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Before, During, and After 18Th Century Baroque and Program Notes

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Before, During, and After 18Th Century Baroque and Program Notes University of Kentucky UKnowledge Theses and Dissertations--Music Music 2020 PASSACAGLIA AND ITS RELATED FORMS: BEFORE, DURING, AND AFTER 18TH CENTURY BAROQUE AND PROGRAM NOTES Austin Han University of Kentucky, [email protected] Author ORCID Identifier: https://orcid.org/0000-0002-2619-2659 Digital Object Identifier: https://doi.org/10.13023/etd.2020.383 Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Han, Austin, "PASSACAGLIA AND ITS RELATED FORMS: BEFORE, DURING, AND AFTER 18TH CENTURY BAROQUE AND PROGRAM NOTES" (2020). Theses and Dissertations--Music. 167. https://uknowledge.uky.edu/music_etds/167 This Doctoral Dissertation is brought to you for free and open access by the Music at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Music by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained needed written permission statement(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine) which will be submitted to UKnowledge as Additional File. I hereby grant to The University of Kentucky and its agents the irrevocable, non-exclusive, and royalty-free license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known. I agree that the document mentioned above may be made available immediately for worldwide access unless an embargo applies. I retain all other ownership rights to the copyright of my work. I also retain the right to use in future works (such as articles or books) all or part of my work. I understand that I am free to register the copyright to my work. REVIEW, APPROVAL AND ACCEPTANCE The document mentioned above has been reviewed and accepted by the student’s advisor, on behalf of the advisory committee, and by the Director of Graduate Studies (DGS), on behalf of the program; we verify that this is the final, approved version of the student’s thesis including all changes required by the advisory committee. The undersigned agree to abide by the statements above. Austin Han, Student Dr. Lance Brunner, Major Professor Dr. Lance Brunner, Director of Graduate Studies PASSACAGLIA AND ITS RELATED FORMS: BEFORE, DURING, AND AFTER 18TH CENTURY BAROQUE AND PROGRAM NOTES ________________________________________ DMA Project ________________________________________ A DMA Project submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in the College of Fine Arts at the University of Kentucky By Austin Han Lexington, Kentucky Director: Dr. Lance Brunner, Professor of Music Lexington, Kentucky 2020 Copyright © Austin Han 2020 https://orcid.org/0000-0002-2619-2659 ABSTRACT OF DMA PROJECT PASSACAGLIA AND ITS RELATED FORMS: BEFORE, DURING, AND AFTER 18TH CENTURY BAROQUE AND PROGRAM NOTES The purpose of this project is to inform readers of the importance musicology has in informing one’s own learning experience as a performer and listener. As an expression of this exercise, I’ve focused on the history of the passacaglia in Europe from its origins in Spain to its culmination in the music of Paul Hindemith (1895-1963). Through the process of learning about different renditions of passacaglia through musical analysis and comparisons with contemporary art movements and their legacies, I hope the results of what are shown displays an urgent appreciation for applying a more nuanced and openminded approach to the music just covered, a practice that can be continued in future performances. Part II of this project contains programs and original notes of recitals given from the Spring 2017 semester to December 2019. KEYWORDS: Girolamo Montesardo, Heinrich Franz Ignaz Biber, Paul Hindemith, passacaglia, theme and variations Austin Han (Name of Student) 7/8/2020 Date PASSACAGLIA AND ITS RELATED FORMS: BEFORE, DURING, AND AFTER 18TH CENTURY BAROQUE AND PROGRAM NOTES By Austin Han Dr. Lance Brunner Director of DMA Project Dr. Lance Brunner Director of Graduate Studies 7/8/2020 Date TABLE OF CONTENTS LIST OF FIGURES ............................................................................................................. v LIST OF MUSICAL EXAMPLES .................................................................................... vi PART I, PASSACAGLIA AND ITS RELATED FORMS: BEFORE, DURING, AND AFTER 18TH CENTURY BAROQUE ................................................................................ 1 Chapter 1: Introduction ........................................................................................................ 1 1.1: Documents Discussed ............................................................................................... 1 1.2: Literature Discussed ................................................................................................. 2 2.1: Miguel de Cervantes ................................................................................................. 4 2.2: Nuova Inventione d’Intavolatura .............................................................................. 5 Chapter 3: Enlightenment Theories and Baroque Europe ................................................... 7 3.1: Musurgia Universalis ............................................................................................... 8 3.2: Affect as Described by Johann Mattheson ............................................................... 9 3.3: Heinrich Franz Ignaz Biber .................................................................................... 11 3.4: Kircher’s Influence on Biber’s Sonata Violiono Solo Representiva ...................... 11 3.5: Rosary Sonatas ....................................................................................................... 15 3.6: Sonata No. 16 “Guardian Angel” ........................................................................... 15 3.7: Comparisons between Sonata No. 16 and Sonata No. 4 ........................................ 18 Chapter 4: Luigi Boccherini and Musica notturna dell estrade di Madrid ........................ 19 Chapter 5: 20th Century Expressionism and New Objectivity ......................................... 21 5.1: New Objectivity ..................................................................................................... 24 5.2: Paul Hindemith’s Neoclassicism as New Objectivity ............................................ 25 5.3: Comparisons between Sonata for Solo Viola Op. 31 No. 4 and Bach’s Chaconne ....................................................................................................................................... 28 Chapter 6: Personal Performance Practices ....................................................................... 31 6.1: Tuning in Biber’s Passacaglia ............................................................................... 32 6.2 Learning from Urtext and Performance Editions of Biber’s Passacaglia .............. 33 6.3: The Importance of Learning Historical Context while Performing Hindemith’s Viola Sonata Op. 31 No. 4 ............................................................................................. 36 Chapter 7: Conclusion ....................................................................................................... 37 PART II, PROGRAMS AND PROGRAM NOTES ......................................................... 38 April 27, 2017 ................................................................................................................ 38 November 12, 2017 ....................................................................................................... 41 iii April 26, 2018 ................................................................................................................ 45 February 3, 2019 ............................................................................................................ 48 December 8, 2019 .......................................................................................................... 52 BIBLIOGRAPHY ............................................................................................................. 57 VITA .................................................................................................................................. 60 iv LIST OF FIGURES Figure 1: Eisenhardt, Italian Guitar Music of the Seventeenth Century, 83. ...................... 7 Figure 2: Athansius Kircher, Musurgia Universalis, 30-31. ............................................. 14 Figure 3: Metropolis, directed by Fritz Lang .................................................................... 23 Figure 4: Nicholas Roerich, Costume Design for the Maiden of the Grotto ..................... 23 Figure 5: George Grosz, Grauer Tag ................................................................................ 25 Figure 6: George Grosz, Den macht uns kenner nach ....................................................... 25 Figure 7: Paul Hindemith, Der Schwanendreher. ............................................................. 28 v LIST OF MUSICAL EXAMPLES Example 1: Girolamo Montesardo, “La Calata” in Nuova Inventione, 45. ........................
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