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Home , Character piece, Gavotte, Masques et bergamasques, Passepied, Suite bergamasque

CALIFORNIA STATE UNIVERSITY, NORTHRIDGE

RECITAL AND CONCERTO WORKS BY BACH, BEETHOVEN, RACHMANINOFF, , ZHAO, and SHOSTAKOVICH

A graduate project submitted in partial fulfillment of the requirements For the degree of Master of Music in Music, Performance

By Aiting Zheng

May 2016 The graduate project of Aiting Zheng is approved:

______

Pro. Edward A Francis Date

______

Dr. Alexandra Monchick Date

______

Dr. Dmitry Rachmanov. Chair Date

California State University, Northridge

ii Table of Contents

Signature Page…………...…………………………………….…………………..…...... ……ii Abstract…………...…………………………………………….……………….....……...…..iv French Suite No.5 in G Major, BWV 816, by ….……………..…..….1

Piano sonata No.27 in E minor, Op.90, by …………..…..…...... …..5 Etudes-Tableaux Op.39 No.4 in B minor and Op.33 No.4 in D minor, by ………………………….…..…...………....8 Suite Bergamasque, by ………………….…………...……..….………...... 11 Pi Huang, by Zhao Zhang………………………………………………………....….….....…15 Concerto for , and string in C minor, Op.35 No.1, by Dmitri Shostakovich.…..17 Bibliography …………...……………………………………………………….…….…..…...20 Appendix A: Program I (Solo Recital).………………………….……………………...... …22

Appendix B: Program II (Concerto Recital)……………………...………………….…..…….24

iii ABSTRACT

RECITAL AND CONCERTO

By Aiting Zheng Master of Music in Music, Performance

In the following paper, I will analyze works that I performed within a solo recital and a concerto recital. The recital consisted of works by Johann Sebastian Bach, Ludwig van Beethoven,

Sergei Rachmaninoff, Claude Debussy, and Zhao Zhang, and the goal of the following analysis will be to research and explain the related performance practices of these composers.

To a musician, interpretation is always of the utmost importance in the learning of a new work. One must consider the historical period in which the work was written in order to give a convincing and authentic performance. Different periods of music have different styles and the performer must therefore play the piece in the appropriate style in order to faithfully represent the composer’s intentions. Some composers such as Rachmaninoff—who lived during the Late

Romantic era—had the opportunity to record their own pieces. Due to the existence of these recordings, contemporary listeners can have a clear sense of Rachmaninoff’s musical style. A performer can listen to Rachmaninoff himself play his own works: listening to such recordings can be very helpful to a pianist today in deciding how to play the works of Rachmaninoff.

However, most works that pianists play today were composed before the twentieth century, when

iv recorded sound did not even exist. Thus, in order for one to comprehend the musical intentions of composers that wrote prior to the twentieth century, one must simply discover the musical style through the study of the literature.

In this paper, I will focus on the correct interpretation of these pieces from a stylistic prospective. I will introduce each piece by providing a brief historical background. Furthermore, I will provide a harmonic, rhythmic and structural analysis in order to gain a better overall understanding of each work. Ultimately, I will compare various references related to interpretation and discuss the style in which each piece should be performed.

v French Suite No.5 in G Major, BWV 816 by Johann Sebastian Bach

J. S. Bach was a German composer in Baroque period. He epitomized the musical thought of the Baroque period and absorbed different music styles from various countries, such as

Germany, France and Italy. Bach composed more than twenty suites for keyboard. There are

English suites, French suites, Partitas and others. Some of Bach’s suites were named after the composer’s death and refer to their style of music, such as the French Suite No.5, which was written in a French manner. This suite was composed around 1722 and the motive of this suite is based on a G major triad. The suite contains seven pieces, including , ,

Sarabande, , Bouree, Loure and . The order of pieces follows the form of the traditional suite. Among these pieces, the set of Allemande, Courante, and Gigue is a standard structure for many of Bach’s suites. The added movements are strongly related to French dance music.

