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Hans Gál: Style and Writing for the Violin in the Sonata in D for Violin and Piano

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Hans Gál: Style and Writing for the Violin in the Sonata in D for Violin and Piano Hans Gál: Style and Writing for the Violin in the Sonata in D for Violin and Piano by Vladimir Gebe A Research Paper Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts Approved March 2019 by the Graduate Supervisory Committee: Katherine McLin, Chair Russell Ryan Ellon Carpenter ARIZONA STATE UNIVERSITY May 2019 ©2019 Vladimir Gebe All Rights Reserved ABSTRACT Hans Gál is arguably one of the most underrated, underperformed and forgotten composers of the twentieth century. Once a prolific composer in the 1920s and 1930s, Gál’s career was cut short by the Nazi regime in 1933 when he was fired, and his works banned due to his Jewish heritage. Following the Second World War, his music was relegated as obsolete, belonging to a bygone era. Hans Gál is a perfect example of the intransigence, superficiality, and discrimination of the evolving musical fashion, and his life-story speaks to the misfortunes and persecution of the Jewish people in the mid- twentieth century. Consequently, Hans Gál is known today mainly as an educator, scholar, and editor of Brahms’s works, rather than as a composer, despite an impressive compositional output spanning over 70 years covering every major musical genre. Within his impressive oeuvre are several little-known gems of the violin repertoire, including the Sonata in D for Violin and Piano and Violin Concerto op. 39 among others. Scholarly writings on Gál and his music are unfortunately scarce, particularly such works exploring his violin music. However, recent years have seen an increased interest in resurrecting the music of Gál. Recordings of his major works as well as research of his music have furthered the awareness and understating of this forgotten composer’s music. In my document, I will continue the path of recent rediscovery and celebration of this unsung hero of twentieth- century post-Romanticism with an in-depth look at his Sonata in D for Violin and Piano (1933). A light-hearted, accessible and unpretentious work, the Sonata in D distinguishes i itself in the violin-piano sonata repertoire of the interwar period by its witty, clear use of form and motivic/thematic unity in the vein of the great Viennese masters. Gál’s take on traditional idioms such as tonality, coupled with masterful use of the implication/realization process, create a highly original and noteworthy style, that renders the Sonata in D an immediately appealing work for performers and listeners alike. ii In loving memory of Dr. Victoria Nicolae (1947-2015) iii ACKNOWLEDGMENTS This research project would not have been possible without the guidance of Dr. Katie McLin. Thank you for the past four years of mentoring, for always believing in me, sometimes more than I believed in myself. Last but not least, I am forever in your debt for pointing me towards the music of Hans Gál. My heartfelt appreciation goes to Dr. Ellon Carpenter and Prof. Russell Ryan for their pivotal role in the research and performance of this piece. I am honored to have been your student during my doctoral studies. I can honestly say I am a better musician thanks to your artistry, scholarship, and humanity. I could not have brought this project to its practical fruition without the help of my piano partner, Katie Jihye Yoo. Thank you for your beautiful musicianship, for donating your time and talent to making the performances of the sonata happen. Special thanks go to the ASU Hillel organization and the Jewish Community Foundation of greater Phoenix for making the lecture recital possible through the Joan Frazer Award for Judaism and the Arts. Also, a big thank you goes to the Arizona Jewish Historical Society for providing the beautiful Cutler-Plotkin Jewish Heritage Center as the venue for the recital. iv Finally, I would like to thank my family, especially my parents for their unconditional love, their support both emotional and material throughout my lengthy academic education. Though you are far away, you are in my thoughts always. Also, I could not have completed this project without the loving support of the love of my life, my best friend and my wife, Caitlin. Thank you for being there for me every step of the way. My success is your success. v TABLE OF CONTENTS Page LIST OF TABLES ................................................................................................................. vii LIST OF FIGURES .............................................................................................................. viii LIST OF EXAMPLES ............................................................................................................. ix CHAPTER 1 INTRODUCTION .................................................................................................. 