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Musical Decisions: a Percussionist's Guide To MUSICAL DECISIONS: A PERCUSSIONIST’S GUIDE TO PERFORMING BARTÓK BY KRISTEN J. LOU Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree, Doctor of Music Indiana University December 2015 Accepted by the faculty of the Indiana University Jacobs School of Music, in partial fulfillment of the requirements for the degree Doctor of Music Doctoral Committee ______________________________________ John Tafoya, Research Director, Chair ______________________________________ Kevin Bobo ______________________________________ David Dzubay ______________________________________ Don Freund September 23, 2015 ii Acknowledgements Over the years, there are many people who’ve been instrumental in the development of my education and the completion of this degree: • My parents, Jeff and Frances Lou, who allowed me the freedom to choose my path and supported me throughout all of its twists, • My peers and colleagues, who showed me that it IS possible to create a viable career in this fragile but rewarding field an continue to inspire me to grow, • My teachers, who’ve nurtured and honed the abilities and gave me something to believe in and aspire towards, • John Tafoya, for guiding this project for a student that never studied with him, • Gerry Carlyss, for teaching me how special it is to play with an orchestra, • Tony Cirone, a teacher who’s worked with me throughout an 11-year academic career and beyond. And to my wife and our furry babies, Kumiko, Kona, and Pinot, for making sure I finished this and waiting for me while I needed to take a night to write. iii Table of Contents Acknowledgements ............................................................................................................ iii Table of Contents ............................................................................................................... iv List of Examples ................................................................................................................. v List of Figures .................................................................................................................... ix List of Appendices .............................................................................................................. x Introduction ......................................................................................................................... 1 Chapter 1: Concerto for Orchestra, Sz. 116 ........................................................................ 3 Chapter 2: Sonata for Two Pianos and Percussion, Sz. 110 ............................................. 82 Chapter 3: Music for String Instruments, Percussion and Celesta, Sz. 106.................... 157 Bibliography ................................................................................................................... 200 Discography .................................................................................................................... 201 iv List of Examples Example 1. Concerto for Orchestra, I, mm. 35–50, Suggested Phrasing ........................... 7 Example 2. Concerto for Orchestra, I, mm. 58–67 ............................................................. 9 Example 3. Concerto for Orchestra, I, mm. 90–93 ........................................................... 10 Example 4. Concerto for Orchestra, I, mm. 231–236 ....................................................... 12 Example 5. Concerto for Orchestra, I, m. 271 .................................................................. 13 Example 6. Concerto for Orchestra, I, mm. 313–324 ....................................................... 14 Example 7. Concerto for Orchestra, I, mm. 313–324, Corrections .................................. 15 Example 8. Concerto for Orchestra, I, mm. 390–396 ....................................................... 16 Example 9. Concerto for Orchestra, II, mm.1–9, Suggested Phrasing ............................. 31 Example 10. Concerto for Orchestra, II, m. 32 ................................................................. 33 Example 11. Concerto for Orchestra, II, mm. 123–134, Suggested Phrasing .................. 35 Example 12. Concerto for Orchestra, II, mm. 254–264, Suggested Phrasing .................. 36 Example 13. Concerto for Orchestra, III, mm. 10–14 ...................................................... 39 Example 14. Concerto for Orchestra, III, mm. 34–44 ...................................................... 40 Example 15. Concerto for Orchestra, III, mm. 52–61 ...................................................... 44 Example 16. Concerto for Orchestra, III, mm. 98–99 ...................................................... 45 Example 17. Concerto for Orchestra, III, mm. 123–128 .................................................. 46 Example 18. Concerto for Orchestra, IV, mm. 42–50 ...................................................... 49 Example 19. Concerto for Orchestra, V, mm. 8–41, Suggested Phrasing ........................ 61 Example 20. Concerto for Orchestra, V, mm. 58–59, Sticking Alternatives ................... 65 Example 21. Concerto for Orchestra, V, mm. 137–144 ................................................... 66 v Example 22. Concerto for Orchestra, V, mm. 249–256, Suggested Phrasing .................. 68 Example 23. Concerto for Orchestra, V, mm. 383–412 ................................................... 70 Example 24. Concerto for Orchestra, V, mm. 482–512 ................................................... 73 Example 25. Concerto for Orchestra, V, mm. 550–572 ................................................... 76 Example 26. Concerto for Orchestra, V, mm. 615–625 ................................................... 80 Example 27. Sonata for Two Pianos and Percussion, I, mm. 18–23, Suggested Phrasing ......................................................................................................................................... 102 Example 28. Sonata for Two Pianos and Percussion, I, mm. 32–40 .............................. 105 Example 29. Sonata for Two Pianos and Percussion, I, mm. 41–43, Suggested Phrasing ......................................................................................................................................... 107 Example 30. Sonata for Two Pianos and Percussion, I, mm. 59–65 .............................. 108 Example 31. Sonata for Two Pianos and Percussion, I, mm. 91–101 ............................ 112 Example 32. Sonata for Two Pianos and Percussion, I, mm. 157–160, Suggested Phrasing ......................................................................................................................................... 114 Example 33. Sonata for Two Pianos and Percussion, I, mm. 182–190 .......................... 115 Example 34. Sonata for Two Pianos and Percussion, I, mm. 212–224 .......................... 117 Example 35. Sonata for Two Pianos and Percussion, I, mm. 251–255 .......................... 119 Example 36. Sonata for Two Pianos and Percussion, I, mm. 260–261, Corrections ..... 120 Example 37. Sonata for Two Pianos and Percussion, I, mm. 264–267 .......................... 120 Example 38. Sonata for Two Pianos and Percussion, I, mm. 274–283 .......................... 122 Example 39. Sonata for Two Pianos and Percussion, I, mm. 305–309, Suggested Phrasing and Corrections ............................................................................................................... 123 Example 40. Sonata for Two Pianos and Percussion, I, mm. 309–316 .......................... 124 vi Example 41. Sonata for Two Pianos and Percussion, I, mm. 330–339 .......................... 126 Example 42. Sonata for Two Pianos and Percussion, II, mm. 17–24, Corrections ........ 133 Example 43. Sonata for Two Pianos and Percussion, II, mm. 45–46 ............................. 134 Example 44. Sonata for Two Pianos and Percussion, III, mm. 5–18, Suggested Phrasing and Corrections ............................................................................................................... 137 Example 45. Sonata for Two Pianos and Percussion, III, mm. 44–51, Suggested Phrasing and Sticking. ................................................................................................................... 140 Example 46. Sonata for Two Pianos and Percussion, III, mm. 30–42, Corrections ....... 142 Example 47. Sonata for Two Pianos and Percussion, III, mm. 119–122 ....................... 144 Example 48. Sonata for Two Pianos and Percussion, III, mm. 176–187, Suggested Phrasing........................................................................................................................... 148 Example 49. Sonata for Two Pianos and Percussion, III, mm. 217–227, Suggested Phrasing and Corrections ................................................................................................ 149 Example 50. Sonata for Two Pianos and Percussion, III, mm. 247–260, Suggested Phrasing........................................................................................................................... 150 Example 51. Sonata for Two Pianos and Percussion, III, mm. 405–420, Suggested Phrasing and Corrections ................................................................................................ 155 Example 52. Music for Strings, I, mm. 51–57 ................................................................ 161 Example 53. Music for Strings, II, mm. 27–41 .............................................................. 165
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