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Home , Wolfgang Amadeus Mozart

CALIFORNIA STATE UNIVERSITY, NORTHRIDGE

Recital Works by Wolfgang Mozart, , Franz Haydn, Zhao Zhang, Achille-, and Robert Alexander Schumann

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

By

Ying Han

August 2020

The graduate project of Ying Han is approved:

______Dr. Gayle Kowalchyk Date

______Professor Mark Richman Date

______Dr. Dmitry Rachmanov, Chair Date

California State University, Northridge

ii Acknowledgments

Thank you to Dr. Dmitry Rachmanov, Dr. Gayle Kowalchyk, Professor Mark Richman, Dr. Tali

Tadmor, Dr.Ming Tsu, and Dr. John Roscigno for all your encouragement, guidance, and

passion.

Thank you to my family and friends for your support and love.

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Table of Contents

Signature Page ii

Acknowledgement iii

Abstract v

Section 1: No. 20 in , K. 466 by Wolfgang Amadeus Mozart 1

Section 2: French Suite No. 6 in E Major, BWV 817 by Johann Sebastian Bach 5

Section 3: Piano in E-Flat Major, XVI: 52 by Franz 9

Section 4: Pi Huang (Peking ) by Zhao Zhang 15

Section 5: “Danseuses de Delphes” and “Les collines d’Anacapri” from Préludes, Book 1

by Achille-Claude Debussy 17

Section 6: Symphonic Etudes, Op. 13 by Robert Alexander Schumann 19

Bibliography 21

Appendix: Program (Concerto) 22

iv Abstract

RECITAL WORKS BY WOLFGANG AMADEUS MOZART, JOHANN SEBASTIAN BACH, FRANZ JOSEPH HAYDN, ZHAO ZHANG, ACHILLE-CLAUDE DEBUSSY, AND ROBERT ALEXANDER SCHUMANN

By

Ying Han

Master of Music in Music, Performance

In this paper, I will introduce and analyze the piano works I performed on my concerto recital on March 31, 2019 and the solo recital initially scheduled for May 5, 2020 (my solo recital was canceled due to COVID-19). This paper aims to discuss the historical background, form, harmony, compositional techniques, and other essential aspects of the works of different styles.

These different repertoire styles can make performers and listeners experience different skills, emotions, and expressive content. Therefore, analyzing these works from various aspects can help people understand them better.

For my concerto recital, I performed No. 20 in D Minor, K.466 by

Wolfgang Amadeus Mozart. For my solo recital, I originally planned to present five different

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musical styles, which were to be French Suite No. 6 in E Major, BWV 817 by Johann Sebastian

Bach in Baroque style; in E-Flat Major, XVI: 52 by Franz Joseph Haydn in the

Classical style; Pi Huang (Peking Opera) by Zhao Zhang in Contemporary style; “Danseuses de

Delphes” and “Les collines d’Anacapri” from Préludes, Book 1 by Achille-Claude Debussy in

Impressionistic style; and Symphonic Etudes, Op. 13 by Robert Alexander Schumann in the

Romantic style.

vi Section 1: Piano Concerto No. 20 in D Minor, K. 466 by Wolfgang Amadeus Mozart

Wolfgang Amadeus Mozart (1756-1791) was born in and was a famous

Austrian and during the Classical Period. He was also one of the representatives of the Viennese Classical Style. Mozart's musical compositions are rich in the variety of genres representative of his time, from opera to chamber and solo instrumental music.

These include , , , , etc. Piano Concerto in D Minor, K.

466 (1785) is one of Mozart's masterpieces, with unique musical characteristics.

The D Minor Piano Concerto has three movements, and each movement uses different sets of themes to express the composer’s thoughts and feelings. The first movement is marked

Allegro. With the first notes of the orchestral exposition, the dark atmosphere of the first thematic group sets in. The second theme presents a peaceful contrast to the first theme. The piano entrance, which follows the orchestral exposition, brings in a new theme of melancholic character in a form of a lyrical monologue. At the end of the first theme of the exposition in measure 111, the composer used a group of sixteenth notes to once again plunge the musical emotion into restless passion. Then the piano performs the second theme of the exposition. This theme is set in Mozart's typical lyrical style, consisting of short motives, forming a dialogue with the orchestral. After this lyrical interlude, the music becomes full of vitality again, which heralds the end of the exposition. In the development, Mozart offers three statements of the piano entrance theme in different keys and varied colors, like a memory of the past each time separated by an orchestral passage, as if it were broken by reality. This struggle returns to a tense mood with an excited arpeggio in measures 165-168, heralding the arrival of the recapitulation. In the

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recapitulation, the two main themes appear again in the tonic key. This author chose the composed by (1778-1837). The composer uses and develops thematic motives in the cadenza. However, here their treatment is more romantic and freer, but the quick display of sixteenth notes and thirty-second notes also echoes the tense atmosphere of this work.

