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Debussy and Schoenberg: Two Musical Reactions to Late Romanticism Priscila Ott Alcf Ao Oliveira James Madison University

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Debussy and Schoenberg: Two Musical Reactions to Late Romanticism Priscila Ott Alcf Ao Oliveira James Madison University James Madison University JMU Scholarly Commons Dissertations The Graduate School Spring 2015 Debussy and Schoenberg: Two musical reactions to late romanticism Priscila Ott alcF ao Oliveira James Madison University Follow this and additional works at: https://commons.lib.jmu.edu/diss201019 Part of the Music Performance Commons Recommended Citation Ott alcaF o Oliveira, Priscila, "Debussy and Schoenberg: Two musical reactions to late romanticism" (2015). Dissertations. 23. https://commons.lib.jmu.edu/diss201019/23 This Dissertation is brought to you for free and open access by the The Graduate School at JMU Scholarly Commons. It has been accepted for inclusion in Dissertations by an authorized administrator of JMU Scholarly Commons. For more information, please contact [email protected]. Debussy and Schoenberg: Two Musical Reactions to Late Romanticism Priscila Oliveira A dissertation submitted to the Graduate Faculty of JAMES MADISON UNIVERSITY In Partial Fulfillment of the Requirements for the degree of Doctor of Musical Arts School of Music May 2015 Acknowledgments First and foremost, I praise God for providing me this opportunity and granting me the capability to proceed successfully. I thank him for allowing the right people to assist me during this work. I would like to express my deepest gratitude to my advisor and piano teacher, Dr. Lori E. Piitz, for her unbound guidance, support, encouragement and patience during the whole period of study, as well as during the writing process. I am also very grateful to Dr. Erik Ruple and Dr. Jason Haney, members of my committee, for their time spent in examining this document, and for their invaluable advice and helpful suggestions for improving it. My heartfelt gratitude to my family for their warm support. To my parents, who provided my inspiration and motivation to be a pianist, and my sister, who has always believed in me and encouraged me in so many ways. My special thanks to my husband for his enormous patience and comfort, sharing the burden of my graduate work, and always having faith in me. Thank you for your love, without which this would not have been possible. ii Table of Contents Acknowledgments ................................................................................................ ii List of Figures ....................................................................................................... iv List of Musical Examples ...................................................................................... v Abstract ................................................................................................................. viii I. Introduction ......................................................................................... 1 II. From Romanticism to the Twentieth Century ....................................... 3 III. Debussy ............................................................................................... 9 III. 1 Extra-Musical Influences ............................................................ 12 III. 2 Musical Influences ...................................................................... 18 III. 3 Writing Style and Compositional Techniques ............................. 34 III. 4 Pianistic Considerations .............................................................. 52 IV. Schoenberg .......................................................................................... 57 IV. 1 Extra-Musical Influences ............................................................ 62 IV. 2 Musical Influences ..................................................................... 65 IV. 3 Writing Style and Compositional Techniques ............................. 72 IV. 4 Pianistic Considerations.............................................................. 86 V. Conclusion ........................................................................................... 90 Bibliography .......................................................................................................... 104 iii List of Figures Figure 1 – Debussy, Ondine ................................................................................... 38 Figure 2 – Debussy, Les fées sont d’exquises danseuses ......................................... 42 Figure 3 – Debussy, Ce qu’a vu le vent d’ouest ...................................................... 50 Figure 4 – Schoenberg, Three Piano Pieces, op. 11, no. 1 ...................................... 78 iv List of Musical Examples Example 1 – Liszt, La Lugubre Gondola II, mm. 161-168 .................................... 