral advisory committee: Prof. Jonathan Crow, Dr. Julie Cumming, Dr. Douglas McNabney, and Dr. Eleanor Stubley The Canada Council for the Arts and the Alberta Foundation for the Arts for their support of my performances ofthe violin music of the Second Viennese School The Banff Centre for the Arts and Henk Guittart, Director ofFall and Winter Programs, for research and performance opportunities related to this project Seymour Schulich and the Schulich School ofMusic ofMcGill University for additional funding and support for this degree Special Collections and Archives at Houghton Library, Harvard University The pianists who tackled this difficult and demanding repertoire with me and without whom this project would be impossible, particularly Roger Feria Jr., and Sibila Konstantinova Dr. Claudine Jacques for help in translating my abstract into French iii DEDICATION This project is dedicated to the memory of Dr. Lise Elson, a great violin teacher and men­ tor. The musical insights from her 1966 doctoral dissertation inspired this one, forty-five years later, encouraging me to become both a violinist and academic. Many of the concepts in this paper are the result of years of lessons and study with many different musicians. I am especially grateful to my violin teachers - Edmond Agopian, Jonathan Crow, Miriam Fried, and Tobi Jurchuk- for all of their generosity and the knowledge they have shared with me. None of this would be possible without the unconditional love of my parents, who have supported me no matter what. I am truly grateful for the time, energy, kindness, and love they have put into raising me, and for their faith in me as I pursue a career in music. Finally, I would like to thank my beloved Roger Feria Jr. for his continuing love, friend­ ship, support, and for sharing his musical, artistic, and culinary talents with me. iv TABLE OF CONTENTS ABSTRACT ...................................................................................................................... i ABREGE ........................................................................................................................... ii ACKNOWLEDGEMENTS .............................................................................................. iii DEDICATION .................................................................................................................. iv TABLE OF CONTENTS .................................................................................................. v LIST OF MUSICAL EXAMPLES ............................................................... vii LIST OF FIGURES ······················································· ......... ········································· X PREFACE ........................................................................................................................ xi 1 Introduction ......................................................................................................... 1 1.1 Background .................................................................................................... 2 1.2 Objectives ...................................................................................................... 5 1.3 Methodology .................................................................................................. 7 2 Review of the Literature ..................................................................................... 10 2.1 G. Fischbach .................................................................................................. 10 2.2 P. Zukofsky .................................................................................................... 12 2.3 S. Babitz ......................................................................................................... 14 2.4 General Sources ............................................................................................. 15 3 The Influence of Violinists I: Louis Krasner .................................................... 17 4 The Influence of Violinists II: Rudolf Kolisch ................................................. 25 4.1 Emphasis on Technique .................................................................................. 29 5 Left Hand Technique .......................................................................................... 37 5.1 Ear Training .................................................................................................... 3 7 5.2 Fingerings ....................................................................................................... 40 5.3 Using Composition Materials to Determine Fingerings ................................. 42 5.4 Intonation ........................................................................................................ 44 v 6 Right Hand Technique ....................................................................................... 47 6.1 Basic Bowing Skills ....................................................................................... 48 6.2 Bowing Decisions .......................................................................................... 55 6.3 Timbre and Extended Techniques ................................................................. 58 7 Musical Considerations ....................................................................................
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