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UNIVERSITY OF CINCINNATI Date: 26 December 2007 I, Shu-Ting Yang, hereby submit this work as part of the requirements for the degree of: Doctor of Musical Arts in: Piano Performance It is entitled: Salute to Bach: Modern Treatments of Bach-Inspired Elements in Luigi Dallapiccola’s Quaderno Musicale di Annalibera and Heitor Villa-Lobos’ Bachianas Brasileiras No. 4 This work and its defense approved by: Chair: __Jeongwon_Joe,_Ph.D.__________ __Eugene_Pridonoff,_M.M._______ __Elizabeth_Pridonoff,_M.M.____ Salute to Bach: Modern Treatments of Bach-Inspired Elements in Luigi Dallapiccola’s Quaderno Musicale di Annalibera and Heitor Villa-Lobos’ Bachianas Brasileiras No. 4 A doctoral document submitted to the Division of Graduate Studies and Research of the University of Cincinnati in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS in the Keyboard Division of the College-Conservatory of Music by Shu-Ting Yang 16 November 2007 B.M., National Taiwan Normal University, 1999 M.M., Indiana University, 2002 P.D., Indiana University, 2003 Project Advisor: Jeongwon Joe, Ph.D. Abstract Being two of a few Bach-inspired masterpieces in the twentieth-century keyboard repertoires, Luigi Dallapiccola’s Quaderno Musicale di Annalibera and Heitor Villa-Lobos’ Bachianas Brasileiras No. 4 contain the application of modern treatments on long lasting traditional subjects: the Baroque music style and the B-A-C-H motif. In this document, I discuss both composers’ multi-style blend (neo-Baroque/Serialism for Dallapiccola and neo-Baroque/Nationalism for Villa-Lobos) side by side through a close examination of their biographical background and stages of evolution, followed by a theoretical analysis of these two representative works. Dallapiccola’s mature dodecaphonic technique, along with the usage of symbolism and canonic writing are perfectly fused in Quaderno Musicale di Annalibera. Bachianas Brasileiras No. 4, as the title suggests, shows Villa-Lobos’ ingenious combination of Brazilian folk materials with a Baroque-like style. Finally, I compare the orchestral versions and piano versions in terms of the treatment of Bach-inspired elements through the orchestration. iii Copyright © 2008 by Shu-Ting Yang All rights reserved iv Acknowledgments I would like to express my gratitude to all those who have helped me to complete this document: to my piano professors, Elizabeth and Euguene Pridonoff, whose musicianship in piano performance and passion in piano education have been and will be the model in my musical journey; and to my advisor, Dr. Jeongwon Joe, whose profound musical knowledge and insightful guidance make it possible for me to complete this document. Special thanks to my parents, their selfless love and support have always given me strength to pursue my goals. To my husband, whose companionship and assistance in computer technology have made the writing process a pleasant experience. To my daughter, whose arrival has been the biggest motivation for completing this document. v Table of Contents List of Tables 2 List of Musical Examples 3 Chapter 1. Introduction: Neo-Baroque as A New Twentieth-Century Musical Stream: Bach-Inspired Elements in Modern Music 6 Chapter 2. Luigi Dallapiccola and His Musical Style A. Biographical background 10 B. Stages of tonal transformation and connections with the serialist method 13 C. Piano output 15 Chapter 3. Modern Treatments in Bach-Inspired Quaderno Musicale di Annalibera A. Compositional background 17 B. Homage to Bach 17 C. Modern treatments: serial methods 18 D. Analysis of each movement 20 Chapter 4. Heitor Villa-Lobos and His Musical Style A. Biographical background 47 B. Stages of evolution and connections with folk materials 50 C. Piano output 51 Chapter 5. Modern treatments in Bach-inspired Bachianas Brasileiras No. 4 A. Homage to Bach 54 B. Compositional background 55 C. Modern treatments: neo-classic method and nationalism 56 D. Analysis of each movement 57 Chapter 6. Comparison Between the Piano Originals and the Orchestrated Versions A. Dallapiccola: Variazioni per orchestra 78 B. Villa-Lobos: Bachianas Brasileiras No. 4 83 Chapter 7. Conclusion: Contributions of these Two Pieces Through Modern treatments of Bach-Inspired Elements 93 Bibliography 95 List of