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Effective Practice Methods for David Popper's Virtuosic Pieces and the Realtionship Between Selected Pieces and Etudes So Youn Park

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Effective Practice Methods for David Popper's Virtuosic Pieces and the Realtionship Between Selected Pieces and Etudes So Youn Park Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2007 Effective Practice Methods for David Popper's Virtuosic Pieces and the Realtionship Between Selected Pieces and Etudes So Youn Park Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC EFFECTIVE PRACTICE METHODS FOR DAVID POPPER’S VIRTUOSIC PIECES AND THE RELATIONSHIP BETWEEN SELECTED PIECES AND ETUDES By SO YOUN PARK A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music Degree Awarded: Spring Semester, 2007 Copyright © 2007 So Youn Park All Rights Reserved The members of the Committee approve the treatise of So Youn Park defended on March 27, 2007. _________________________ Gregory Sauer Professor Directing Treatise _________________________ Evan Jones Outside Committee Member _________________________ Melanie Punter Committee Member The Office of Graduate Studies has verified and approved the above named committee members. ii Dedicated to My parents and my husband, Do Young iii ACKNOWLEDGEMENTS I am truly grateful to many people who have helped me to successfully complete this treatise. First of all, I would like to express my great appreciation to my committee members: Professor Gregory Sauer, Professor Melanie Punter, and Dr. Evan Jones, for giving me their knowledge, time and effort. Most of all, I would like to thank my treatise director, Professor Sauer, for his insightful advice and ideas and his constant encouragement through this process. I am also deeply grateful to Professor Punter who always provided me her valuable advice and direction to help me finish my doctoral degree. Also with profound gratitude, I would like to thank Dr. Jones for his knowledge and suggestions for advanced study. I shall never forget to thank Lubomir Georgiev of blessed memory, who taught me with his wisdom, kindness, and respect, arousing in me the desire for the in-depth study of music. My profound appreciation is extended to my Korean professors, Jong Young Lee and Hee Song Song. Professor Lee was my teacher during the bachelor’s and master’s degrees in Kyung-Hee University and helped me to continue studying in the U.S. with her constant attention and advice. Professor Song spurred my interest in pedagogy with many invaluable teaching experiences. I would also like to express my heartfelt thanks to my great parents, Je Kwan Park and Young Soon Lim, who always encourage and believe in me with their endless love, patience, and support. I cannot forget to thank my parents-in-law, Young Sik Pyun and Soo Hee Jung for their prayers, attention, and love. Finally, my deepest thanks to my beloved husband Do Young Pyun, not only for his unlimited spiritual and financial support, but also for his true love and constant encouragement, which has helped bring my doctoral study to completion. iv TABLE OF CONTENTS List of Figures ................................................................................................ vi Abstract .................................................................................................... ix 1. David Popper’s Biography............................................................................... 1 Characteristics of Popper’s Compositional Style ............................................ 6 Brief Description of Popper’s Three Books of Etudes .................................... 8 2. Pedagogical Study of Popper’s Virtuosic Pieces related to his Three Books of Etudes Basic Level Gavotte in D Major, Op. 23, No. 2 .............................................. 10 “Once Upon More Beautiful Days” Op. 64, No. 1 ...................... 14 Gavotte in D Minor, Op. 67, No. 2 .............................................. 18 Intermediate Level Mazurka, Op. 11 No. 3................................................................. 21 Chanson Villageoise, Op. 62, No. 2............................................. 24 Round Dance, Op. 50, No. 4........................................................ 28 Spanish Dances: Serenade, Op. 54, No. 2 ................................... 32 Hungarian Rhapsody, Op. 68 ...................................................... 36 Advanced Level Tarantella, Op. 33........................................................................ 42 Concert-Etude, Op. 55, No. 2 ...................................................... 48 Spinning Song, Op. 55, No. 1....................................................... 54 Papillon, Op. 3 No. 4................................................................... 58 Elfentanz, Op. 39.......................................................................... 