The Allemande, which means “German,” was a popular dance form in France in the sixteenth century. This piece is in 4/4 meter with a flowing . It begins with B, which is the dominant note of E minor and ends in a G major chord. There are three voices that develop together and the soprano provides the main theme. The soprano melody gives the work an elegant and peaceful atmosphere. It is standard . When I performed this Allemande, I added some ornaments in the repeat to make it different from the first time. During the Baroque period, improvising was one of the most important skills for any performer. By the twentieth century, such improvisation was no longer commonplace, and the written score became central to piano

1 performance. There are many repeated notes, as in measure seven, in which there are sixteenth notes in the right hand. In Classical music style, pianists are likely to bring out the B-A-G-F-E as a melody line. Nevertheless, in , every note is individual and equal since the pieces were originally written for harpsichord, which is not able to play with dynamics in the manner of a modern piano.

The second piece in the suite, the Courante, is a traditional French ballroom dance. In the same manner as the Allemande, it begins on the upbeat but in a faster tempo. The whole piece develops by scale-model and the melody appears in both hands alternately, like children playing hide-and-seek. I prefer to play the eighth-notes in detached order to make the piece sound animated and lively.

The Sarabande is in 3/4 meter with a slow and expressive tempo. The Sarabande was originally a lively Spanish dance music. However, it became a slow court dance after it spread to

Italy in the seventeenth-century. From the beginning, the left hand plays a low and solid base to support the right hand’s melody. The accent on the second beat is a feature of Spanish dance music. There is a very notable suspension from G to F in the last two measures before the first repeat. The G in left hand should be held until the next measure and the F should be played clearly. In the very last two measures the suspension from C to B should be played in the same way.

2 The Gavotte was named from a French folk dance and was famous in France during the eighteenth-century. It is in 4/4 meter with a moderato tempo. The vivid theme gives the piece a cheerful and bright atmosphere.

In 4/4 time, the Bourree is also a French dance similar to the Gavotte. However, in contrast to the Gavotte, the Bourree has a rapid tempo. The Bourree begins in the bright key of G major key and ends in this key as well. The left hand accompanies with a four eighth-note pattern, giving continuous support to the right hand. However, this repeated pattern in the left hand can potentially cause the piece to come off as boring. There are plenty of ways to add variety to the performance by interpreting it in different ways. I add a slur on the first two eighth notes, and play the third and fourth notes in the eighth-note pattern in a staccato fashion.

The Loure can be considered a kind of slow Gigue. In French Suite No.5, the Loure is in 6/4 meter with a slow tempo. The right hand presents the melody D-B-A-G and the left hand imitates the melody but in a different register. In the first measure, the grace note should be played on the downbeat and its value should equal one eighth note. The ornaments usually start on the upper auxiliary and should be played elegantly, not too fast.

The closing piece is a Gigue in 12/16 meter. Although it has a compound meter, it should be counted in four beats per measure. There are twelve sixteenth notes in the first measure, three of them in a group. This Gigue is a three-voice fugue. In the second part, Bach inverses the subject of the first half. The Gigue is the most technically challenging movement in this suite.

3 Fingertip technique is of the utmost importance in this piece and every note needs to be played with the utmost clarity.

Overall, all movements of French Suite No.5 are in typical binary Form. In the A section, they start with G major chord and end on the dominant chord. In the B section, they begin with the dominant chord and conclude with the tonic G major chord. The Allemande and the Bourree develop their melody with B-D-G, which is the first inversion of the G major chord.

The Courante, Gavotte and Loure begin with a descending G major chord. Conversely, the

Bourre and Gigue begin with an ascending G major chord. In this suite, every piece has its distinct character while they are also have an inner connection to the others, with regard to harmony, musical form and style.

4 Piano sonata No.27 in E minor, Op.90 by Ludwig van Beethoven

This piano sonata is from Beethoven’s late middle period. Later in his life, he began to break free from the confines of traditional forms. He broke the structure of sonata form and blurred the line between different movements. In this piece, each movement is strongly connected to the others. The connection becomes even stronger as the overall work develops.