1 2 HANS GÁL ............................................................................................................ 6 2.1 Biography .................................................................................................... 6 2.2 Musical Heritage ....................................................................................... 15 2.3 Gál and His Contemporaries .................................................................... 21 3 THE SONATA IN D .............................................................................................. 24 3.1 Overview ................................................................................................... 26 3.2 Allegretto Quasi Andante ......................................................................... 33 3.3 Scherzo ...................................................................................................... 54 3.4 Largo Con Espressione ............................................................................ 62 3.5 Allegro Poco Sostenuto, Ma Con Fuoco ................................................. 71 4 BIOGRAPHICAL EPILOGUE ........................................................................... 82 5 CONCLUSION .................................................................................................... 87 BIBLIOGRAPHY ................................................................................................................. 91 APPENDIX A PERMISSION LETTER FROM THE PUBLISHER ......................................... 96 B LECTURE RECITAL POSTER .......................................................................... 98 vi LIST OF TABLES Table Page 3-1. Hans Gál, Allegretto Quasi Andante, Table of Motives ....................................... 42 3-2. Gál, Largo Con Espressione, Phrase Correspondence Between A1 and A2 ....... 67 3-3. Gál, Allegro Poco Sostenuto, Ma Con Fuoco, Motivic, Thematic and Tonal Content ......................................................................................................... 78 vii LIST OF FIGURES Figure Page 3-1. Hans Gál, Sonata in D, Alegretto Quasi Andante, Form Diagram (Simplified) .. 31 3-2. Gál, Sonata in D, Scherzo, Form Diagram (Simplified) ....................................... 32 3-3. Gál, Sonata in D, Third Movement, Form Diagram (Simplified) ....................... 33 3-4. Gál, Sonata in D, Allegretto Quasi Andante, Form Diagram (Extended) ............ 35 3-5. Gál, Sonata in D, Scherzo, Form Diagram (Extended) ........................................ 55 3-6. Gál, Sonata in D, Largo Con Espressione, Form Diagram .................................. 64 3-7. Gál, Sonata in D, Allegro Poco Sostenuto, Ma Con Fuoco, Form Diagram ....... 73 viii LIST OF EXAMPLES Example Page 3-1. Hans Gál, Sonata in D, Alegretto Quasi Andante, mm. 1-3 ............................... 36 3-2. Gál, Sonata in D, Allegretto Quasi Andante, Melodic Outline of mm. 1-3 ....... 36 3-3. Gál, Sonata in D, Alegretto Quasi Andante, mm. 3-4 ......................................... 37 3-4. Gál, Sonata in D, Alegretto Quasi Andante, Melodic Outline in mm. 3-4 ........ 37 3-5. Gál, Sonata in D, Alegretto Quasi Andante, Motives in mm. 1-6 ...................... 41 3-6. Gál, Sonata in D, Alegretto Quasi Andante, mm. 9-16 ...................................... 43 3-7. Gál, Sonata in D, Alegretto Quasi Andante, mm. 41-44 .................................... 44 3-8. Gál, Sonata in D, Alegretto Quasi Andante, mm. 41-47, S Theme Motives ..... 45 3-9. Gál, Sonata in D, Alegretto Quasi Andante, Melodic Outline of mm. 41-47 .... 45 3-10. Gál, Sonata in D, Alegretto Quasi Andante, Melodic Outline of mm. 53-56 .... 46 3-11. Gál, Sonata in D, Alegretto Quasi Andante, Harmonic Progression in mm. 122-129 ......................................................................................................... 49 3-12. Gál, Sonata in D, Alegretto Quasi Andante, mm. 72-78 .................................... 51 3-13. Gál, Sonata in D, Alegretto Quasi Andante, Melodic Outline, mm. 192-196 ... 52 3-14. Gál, Sonata in D, Alegretto Quasi Andante, mm. 192-196 ................................ 53 3-15. Gál, Sonata in D, Scherzo, Opening Figures in m. 1, 3 ...................................... 58 3-16. Gál, Sonata in D, Scherzo, Motives in mm. 1-9.................................................. 59 3-17. Gál, Sonata in D, Scherzo, Closure of the Theme in mm. 381-397 ................... 62 3-18. Gál, Sonata in D, Scherzo, Closure Alterations of the Theme ........................... 62 3-19. Gál, Sonata in D, Largo Con Espressione, mm. 1-4 .......................................... 65 3-20. Gál, Sonata in D, Largo Con Espressione, Melodic Outline of mm. 1-12 ........ 68 ix Example Page 3-21. Gál, Sonata in D, Largo Con Espressione,
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