Such a deep first movement shows the distinctiveness of this concerto, which contrasts with

Mozart's more typically lively composition style.

The second movement has a character marking of Romanze. Mozart did not use the

Adagio or Largo commonly used in the second movement. Its lyrical melodic theme and gently lilting rhythmic flow brings emotional relief after the dark and tense mood of the first movement.

The form of this movement features an ABA structure with a contrasting lively and dramatic middle part. The style here once again breaks the conventional mode of the 18th-century concerto. Because the second movement of the concerto of that period mainly expressed lyrical or melancholic emotions. Therefore, this pleasant middle part contrasts with the18th-century concerto.

The third movement is in . The style of this movement is full of dramatic energy, unlike Mozart's more typical finales with their relaxed and carefree atmosphere.

The first theme of this movement starts with the arpeggio played by the piano. Here the main theme surges ahead in an energetic and driven fashion. Then, in measures 13-62, the first theme is repeated and developed by the . Starting from the measure 63, the music enters the second theme. This is a lyrical theme in the tonic key and ends in F major in measures 83-91.

The third theme uses the motive of the first theme in , and then returns to F major from

2 measure 147. The second and third themes provide further contrasts adding stately and bright characters respectively. After the soloist’s cadenza, the movement enters the development from measure 167. The second theme of this section is very similar to the development of the first movement, and they both use different keys. However, this second theme finally ends with a dominant chord in D minor in measure 325. After the second soloist’s cadenza, there is the recapitulation in measure 395. Finally, Mozart concludes the work with a coda in the parallel major key of displaying a pleasant, conciliatory mood.

All of Mozart's works have a common musical characteristic that the key of the music must be consistent with the content expressed. Taking the piano concerto genre as an example,

Mozart often used to show bright, positive, at times solemn atmosphere (e.g., Piano

Concerto No.8 in C Major, K. 246, Piano Concerto No.13 in C Major, K. 415, Piano Concerto

No.21 in C Major, K. 467, and Piano Concerto No.25 in C Major, K. 503); D major to describe magnificent sceneries (e.g., Piano Concerto No.3 in D Major, K. 40, Piano Concerto No.5 in D

Major, K. 175, Piano Concerto No.16 in D Major, K. 451, and Piano Concerto No.26 in D

Major, K. 537); and F major to portray lively images (e.g., Piano Concerto No.1 in F Major, K.

37, Piano Concerto No.7 in F Major, K. 242, and Piano Concerto No.19 in F Major, K. 459).

Nevertheless, when Mozart wanted to express dramatic special effects, he used minor keys. In

Piano Concerto No. 20 in D Minor, Mozart used the minor mood to make the whole work filled with a dark, struggling, and sad atmosphere. In Mozart's works, this kind of tragic color is rare, including the last unfinished work in his life, in D minor, K. 626. As for piano concertos, he only created two minor pieces: Piano Concerto No. 20 in D Minor and Piano

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Concerto No. 24 in , K. 491, and although Mozart’s other works occasionally exude a sense of tragedy in other genres, revealing the dark side, it is rare that the Piano Concerto No. 20 in D Minor is both pessimistic and accompanied by fantasy and gentle atmosphere, which is in sharp contrast with Mozart's more prevalent cheerful works.

The distinctive musical characteristics of Piano Concerto No. 20 in D Minor have broadened the traditional perception of Mozart's music. This work not only extended the form of the concertos and the musical style of the late Baroque but also inspired greatly the development of .

4 Section 2: French Suite No.6 in E Major, BWV 817 by Johann Sebastian Bach

Johann Sebastian Bach (1685-1750) was an important representative of the Baroque period and the greatest and most influential composer in Europe in the first half of the eighteenth century. J. S. Bach's polyphonic compositional technique, the rigorous conception of its structure, and rich emotional content pushed the to its peak. “His musical language was distinctive and extraordinarily varied, drawing together and surmounting the techniques, the styles and the general achievements of his own and earlier generations and leading on to new perspectives...”1 Therefore, Bach became known as “the father of Western music.”