Beethoven was on the tip of the turning point between Classical music and . He studied with Joseph Haydn when he was young and received musical inspiration by

Haydn. Just a few years later, after the year 1800 when Beethoven was just thirty years of age, he began to lose his hearing. Beethoven must have felt a profound sense of sorrow over the loss of his hearing. However, he remained adamant and did not give up on composing. Beethoven established his musical style in his middle period. During this period, his musical style was called

“heroic.” This term applies not only the theme of the works but also their scale and scope.1

Compared to his early years, Beethoven had a much deeper understanding of music in his late works. In his later period, he studied the old forms from the Baroque period. The third movement of his piano sonata Op.110, the opening section is a three-voice fugue. On the one hand,

Beethoven is conservative, because he borrowed some musical ideas from the older period. On the other hand, he is a pioneer, since he liberated music from the confines of rigid forms. The piano sonata Op. 90 is one of his late works, composed in 1814. There are only two movements

1 Alan Tyson, “Beethoven’s Heroic Phase,” The Musical Times 110, no.1512 (1969): 139-41.

5 in this sonata. Beethoven gave performance instructions instead of traditional Italian musical terms.

The instruction of the first movement is “Mit Lebhaftigkeit und durchaus mit

Empfindung und Ausdruck,” which means “lively, and with feeling and expression throughout.”2

It is basically in sonata form. Measures 1 to 99 constitute the exposition, without repetition.

Measures 100 to 142 are development and the recapitulation is from 143 to the end. The theme I consists of 8 measures. There are four short phrases with a dramatic dynamic contrast. The first 2 measures begin with an upbeat and in forte. The third and fourth measures are in the same pattern but in a different dynamic. Besides, the music modulates from E minor to B minor within eight measures only. The harmony is rich and variable in this movement. He alternates from major to minor tonalities frequently and uses common-chords to modulate. From measure 8 to 9, there is a common-chord of B minor and G major. Then the music modulates again. The atmosphere becomes soft and delicate from measure 8.

A transition begins after three powerful descending scales, and a harmonic sequence accompanied by repeating chords. The music reaches a climax and the section B begins. Section

B has an unstable feeling. At the end of transition is a diminished seventh chord appears.

However, it returns to a G major chord at the beginning of section B. Section C is in a similar atmosphere and it starts with the B, which is the fifth of E minor.

2 Eric Blom, Beethoven's Pianoforte Sonatas Discussed (New York: Dutton, 1938), 190.

6 There is a seven-bar phrase that modulates from E minor to D minor gradually. It is a transition from section C to development. The diminish chord (C sharp, E, B flat) in measure 10 is one of the common-chords of E minor and D minor. In the development, the left hand carries the melody and the right hand accompanies it by sixteenth notes. In the end of development, both hands repeat G-F#-E-D end-to-end in different registers then back to theme I. The recapitulation is similar to the exposition and in the coda there is a brief reappearance of the A section of the exposition.

The second movement of this sonata has a songlike melody. Beethoven gave the movement the performance instruction in German “Nicht zu geschwind und sehr singbar vorgetragen” which is translated into “Not too fast, and to be played very songfully.”3 It is a sonata with A-B-A’-C-A’’-D-A’’’ structure. The beginning of this movement is in E major with bright and warm melody. The beginning of the B section consists of short motive with strong dynamic contrasts. After a “sforzando” in measure 39, the left hand plays sixteenth notes in “piano,” which contrasts strongly with the dynamic “sforzando.” Then theme I comes back as the format of rondo. Section C begins with a G, and the music modulates suddenly from E major to G major in measure 103. The left hand’s octaves build up the music to a climax. The accompaniment changes into triplets and alternates with sixteenth notes before Theme I recurs.

Section D is similar to section B and the theme of section A’’’ starts with the left hand. This movement ends in groups of running sixteenth notes without slowing down.

3 Ibid, 192,

7 Etudes-Tableaux Op.39 No.4 in B minor and Op.33 No.4 in D minor by Sergei

Rachmaninoff

Sergei Vassilievich Rachmaninoff is considered one of the last representatives of

Romanticism in Russian Classical music. His style and musical perspective were unique and distinctive. He was a Russian composer, pianist and conductor, born in a noble family, which gave him a good environment to study music. With his talent toward music, Rachmaninoff went to Saint Petersburg Conservatory at the age of ten and he continued his music study at the

Moscow Conservatory. Because of his teacher Nikolai Zverev, Rachmaninoff had a chance to meet Pyotr llyich Tchaikovsky, who influenced his composition style to some degree.