61 3. Conclusion ................................................................................................ 66 APPENDIX: Chronological Listing of David Popper’s Virtuosic Works ........ 69 BIBLIOGRAPHY ................................................................................................ 71 BIOGRAPHICAL SKETCH .............................................................................. 73 v LIST OF FIGURES Figure 1: Gavotte in D Major, mm. 1-4 .............................................................. 10 Figure 2: Gavotte in D Major, mm. 33-34........................................................... 11 Figure 3: Gavotte in D Major, mm. 10-12........................................................... 11 Figure 4: Gavotte in D Major, mm. 13-15........................................................... 11 Figure 5: Gavotte in D Major, mm. 36-37........................................................... 12 Figure 6: Gavotte in D Major, m. 64-66 .............................................................. 12 Figure 7: Gavotte in D Major, mm. 69-71........................................................... 12 Figure 8: No. 7 of Fifteen Easy Studies, mm. 1-7................................................ 13 Figure 9: No. 7 of Fifteen Easy Studies, mm. 1-7 ............................................... 13 Figure 10: No. 40 of High School of Cello Playing, mm. 3-12 ........................... 13 Figure 11: “Once Upon More Beautiful Days,” m. 17 ....................................... 15 Figure 12: “Once Upon More Beautiful Days,” mm. 24-29 ............................... 15 Figure 13: “Once Upon More Beautiful Days,” mm. 32-35................................ 15 Figure 14: “Once Upon More Beautiful Days,” mm. 41-44 ............................... 16 Figure 15: No. 6 of Fifteen Easy Studies, mm. 28-30 ......................................... 16 Figure 16: “Once Upon More Beautiful Days,” mm. 46-49 ............................... 17 Figure 17: No. 8 of Fifteen Easy Studies, mm. 1-4.............................................. 17 Figure 18: practice for inaudible each string ....................................................... 17 Figure 19: Gavotte in D Minor, m. 16 ................................................................ 18 Figure 20: Gavotte in D Minor, mm. 1-2 ............................................................ 18 Figure 21: Gavotte in D Minor, mm. 27-33......................................................... 19 Figure 22: Gavotte in D Minor, mm. 44-45......................................................... 20 Figure 23: Gavotte in D Minor, mm. 35-39 ........................................................ 20 Figure 24: No. 2 of Fifteen Easy Studies, mm. 1-4 ............................................. 21 Figure 25: No. 2 of Fifteen Easy Studies, mm. 29-30.......................................... 21 Figure 26: Mazurka, m. 15................................................................................... 22 Figure 27: Mazurka, mm. 4-5 ............................................................................. 23 Figure 28: Mazurka, mm. 32-34 ......................................................................... 23 Figure 29: No. 37 of High School of Cello Playing, mm. 14-15 ......................... 23 Figure 30: Mazurka, mm. 15-16 .......................................................................... 24 Figure 31: No. 25 of High School of Cello Playing, mm. 1-2 ............................ 24 Figure 32: La Chanson Villageoise, mm. 1-4 ..................................................... 25 Figure 33: La Chanson Villageoise, mm. 18-22 ................................................. 25 Figure 34: La Chanson Villageoise, mm. 29-36.................................................. 26 Figure 35: La Chanson Villageoise, mm. 59-63.................................................. 26 Figure 36: La Chanson Villageoise, mm. 13-18 ................................................. 26 Figure 37: No. 5 Ten Medium Difficult Studies, mm. 1-4 ................................... 27 Figure 38: chords for mm. 1-4 ............................................................................. 27 Figure 39: No. 22 of High School of Cello Playing, mm. 1-2 ............................. 28 Figure 40: practice for m. 1.................................................................................. 28 Figure 41: Round Dance, mm. 4-8 ...................................................................... 29 Figure 42: practice for mm. 4-5 ........................................................................... 29 Figure 43: Round Dance, mm. 19-21................................................................... 29 Figure 44: octaves practice of mm. 19-21 .........................................................
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