J. S. Bach composed his six French Suites around 1722. Each suite is written in the style of traditional dance music. They include the dance forms of , Corrente, Sarabande,

Gavotte, , Bourrée, Menuet, and Gigue. Every dance in the French Suites has an elegant melody and a refined and creative rhythm. The general mood of French Suite No.6 in E

Major exudes cheerfulness, one of the happiest among the six suites.

In the Allemande of this suite, the theme is a very lively melody. The perfect combination of the right-hand melody and the left-hand accompaniment makes the theme very rhythmic. This piece starts in E major, but from measures five to eight, it modulates to B major.

The sixteenth notes in the right hand become syncopated in measures eight to 11, adding rhythmic vitality. The second half of the piece shifts the focus to the voice. In measures14-

1 Christoph Wolff, Walter Emery, Bach, Johann Sebastian (Grove Music Online, 2001).

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20, the left hand has a new motive and ends with C-sharp minor (figure 12). At measure 25 of the

Allemande, the tonic key returns.

Figure 1: the new motive in the left hand in measures 14-20

The next movement is an Italian-style corrente with two voices. It begins with a fast ascending scale and quickly pushes the music to its climax in measure eight. Starting in measure seven, the melody and bass voices are connected and integrated. Although the second half uses the same texture as the first part, its starts in key of C-sharp minor. The of the second half in measures 28-32 also mimics the first part and returns to E major.

The atmosphere of the Sarabande is melancholic. The structure of this piece is very regular, consisting of two- and four-measures phrases. The first part of this work has two phrases, the second phrase ending on the dominant of B major. The second part makes sad feelings more intense. Starting in measure 17, the two voices imitate each other, forming an emotional dialogue.

2 Johann Sebastian Bach, French Suites for the Piano (G. Schirmer, Inc.), 47.

6 The Gavotte has a vibrant character. The first part has two four-measure phrases. When performing the theme of the piece, it should be noted that the structural downbeats marking the phrases are on the first beat of measures one, two, five and six. In the second part of this work, the melodic voice develops the subject further. Starting in measure 16, the original interval of a third used in the theme changes to the interval of a sixth so that the theme is shown in the inner voice (figure 23).

Figure 3: the original interval of a third used in the theme changes to the interval of a sixth in measures 16-20

The Polonaise is an elegant dance. The first part has two phrases; the first ends in E major, and the second phrase ends in B major. The second part begins in C-sharp minor. New musical material appears in measure 13. Measure 17 has a brief transposition and then returns to

B major returning to the tonic key in measures 23-24.

The Bourrée is a piece of cheerful dance music. In this work, the right hand plays the theme. The left hand then enters a sixth below the theme and remains parallel to the right hand.

The second part of this piece is the of the first part, and the theme appears in the bass voice. The key used in measure 24 is F-sharp minor. Measure 29 leads to the last appearance of the theme, and the dance ends with an energetic atmosphere.

3 Johann Sebastian Bach, French Suites for the Piano (G. Schirmer, Inc.), 50.

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The Menuet in this suite is short and delicate. In this piece, the first beat of the second measure is to be played with an accent. The first two phrases of the first part are ascending, and the third phrase is descending. Thus, the melodic ups and downs are formed. Measure three of the second part changes the direction of the scale, followed by continuous eighth notes. The transposition in this part develops the music and uses the E major half cadence in measure 16.

The theme reappears from in measure 17.

There are two kinds of Gigues. One is a French Gigue, which is usually used in Fugal, while this piece is an Italian Gigue, which has active and lively characteristics. The theme of this work first appears in the right hand, and then it is imitated in the left hand at the last beat of the first measure. Such imitative writing is also shown in measures four and six, producing the effect of multiple voices. The second part uses sequence as the main developmental technique and alternates between the two voices. This development ends in F-sharp minor in measure 43. Then the music gradually returns to E major, ending the whole suite in an affirmative mood.

8 Section 3: Piano Sonata in E-Flat Major, XVI: 52 by Franz Joseph Haydn

Franz Joseph Haydn (1732-1809) was an Austrian classical composer. He was born in the

Baroque period; the main period of his compositional development fell into the Classical period.