In addition to his plethora of solo piano works, Rachmaninoff composed in a wide range of musical genres, such as the , song cycles, and chamber music. However, there is no doubt that his legacy is strongest in the area of piano music. The stories of daily life, landscape, folklores, history and even political activities are common themes and topics in

Rachmaninoff’s musical works. Such works as the Romances, twenty-four Preludes, and

Etudes-Tableaux, constitute a kind of collection of Russian culture, especially the

Etudes-Tableaux. Rachmaninoff’s Etudes are different from those of Czerny or Clementi. In addition to their tremendously difficult technique, Rachmaninoff’s etudes are more musical and have deeper emotion. He described the characters of some pieces of Etudes-Tableaux in person.

The Op.39 No.4 is one of representative of this tremendous series of works. This etude describes a lively atmosphere in a busy bazaar. It is a scherzo like etude in A-B-A’ ternary form.

8 The music begins with a short motive which is “D-E-#F”, and repeats the “B” five times to creative a vivid atmosphere for the whole piece. The B section begins with quiet and expressive melody and then increases the dynamic from p to mf by the term “Martellato” (hammered, strongly marked). The music calms down at measure 22 and the meter changes to 3/4. After a six-measure transition, the B section finishes in a similar pattern to section A’s ending. The repeat

“B” appears again in A’ section’s opening. Several repeat notes build up the music to a high B.

From that point the melody descends by a group of intervals with the top notes of a B minor scale.

The left hand brings out the theme from very beginning, and presents the theme with the right hand alternately and the piece end in B minor chord.

Rachmaninoff was well known for his magnificent tonal fabric. He never identified his musical style as Romantic or contemporary. He said, “My constant desire to compose music is actually the urge within me to give tonal expression to my feelings, just as I speak to give utterance to my thoughts.”4 To him, expression is more critical than style. Rachmaninoff also uses the minor second and augmented fourth frequently, which are main features of Russian vernacular music. For example, in the middle part of Op.39 No.4, the right hand has a melody

“#F-G-A-G-#F-G-#F-#E-♮E-#E-#F” which sounds like a Russian folk song and it is also represents Rachmaninoff’s harmonic style––chromaticism.

Op.33 No.4 was published posthumously. It is an A-B-A’-C-A’’-D-A’’’ rondo form in

D minor with a not very fast tempo. Both hands play the same notes at the beginning with a

4 Robert Cunningham, Sergei Rachmaninoff: A Bio-bibliography (Westport, CT: Greenwood Press, 2001), 9.

9 dotted pattern. After an eighth rest, the right hand repeats a short motive for four times then the left hand enters. The main theme appears four times throughout the whole etude with a long melody line. The melody is simple but consists of long note values, which hides in different voices. It is hard to hold long notes while other short notes are played at the same time. Using pedal is no doubt a good way to hold a long note if fingers are not able to hold it. However, over using pedal might cause the voices blur together.

10 Suite Bergamasque by Claude Debussy

Claude Debussy was a French composer who was also one of the most important figures of the Impressionistic period. He studied piano at the Paris Conservatoire at a very early age because of his tremendous musical talent. Later he stopped the study of piano performance and focused on composition.5 He also studied the music of when he was in

Rome. In addition to piano works, Debussy also composed in other various genres including opera, ballet music, chamber, voice and . Later, Debussy used the whole-tone and pentatonic scale in compositions. His use of the whole tone scale distinguishes his music from that of Wagner. Over the course of his career, Debussy gradually developed his own musical language.

The Suite Bergamasque was composed around 1890. It was not published, however, until 1905.6 The word “Bergamasque” refers to masks, but the term also may refer to the town of

Bergamo in Northern Italy. There are four movements in this suite: Prélude, Menuet, Clair de lune and . Each of them are melodic, delicate, and have unique characters.

The first piece of this suite is the Prélude. During the Baroque era, the Prélude usually served as an introduction with motives that were present throughout the piece. Debussy wrote the

Prélude as a character piece rather than as an introduction in his later years. Nevertheless, the

Prélude in Suite Bergamasque follows the traditional style. It is in A-B-A’ Ternary Form and begins with an “F” followed by an oriental pentatonic scale. It sounds elegant but is also energetic.

