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Related Genres? the Symponie Concertante and The RELATED GENRES? THE SYMPONIE CONCERTANTE AND THE MULTIPLE-INSTRUMENT CONCERTO Presented to the Graduate Council of Texas State University-San Marcos in Partial Fulfillment of the Requirements for the degree Master of MUSIC by Juan C. Gutierrez, B.M. San Marcos, TX December 2011 RELATED GENRES? THE SYMPHONIE CONCERTANTE AND THE MULTIPLE-INSTRUMENT CONCERTO Committee Members Approved: ____________________________ Dr. Cynthia I. Gonzales, Chair ____________________________ Dr. Russell C. Riepe ____________________________ Dr. John C. Schmidt Approved: ____________________________ J. Michael Willoughby Dean of the Graduate College FAIR USE AND AUTHOR’S PERMISSION STATEMENT Fair Use This work is protected by the Copyright Laws of the United States (Public Law 94-553, section 107). Consistent with fair use as defined in the Copyright Laws, brief quotations from this material are allowed with proper acknowledgment. Use of this material for financial gain without the author’s express written permission is not allowed. Duplication Permission As the copyright holder of this work I, Juan C. Gutierrez, refuse permission to copy in excess of the “Fair Use” exemption without my written permission. COPYRIGHT by Juan Carlos Gutierrez 2011 ACKNOWLEDGMENTS I would like to thank my family for their support these last several years (both while at The University of Texas at Arlington and Texas State University-San Marcos. Without my family, none of this could be possible. I would also like to thank the brothers of Kappa Kappa Psi at both the Delta Sigma chapter (UT-Arlington) and Theta Alpha (Texas State) for their continued encouragement. The fraternity as played a pivotal role in my life and I do not know where I would be without them. I would next like to thank my thesis committee for their knowledge in making this a stronger paper. Finally, I would like to thank my thesis advisor, Dr. Cynthia Gonzales, for her expertise and patience with me. If it was not for her, this paper would never have been completed or it would not be as good of quality. This manuscript was submitted on November 1, 2011. v TABLE OF CONTENTS Page ACKNOWLEDGMENTS ...................................................................................................v LIST OF FIGURES ......................................................................................................... viii CHAPTER I. INTRODUCTION...............................................................................................1 II. MULTIPLE-INSTRUMENT CONCERTO ......................................................4 Triple Concerto in C Major .........................................................................8 Ritornello 1 and 3 ............................................................................8 Solo 1 and 3, Ritornello 2 and 4 ....................................................19 Solo 2 (Development)....................................................................27 Ritornello 4 ....................................................................................31 III. SYMPHONIE CONCERTANTE...................................................................33 Symphonie Concertante C32 in G Major ..................................................34 Ritornello 1 ....................................................................................34 Solo 1 and the second half of Solo 2 .............................................38 Ritornello 2 and the first half of Solo 2 (Development)................41 Ritornello 3 ....................................................................................42 Symphonie Concertante C40 in Eß Major..................................................43 Ritornello 1 ....................................................................................46 Solo 1 and the second half of Solo 2 .............................................47 Ritornello 2 and the first half of Solo 2 (Development)................52 Ritornello 3 ....................................................................................53 Symphonie Concertante C41 in Eß Major..................................................54 Ritornello 1 ....................................................................................54 Solo 1 and the second half of Solo 2 .............................................59 Ritornello 2 and the first half of Solo 2 (Development)................62 Ritornello 3 ....................................................................................62 IV. COMPARATIVE ANALYSIS ......................................................................64 vi Symphonie Concertantes ...........................................................................64 Symphonie Concertantes and the Triple Concerto ....................................72 V. CONCLUSION................................................................................................75 BIBLIOGRAPHY..............................................................................................................77 vii LIST OF FIGURES Figure Page 1-1. Formal design of Op. 56, i, Allegro ............................................................................6 1-2a. Formal design of Op. 56, i, exposition ......................................................................6 1-2b. Formal design of Op. 56, i, development..................................................................7 1-2c. Formal design of Op. 56, i, recapitulation.................................................................7 1-3. Outline of Triple Concerto R1:\P, R1:\TR, and R1:\MC1 ..........................................8 1-4a. Triple Concerto mm. 1-5 ...........................................................................................9 1-4b. Triple Concerto mm. 6-10.........................................................................................9 1-5. Triple Concerto mm. 9-13.........................................................................................10 1-6. Triple Concerto mm. 13-18.......................................................................................11 1-7. Level of Defaults list .................................................................................................12 1-8. Outline of Triple Concerto R1:\P, R1:\TR, R1:\MC1, R3:\P, R3:\TR, and R3:\MC ...........................................................................................................13 1-9. Triple Concerto mm. 325-328...................................................................................14 1-10. Normal Secondary Theme Zone..............................................................................15 1-11. Outline of Triple Concerto R1:\MC1, R1:\S, and R1:\EEC....................................16 1-12. Triple Concerto mm. 33-40.....................................................................................17 1-13. Triple Concerto mm. 44-52.....................................................................................17 1-14. Triple Concerto mm. 53-58.....................................................................................18 1-15. Outline of Triple Concerto S1:\P.............................................................................19 viii 1-16. Outline of Triple Concerto S1:\TR, S1:\MC1, S3:\TR, and S3:\MC1....................21 1-17. Triple Concerto mm. 118-121.................................................................................22 1-18. Outline of Triple Concerto S1:\S, S1:\EEC, S3:\S, and S3:\ESC ...........................24 1-19. Triple Concerto mm. 170-182.................................................................................25 1-20. Outline of Triple Concerto R2 and R41...................................................................27 1-21. Outline of Triple Concerto S2.................................................................................30 1-22. Outline of Triple Concerto R4.................................................................................31 1-23. List of Beethoven concerti ......................................................................................32 2-1. Formal design of Symphonie Concertante C32, i, Allegro .......................................35 2-2a. Formal design of Symphonie Concertante C32, i, exposition.................................36 2-2b. Formal design of Symphonie Concertante C32, i, development.............................36 2-2c. Formal design of Symphonie Concertante C32, i, recapitulation............................37 2-3. Outline of Symphonie Concertante C32 R1:\P, R1:\TR, and R1:\MC1 ...................37 2-4. Outline of Symphonie Concertante C32 R1:\MC1, R1:\S, R1;\EEC, and R1:\C...............................................................................................................38 2-5. Outline of Symphonie Concertante C32 S1:\P..........................................................39 2-6. Outline of Symphonie Concertante C32 S1:\TR, S1:\MC, S2:\TR, and S2:\MC............................................................................................................40 2-7. Outline of Symphonie Concertante C32 S1:\S, S1:\EEC, S2:\S, and S2:\ESC...........................................................................................................41 2-8. Outline of Symphonie Concertante C32 R2..............................................................42 2-9. Outline of Symphonie Concertante C32 S2 and S2:\TI ............................................42 2-10. Outline of Symphonie Concertante C32 R3............................................................43
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