“From the until his death he was a culture-hero throughout Europe. Since the early 19th century he has been revered as the first of the three ‘Viennese Classics’ (Haydn, Mozart,

Beethoven).”4 Haydn not only composed many orchestral and chamber works but also wrote a large number of piano works. Altogether, Haydn wrote 52 piano sonatas.

Haydn's music enriched the Classical period and made a permanent contribution to the development of the piano sonata. He employed sounds and colors that mimic the orchestra in his piano sonatas and expanded the structure of the sonata.

Piano Sonata in E-Flat Major, XVI:52 is a well-known work of Haydn's late period. It is also the longest of Haydn's sonatas, and one of the most famous piano sonatas by anyone. This sonata is Haydn's last piano sonata; the composer ceased exploring the piano sonata further, focusing on other compositional genres in the remaining years of his creativity.

The sonata is comprised of three movements: Allegro, Adagio, and Presto. The first movement is in sonata form: exposition, development, and recapitulation. This movement has a total of 116 measures. The overall structure is large, and the thematic contrasts are clear. The musical elements are diverse, and there is a use of symphonic sound effects. The majestic character adds a sense of solemnity to the overall character (figure 35), but it is mixed with

4 Georg Feder, James Webster, Haydn, (Franz) Joseph (Grove Music Online, 2001). 5 Franz Joseph Haydn, Piano Sonatas (G. Henle), 84.

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cheerful, light, and humorous elements (figure 46). The movement has a wide range of dynamics, from forte to piano, from tension to freedom, which makes the melodic lines multi-dimensional.

Figure 3: the solemn theme of the first movement in measures 1-11

Figure 4: the cheerful theme of the first movement in measures 46-48

6 Franz Joseph Haydn, Piano Sonatas (G. Henle Verlag), 86.

10 The structure of the second movement is ternary and is written in ABA’ form and is in the distant key of E major, which has a very exotic effect after hearing the first movement in E- flat Major. The A section is composed of two parts. The first part is in E major and includes two four-measure phrases; the second part is in C major, consisting of four-measure and six-measure phrases. Measures 16-32 in the B section are in . The final A section repeats the thematic material of the A section and adds ornaments to it. This section returns to E major. The theme of this movement is melancholic, and has many ornaments, and the tone gives a dreamy, gentle, peaceful feeling. These ornaments also bring a playful sense and add fluidity and variety to the musical lines (figure 57). The overall structure of the second movement is clear, and the rhythm is flexible.

Figure 5: the theme and ornaments of the second movement

The third movement is in the sonata-allegro form. The exposition is 102 measures long and is divided into three periods. The first period consists of two eight-measure and a twelve-

7 Franz Joseph Haydn, Piano Sonatas (G. Henle Verlag), 111.

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measure phrases in measures 1-27. The theme of this period presents a mysterious and humorous character (figure 68). The second period is divided into two parts: The first part uses a chromatic scale of eighth notes as the motive, and is written in C minor, the relative minor key of E-flat major; The second part is F major and B-flat major. The theme of this period combines lyric and passionate emotions to form a contrast (figures 79, 810). The third period is in B-flat major and returns to a tense and mysterious atmosphere (figure 8). The development begins in measure 103.

After a series of transposition and modulation, the key returns to E-flat major from measure 196.

The recapitulation is in measures 204-307. In the course of the performance, the music makes people feel energetic, cheerful, and happy. At the same time, there is a sense of humor and mystery.

Figure 6: the first period

8 IBID., 94. 9 IBID. 10 IBID.

12 Figure 7: the first part of the second period

Figure 8: the second part of the second period, and third period

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Haydn established the most important musical structure in , the sonata form. Piano Sonata in E-Flat Major, XVI:52 maximizes this. To perform this piece, one needs not only to understand Haydn's compositional background, creative style, and the structure of the work itself, but also to understand the work in detail.

14 Section 4: Pi Huang (Peking Opera) by Zhao Zhang

Zhao Zhang was born in Yunnan Province, China, in 1964. He is now a professor at the

Minzu University of China. He is also one of the most active in contemporary China.