5 Siglind Bruhn, and Ideas in Modern French Piano Music: The Extra-musical Subtext in Piano Works by Ravel, Debussy, and Messiaen (Stuyvesant, New York: Pendragon Press, 1997). 6 Robert Schmitz, The Piano Works of Claude Debussy (New York: Dover Publications, 1966).

11 The harmony is mostly in F and B flat major. In measure 11, the music develops in traditional four-part harmony. From measure 20 to 65 there is section B. A new theme appears and the dynamic remains in piano to pianissimo. With a forte G, the music returns to A’ section and groups of ascending scales push the music to a passionate ending.

The second movement is entitled “Menuet.” Menuet is a kind of in France, which was used to describe musical form later. This Menuet is a rondo form in A-B-A’-C-A’’ structure. From the beginning, both hands play staccato alternately. There is an ornament at the second beat, which sounds playful and humorous. The beginning of section B is dramatic. There are four measures with the same pattern with fortepiano dynamic. From measure 22, the music becomes songful and the melody appears in different voices alternately. At measure 42, section A comes back in pianissimo. The right hand plays groups of rapid scales and reaches the climax

(Section C) of this piece. The music modulates from A minor to G minor within eight measures.

After a transition from measure 67, the music modulates again to E-flat major. The music stays in

E-flat major for seven measures and only then turns to A major. The last eight measures are a brief coda. After a rapid scale, the piece ends in a staccato A note.

The third movement “Clair de Lune” is one of Debussy’s most famous piano pieces.

The name of “Clair de Lune” is from original poem by . Paul Verlaine was a French poet who wrote the set of poems named “Fetes galantes” in 1869. There are twenty-two short

12 poems in this set and the first one is “Clair de Lune.” Debussy was inspired by the first stanza of this poem and composed this piano piece. The poem reads:7

Clair de Lune Moonlight8

Votre âme est un paysage choisi Your soul is like a landscape fantasy,

Que vont charmant et bergamasques Where masks and Bergamasks,

Jouant du luth et dansant et quasi Strum lutes and dance, just a bit sad to be,

Tristes sous leurs déguisements fantasques. Hidden beneath their fanciful disguise.

This piece is A-B-A’ ternary form. The tempo mark of this piece is andante, which means not fast but flowing tempo. As its name suggests, the piece describes a landscape bathed in moonlight.9 The atmosphere of this piece is quiet and peaceful. It is in 9/8 meter with a triple feeling. The first beat of this piece is an eighth rest. It is important to count it before playing begins. In section B, both hands play the same chords in different registers with a free tempo. The music is building excitement after a few measures and the pattern changes to arpeggio. With the accompaniment of flowing arpeggios, the right hand brings out the melody line. From measure 42, the music becomes agitated—as if a cloud was momentarily shading the moonlight. After a few bars, the atmosphere calms and ends in a D-flat major arpeggio.

7 Paul Verlaine and Norman R. Shapiro, One Hundred and One Poems by Paul Verlaine: A Bilingual Edition (University of Chicago

Press, 1999), 28. 8 Ibid, 29, 9 Guido M. Gatti, "The Piano Works Of Claude Debussy," The Musical Quarterly VII, no. 3 (1921): 418-60.

13 The last piece of Suite Bergamasque is Passapied. Passapied (passepied) is a French court dance and was used in Baroque instrumental suites, and originally in triple meter. However,

Debussy composed this piece in 4/4 meter. The music has a strict sense of even though it is in 4/4 time. There are lots of three-against-four throughout the entire piece. In measure

59, a new musical theme appears. The right hand plays chords with staccato. In this section, the harmony is unstable, modulating from A major, D major, A major then to E major. The main theme comes back in measure 106 and it is in a delicate and active atmosphere. At last, the piece ends on the F octave with “pianississimo.”

14 Pi Huang by Zhao Zhang

Zhao Zhang is a Chinese composer who was born in 1964. He studied music in Minzu

University of China at the age of eighteen and finished his master degree in the Central

Conservatory of Music. He composed two piano pieces when he was sixteen. Zhao Zhang pursues a balance between national styles and personal styles in his music. Most of his compositions are based on traditional Chinese musical elements, such as five-tone scale and

Peking opera,. Pi Huang is one of his most important compositions.