7 Example 2 – Liszt, Nuages Gris, mm. 41-48 .......................................................... 7 Example 3 – Debussy, “Les fées sont d’exquises danseuses ,” mm. 11-13 .............. 17 Example 4 – Debussy, “Les fées sont d’exquises danseuses ,” mm. 28-31 .............. 17 Example 5 – Debussy, “Les fées sont d’exquises danseuses ,” mm. 84-88 .............. 18 Example 6 – Liszt, Der traurige Mönk , mm. 1-7 .................................................... 23 Example 7 – Liszt, Unstern: Sinistre, Disastro , mm. 52-57 (whole-tone scale) ...... 23 Example 8 – Debussy, Prelude from Pour le piano , mm. 152-153 ......................... 24 Example 9 – Debussy, Ce qu’a vu le Vent d’Ouest , mm. 19-20 .............................. 24 Example 10 – Debussy, Ce qu’a vu le Vent d’Ouest , m. 36 .................................... 24 Example 11 – Liszt, Unstern: Sinistre, Disastro , mm.58-67 (parallel augmented chords) ............................................................ 25 Example 12 – Debussy, Prelude from Pour le piano , mm. 43-45 ........................... 25 Example 13 – Liszt, Czárdás Macabre, mm. 1-20 ................................................. 26 Example 14 – Debussy, “Les fées sont d’exquises danseuses ,” mm. 9-12 (parallel fifths) ................................................................................. 26 Example 15 – Debussy, La cathédrale engloutie , mm. 13-15 ................................. 26 Example 16 – Debussy, The Golliwog’s Cake-Walk , mm. 58-67 ............................ 28 Example 17 – Wagner, Tristan and Isolde , Prelude, mm. 1-3 ................................. 28 Example 18 – Debussy, Pagodes , mm. 1-6 ............................................................ 32 Example 19 – Debussy, Pagodes , mm. 10-15 ........................................................ 33 Example 20 – Debussy, Ondine , mm. 57-62 .......................................................... 37 Example 21 – Debussy, Ondine , Motive “d” .......................................................... 39 v Example 22 – Debussy, Ondine , Theme 1 and Theme 2......................................... 40 Example 23 – Debussy, Ondine , mm. 1-7 .............................................................. 41 Example 24 – Debussy, “ Les fées sont d’exquises danseuses ,” mm. 1-5 ................. 43 Example 25 – Debussy, Brouillard , mm. 1-3 ......................................................... 44 Example 26 – Debussy, Feux d’artifice , mm. 1-2................................................... 44 Example 27 – Debussy, “Les sons et les parfums tournent dans l’air du soir,” mm. 33-36 ...................................................................................... 46 Example 28 – Debussy, Ondine , mm. 50-53 .......................................................... 46 Example 29 – Debussy, La Cathédrale engloutie , mm. 13-15 ................................ 47 Example 30 – Debussy, Ce qu’a vu le vent d’ouest , mm. 7-10 (parallel major chords) .................................................................... 47 Example 31 – Debussy, Ce qu’a vu le vent d’ouest , mm. 10-13 (parallel seconds) . 47 Example 32 – Debussy, Ce qu’a vu le vent d’ouest , mm. 33-34 (parallel major chords) .................................................................... 48 Example 33 – Debussy, Ce qu’a vu le vent d’ouest , m. 35 (parallel seconds) ......... 48 Example 34 – Debussy, Ce qu’a vu le vent d’ouest , mm. 46-48 (parallel seventh chords) ................................................................. 48 Example 35 – Debussy, Voiles , mm. 1-9 ................................................................ 51 Example 36 – Debussy, Voiles , mm. 14-17 (superimposition of layers) ................. 52 Example 37 – Debussy, Prelude from Pour le piano , mm. 7-15 ............................. 54 Example 38 – Debussy, Ondine , mm. 4-10 ............................................................ 55 Example 39 – Bach, Fugue in F Minor, BWV 857, mm. 1-6 .................................. 66 Example 40 – Bach, Fugue in B Minor, BWV 869, mm.1-4................................... 67 Example 41 – Liszt, Unstern: Sinistre, Disastro , mm. 1-15.................................... 69 Example 42 – Schoenberg, Three Piano Pieces, op. 11, no. 2, mm.1-3 ................... 69 vi Example 43 – Schoenberg, Five Piano Pieces, op. 23, no. 5 (Waltz), mm. 1-9 ....... 70 Example 44 – Schoenberg, Three Piano Pieces, op. 11, no. 1, mm. 11-13 .............. 75 Example 45 – Schoenberg, Three Piano Pieces, op. 11 no. 1, mm. 36-37 ............... 75 Example 46 – Schoenberg, op. 11, no. 1, mm. 1-10 ............................................... 76 Example 47 – Schoenberg, Three Piano Pieces, op. 11, no. 1, mm. 22-29 .............. 79 Example 48 – Schoenberg, Three Piano Pieces, op. 11, no.1, mm. 52-55 ............... 79 Example 49 – Schoenberg, Three Piano Pieces, op. 11, no. 1, mm. 57-64 .............. 80 Example 50 – Schoenberg, Three
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