Zhao Zhang's music compositions cover a wide range of genres and instrumentation, including piano music, symphonies, folk music, , dance dramas, songs, film and television music. Zhao Zhang created the piano work, Pi Huang, in 2007. In this piece, Zhao Zhang dared to bring innovative elements to his writing. He adopted the structure of the Peking Opera and also used elements of folk music. Pi Huang makes the audience appreciate the combination of

Peking Opera and the piano.

Pi Huang is a variation of the piano work created by Zhao Zhang based on elements of

Peking Opera, including the introduction, theme, nine variations, and coda. The most prominent feature of this work is the clever integration of the structure of Peking Opera into Western music.

Peking Opera is the traditional art that has the greatest influence in China. It is the same as Western opera, combining music and singing, and expressing a complete story by establishing different characters. In terms of music, Peking Opera uses traditional Chinese string instruments such as Erhu, Sanxian, and traditional percussion, and so on. In terms of the singing, performers need to use different singing methods to express different characters.

Zhao Zhang imitated the sound of traditional Chinese instruments and used a musical style similar to Peking Opera as the theme material in Pi Huang. For example, in measures 26-

44, the melody in the right hand is the musical material appearing in Peking Opera, and the bass

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voice is imitating traditional Chinese percussion; measures 133-165 are imitating the sound of the Erhu.

In Pi Huang, different tempos reflect different Peking Opera singing methods, including

Largo pacatamente, Allegretto innocente, Allegro zeffiroso, Vivace spirito, Lento a capriccio,

Largo campana, Allegro decisivo, Vivace pressante, Presto sdegnoso, Andante brillante and prestissimo. In the Peking Opera, the rhythm and melody of the different movements are all based on a theme. Therefore, in this work, different variations can perfectly run together. Pi

Hang is divided into three forms, fast, slow, and fast. Zhao Zhang embodied his growth process in the work, from his childhood memories to through the teen years, and finally ending the whole piece with the youth's struggle.

16 Section5: Danseuses de Delphes and Les collines d’Anacapri from Préludes, Book 1

by Achille-Claude Debussy

Achille-Claude Debussy (1862-1918) was a French composer who was a representative of Impressionistic music in the late 19th and early 20th centuries. He occupies an essential position in the development of 20th century Western music. “The tenacity with which the label

‘Impressionist’ has clung to Debussy, and the consequences of this for the understanding of his work, calls for discussion of his allegiances to the literary and artistic movements of his time.”11

Impressionism was not popular for a long time, and it was soon replaced by other contemporary musical styles. However, as a link between 19th century Romantic and 20th century style,

Impressionism still plays a critical role in the development of Western music.

Piano music was an essential part of Debussy's creativity, and his contribution to the field of piano music was to development new techniques and sonorities in his compositions. This was reflected in his use of chords and , as well as the unique stylistic characteristics formed in his piano works. Debussy's Préludes are divided into two books, 12 preludes in each, altogether comprising 24 preludes for piano. These sets of works were created during the mature period of Debussy's creativity from 1909 to 1913 and represent the essence of his piano works.

Danseuses de Delphes from Préludes, Book 1

The tempo of Danseuses de Delphes is lent et grave, which means slow and solemn. The work is a ceremonial sarabande inspired by the bas-reliefs of Greece. Danseuses de Delphes is

11 François Lesure, Roy Howat, Debussy, (Achille-)Claude (Grove Music Online, 2001).

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written in ABA' form, and the key is B-flat major. This prelude consists of a series of altered chord progressions, producing a vibrant and colorful effect. The character of the music should be quiet and slow as if it were to be performed in a temple. There are no tempo changes or any pauses in this piece. It is the only work in the 24 piano preludes that has a consistent tempo from beginning to end.

Les collines d’Anacapri from Préludes, Book 1

This prelude imitates an Italian tarantella, with its exhilarating rhythmic pulse, diatonic scales and traditional harmonies, while adding melodic fragments of folk songs. The music of this piece is fluid, the mood is pleasant, and it is one of the most cheerful of the Debussy

Preludes. Les collines d'Anacapri is written in B major with a structure of ABA'. The main tempo of the section A is Vif. However, measures one, two, five, and six are Trèa modéré. These two short introductory phrases are made up of the intervals of perfect fifths as if they are bells coming from the depths of the valley. Then the lively melody breaks the calm. Measures 32-48 feature beautiful elements of folk music, and the melody is in the bass voice. The B section has a contrasting character to the section A. The rhythm becomes slow, free, and swinging. The melodic lines display contrapuntal imitation between voices within the chordal texture, which is gentle and playful. The A' section begins in measure 66, which is akin to recapitulation of the section A. The Coda starts in measure 86, and after several iterations of the themes, the music ends with an arpeggio in the high treble.