The name of Pi Huang comes from two different vocal techniques of Chinese opera.

One of them is called “Xi Pi” and the other one is called “Er Huang.” Zhao Zhang imitates their sound with piano and composed Pi Huang. The name of “Pi Huang” is a combination of these two techniques. The piece describes Zhao Zhang’s childhood and the landscape in YunNan province.

Pi Huang consist of ten short parts, however, they can be grouped into three larger sections. The first part is in a peaceful atmosphere, including YuanBan (Largo pacatamente),

ErLiu (Allegretto innoncente), LiuShui (Allegro zeffiroso), KuaiSanBan (Vivace spirit). After a slow introduction, the “ErLiu” begins. This section interprets children’s innocence and curiosity.

Differing from the peaceful feeling of the introduction, the first section is more active and vivid.

The harmony of this section is unique. The melody is in five-tone scale, however, the base modulates frequently. The second section is ManBan (Lento a capriccio). It is an expressive

15 section with a peaceful mood. The composer provides performance instructions that are “bathed in moonlight and freely” and “bell-like sound.”

In contrast with the second section, the third part backs to a fast tempo. The atmosphere is intense and passionate in this section. In the YaoBan (Vivace pressante) part, the right hand plays the repeated notes just like the surface of a calm lake. In the end of the music, there is a

“free-repeat” which means repeating the note until the performer thinks it is enough.

16 Concerto for Piano, Trumpet and Strings in C minor, Op.35 No.1

by Dmitri Shostakovich

Dmitri Dmitruyevich Shostakovich was a Soviet composer. He was one of the most influential figures in twentieth-century music. Shostakovich received high prestige in the Soviet

Union. However, he also took a heavy blow and had a difficult relationship with the government during the ideological war in the party. There are two serious denunciations in his life. The first one was about his fourth symphony, which he planned to publish in 1936. Due to the serious political situation, he withdrew the fourth symphony but republished it in 1946. The second time is after World War II. The government for purpose of formalism denounced him again.

Shostakovich got his freedom after Stalin’s death and composed his tenth symphony. He had written a wide range of music, including piano solo piece, symphony, for strings, opera and even for film. His first piano concerto was one of his early works, which was composed in 1933. By this point however, he already had a mature musical style comparing to his third symphony

(1927).10

This concerto is for piano and trumpet. There are four movements and the first one is a sonata rondo form, which is in AB-develop-ACA. At the very beginning, the soloist starts with a minor scale and gives the main theme. The motive of the main theme was based on the first measure of Beethoven’s Appassionata sonata.11 Later, the violin enters in to respond to the piano

10 David Hurwitz and Dmitriĭ Shostakovich, Shostakovich and Concertos: An Owner’s Manual (Pompton Plains N.J:

Amadeus, 2006), 53. 11 Ibid, 54,

17 and replay the first subject. The soloist speeds up at the end of the main theme and transfers to the second subject gradually. The music becomes busy and active. The second subject is in Allegro vivace tempo in a bright sounding major key. After an introduction on the piano, there is a short trumpet theme. And few bars later, it appears again and plays the melody, which was recognized as a similar theme to the cat in ’s Peter and the Wolf.12 The sound of the development is rich and complex. It is a great variation of all the subjects and motives, which appeared previously. Then the main theme comes back temporarily and section C begins with a new musical material. The piano plays triple rhythm on the left hand and the melody in the right hand. It is a section with great technical difficulty. At last the first subject returns.

The second movement is a slow waltz, which is in ABA ternary form. The opening section of the second movement is presented by strings in an elegant and melodic atmosphere.

The pianist plays a long trill and picks up the theme from the strings. After a solo section, the orchestra reappears to support the piano part. Suddenly, the music speeds up and goes into the B section and end in a strong C note. The A section returns and the music becomes calm and tranquil again.

The third movement is in Moderato tempo. It is a rhapsody and like a preparation of the fourth. Sometimes the third and fourth movements are grouped together and marked as

Moderato-Allegro con brio. With a pause at the end of the movement, the pianist speeds up the tempo and goes to the fourth movement immediately. The fourth movement is a rondo with two

12 Ibid, 55,

18 episodes in A-B-A’-C-A’’ form, and followed by a coda. It begins with the orchestra and changes to piano solo. Basically, the fourth movement is in a racing feeling. Undoubtedly, this movement has the most difficult technique among these four movements and contains great passion and energy. There is a duet part for orchestra and piano. Both of them play end-to-end with the same musical material. In the finale, the music accelerates intensely and brings the piece to a brilliant closing.