18 Section 6: Symphonic Etudes, Op. 13 by Robert Alexander Schumann

Robert Alexander Schumann (1810-1856) was a well-known German composer and music critic. He was one of the representative figures of the mature Romantic period. This was a period of high literary and artistic activity, ideological liberation, freedom of personality. These characteristics inspired Schumann's new ideas for music creation. His piano works were conceived in a novel and unique style, with a strong Romantic aura. Schumann's Symphonic

Etudes, Op. 13 is a piano piece with the genre of an etude and the tonal scope of the symphony.

The work has a rich expressiveness and is presented in the form of a variations.

Symphonic Etudes, Op. 13 is made up of a theme, 11 variations, and finale. The tempo marking of the theme is Andante, the slow and funereal melody based on the theme’s first four- measure phrase consisting of blocked and arpeggiated chords. The theme’s main descending motive appears in measures one, five, and 13, and subsequently throughout the whole work. The variation techniques used in Symphonic Etudes, Op. 13 can be divided into four categories, the first of which uses the theme motive in a form of a free variation. This method is used in

Variations II, IV, VI, and X. For example, in Variation II, the left-handed bass voice retains the original theme, with new musical material added to the treble and inner voice. The second approach is to combine the theme motive with the new rhythmic figure for the development of a sequence. It is presented in Variations I, V, VIII, and XI. Variation I, as an example, starts with a new imitative motive, which then contrapuntally incorporates the theme into the new rhythmic figure in measure five. The third type is the use the interspersed thematic motive throughout the variation. In Variations VII and the Finale, the theme motive is altered when it appears.

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Especially in the Finale, measures 50-65 and measures 131-148 present the sequence alternating in the left and right hands; the dark thematic image is transformed by image of victory, forming a sharp contrast to its initial character. The last type consists of variations that are not associated with the theme. This is reflected in the III and IX pieces named Etudes instead of Variations. In

Etude III, the structure, harmony, and thematic motive have nothing in common with the theme, except that the key. The same method is used in Etude IX.

In Schumann's works, there are many ways in which the composer used tonality in a variety of means to highlight character. In Symphonic Etudes, Op. 13, Schumann mainly used modulation and transposition to add harmonic color. In measure five of Variation V, the tonic of

C-sharp minor is used as the VI chord of E-major as a means of modulation. Variation VII,

Etude XI, and the Finale respectively use E major, the relative major key of C-sharp minor; G- sharp minor, the minor dominant key of C-sharp minor; and D-flat major, the parallel major key of the tonic C-sharp minor. Whether it is modulation or transposition, every key change was, for

Schumann, a means of development and transformation of color and character of the theme.

The symphonic effect of Symphonic Etudes, Op.13 tests the performer's control and imagination of . In sections of multiple voices, the performer needs to keep the melodies of each voice individual and distinguish each with employing different volume and timbre. The emotional transformation and strong contrast in each variation require careful thinking and skillful means of execution. The work employs techniques of an etude and has a wide emotional range, which is a perfect combination of musicality and skill.

20 Bibliography

Bach, Johann Sebastian. French Suites for the Piano. New York: G. Schirmer, Inc..

Feder, Georg, James Webster. Haydn, (Franz) Joseph. Grove Music Online, 2001.

Haydn, Franz Joseph. Piano Sonatas. G. Henle Verlag.

Lesure, François, Roy Howat. Debussy, (Achille-)Claude. Grove Music Online, 2001.

Wolff, Christoph, Walter Emery. Bach, Johann Sebastian. Grove Music Online, 2001.

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Appendix: Program (Concerto)

California State University, Northridge Mike Curb College of Arts, Media, and Communication Department of Music Presents

Ying Han, Piano

In her Master of Music Concerto Recital* A Student of Dr. Dmitry Rachmanov With Shara Sun, Orchestral Reduction Sunday, March 31, 2019 12:30pm Cypress Hall

PROGRAM

Piano Concerto in D Minor, K466 Wolfgang Amadeus Mozart (1756-1791) I. Allegro II. Romanze III. Rondo

*In partial fulfillment of the Master of Music degree in Piano Performance

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