19 BIBLIOGRAPHY

1. McKee, Eric. “Influences of the Early Eighteenth-Century Social on the

from J. S. Bach's French Suites, BWV 812-17”. Music Analysis. 18, no. 2 (1999): 235-260.

2. Blanning, T. C. W. The Triumph of Music: The Rise of Composers, Musicians and Their Art. Cambridge, MA: Harvard University Press, 2008.

3. Troeger, Richard. Playing Bach on the Keyboard: A Practical Guide. Pompton Plains, NJ:

Amadeus Press, 2003.

4. Blom, Eric. Beethoven's Pianoforte Sonatas Discussed. New York: Dutton, 1938.

5. Tyson, Alan. “Beethoven’s Heroic Phase.” The Musical Times 110, no.1512 (1969): 139-41.

6. Cunningham, Robert, Sergei Rachmaninoff: A Bio-bibliography. Westport, CT: Greenwood

Press, 2001.

7. Bruhn, Siglind. Images and Ideas in Modern French Piano Music: The Extra-musical Subtext

in Piano Works by Ravel, Debussy, and Messiaen. Stuyvesant, NY: Pendragon Press, 1997.

8. Gatti, Guido M. "The Piano Works Of Claude Debussy." Musical Quarterly The Musical

Quarterly VII, no. 3 (1921): 418-60.

9. Schmitz, E. Robert. The Piano Works of Claude Debussy. New York: Dover Publications,

1966.

10. Verlaine, Paul and Norman R. Shapiro. One Hundred and One Poems by Paul Verlaine: A

Bilingual Edition. Chicago: University of Chicago Press, 1999.

20 11. Wang, Juan. “An analysis of the Musical features and performance of Pi Hunag”, Journal of

Changchun Normal University. Humanities and Social Science, Vol.31, no.10 (2012):

202-204

12. Hurwitz, David, and Dmitriĭ Dmitrievich Shostakovich, Shostakovich Symphonies and

Concertos: An Owner’s Manual. Pompton Plains, NJ: Amadeus, 2006

21

Appendix A: Program I (Solo Recital)

CALIFORNIA STATE UNIVERSITY, NORTHRIDGE

COLLEGE OF ARTS, MEDIA, AND COMMUNICATION

MUSIC DEPARTMENT PRESENT

Aiting Zheng, Piano In her Master of Music Graduation Recital A Student of Professor Edward Francis November 8, 2015 7:30pm Cypress Recital Hall

PROGRAM

French Suite No.5------J. S. Bach (1685-1750) Allemande Courante Sarabande Gavotte Bouree Loure Gigue

22

Sonata in E minor, Op.90------Ludwig van Beethoven (1770-1827)

I. Mit Lebhaftigkeit und durchaus mit Empfindung und Ausdruck (With liveliness and with feeling and expression throughout)

II. Nicht zu geschwind und sehr singbar vorgetragen (Not too swiftly and conveyed in a singing manner)

INTERMISSION

Etudes-tableaux in D minor, Op.33, No.4 in B minor, Op.39, No.4 ------Sergei Rachmaninoff (1873-1943)

Suite bergamasque ------Claude Debussy (1863-1918)

I. Prélude

II. Menuet

III. Clair de lune

IV. Passepied

Pi Huang ------Zhao Zhang （1964-present）

23 Appendix B: Program II (Concerto Recital)

CALIFORNIA STATE UNIVERSITY, NORTHRIDGE

COLLEGE OF ARTS, MEDIA, AND COMMUNICATION

MUSIC DEPARTMENT PRESENT

Aiting Zheng A Student of Dr. John Perry In her Master of Music Recital Second piano by Chi Zhang Sunday, April 27, 2014, 4:30pm CSUN Nordhoff Hall

PROGRAM

Piano Concerto in C minor, Op.35 No.1------Dmitri Shostakovich (1906-1975)

I. Allegretto II. Lento III. Moderato IV. Allegro con brio

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