Tables Table 3.1. Matrix of the row of Dallapiccola’s Quaderno Musicale di Annalibera 19 Table 3.2. Diagram of the B-A-C-H motif in “Accenti” from Quaderno Musicale di Annalibera 25 Table 3.3. Diagram of the canonic relationship of “Contrapunctus primus” from Quaderno Musicale di Annalibera 27 Table 3.4. Diagram of the B-A-C-H tetrachord in “Contrapunctus primus” from Quaderno Musicale di Annalibera 28 Table 3.5. Organization of the rows in “Contrapunctus secundus” from Quaderno Musicale di Annalibera 30 Table 3.6. The hidden tetrachords in “Contrapunctus secundus” from Quaderno Musicale di Annalibera 32 Table 3.7. Relationship of the rows in “Fregi” from Quaderno Musicale di Annalibera 34 Table 3.8. Presentation of the rows in “Andantine amorose e Contrapunctus tertius” from Quaderno Musicale di Annalibera 36 Table 3.9. Detail formal diagram of “Ritmi” from Quaderno Musicale di Annalibera 38 Table 3.10. Usage of the rows in “Colore” from Quaderno Musicale di Annalibera 42 Table 3.11. Structural analysis of “Ombre” from Quaderno Musicale di Annalibera 44 Table 3.12. Structural analysis of “Quartina” from Quaderno Musicale di Annalibera 45 Table 5.1. Analysis of phrasing in section A of “Preludio” from Bachianas Brasileiras No. 4 60 Table 5.2. Diagram of section B in “Choral” from Bachianas Brasileiras No. 4 66 2 List of Musical Examples Example 3.1. Innovative linear-styled chordal analysis of the B-A-C-H motif in “Simbolo” from Dallapiccola’s Quaderno Musicale di Annalibera, mm. 2-5 21 Example 3.2. “Simbolo” from Quaderno Musicale di Annalibera, mm. 1-5 22 Example 3.3. “Simbolo” from Quaderno Musicale di Annalibera, mm. 9-16, for the relax-tense phrasing and the slow-fast harmonic rhythm 23 Example 3.4. “Simbolo” from Quaderno Musicale di Annalibera, mm. 17-20 23 Example 3.5. “Accenti” from Quaderno Musicale di Annalibera, mm. 1-4 25 Example 3.6. “Contrapunctus primus” from Quaderno Musicale di Annalibera, mm. 1-4 27 Example 3.7. “Linee” from Quaderno Musicale di Annalibera, mm. 1-2 and mm. 6-7 29 Example 3.8. “Contrapunctus secundus” from Quaderno Musicale di Annalibera, mm. 1-3 31 Example 3.9. “Contrapunctus secundus” from Quaderno Musicale di Annalibera, mm. 5-6 31 Example 3.10. “Fregi” from Quaderno Musicale di Annalibera 35 Example 3.11. “Andantine amorose e Contrapunctus tertius” from Quaderno Musicale di Annalibera, mm. 1-5 36 Example 3.12. “Ritmi” from Quaderno Musicale di Annalibera mm. 1-9 38 Example 3.13. Sectional examples of “Ritmi” from Quaderno Musicale di Annalibera 39 Example 3.14. “Ritmi” from Quaderno Musicale di Annalibera mm. 41-44 40 Example 3.15. “Colore” from Quaderno Musicale di Annalibera, mm. 1-3 (with circled notes) 41 Example 3.16. Section A and B of “Ombre” from Quaderno Musicale di Annalibera, mm. 1-3 and 8-9 43 Example 5.1. The arpeggio motive in “Preludio” from Bachianas Brasileiras No.4 58 Example 5.2. The royal theme from Bach’s Musical Offering 58 3 Example 5.3. The arpeggio figures from Bach’s Toccata from Partita in E minor, BWV 830 59 Example 5.4. Application of the passacaglia melody in section A of “Preludio” from Bachianas Brasileiras No. 4 59 Example 5.5. “Preludio” from Bachianas Brasileiras No. 4, mm. 23-27 61 Example 5.6. “Preludio” from Bachianas Brasileiras No. 4, mm. 28-32 62 Example 5.7. “Choral” from Bachianas Brasileiras No. 4, mm. 1-16 63 Example 5.8. “Choral” from Bachianas Brasileiras No. 4, mm. 17-22 64 Example 5.9. Circle of fifths in “Choral” from Bachianas Brasileiras No. 4, mm. 33-43 66 Example 5.10. Modern notation in “Choral” from Bachianas Brasileiras No. 4, mm. 71-73 67 Example 5.11. Folk tune “Ó mana deix’eu ir” from Northeastern Brazil 68 Example 5.12. Introduction of “Aria” from Bachianas Brasileiras No. 4, mm. 1-6 69 Example 5.13. Section A Part I of “Aria” from Bachianas Brasileiras No. 4, mm. 7-22 70 Example 5.14. Section A Part II of “Aria” from Bachianas Brasileiras No. 4, mm. 23-30 70 Example 5.15. Section B of “Aria” from Bachianas Brasileiras No. 4, mm. 38-48 71 Example 5.16. Left-hand melody in Section B of “Aria” from Bachianas Brasileiras No. 4, mm. 68-74 72 Example 5.17. “Dansa” from Bachianas Brasileiras No. 4, mm. 12-25 75 Example 5.18. The “Black key versus White Key” technique used in “Dansa” from Bachianas Brasileiras No. 4, mm. 66-72 75 Example 5.19. The “Sharp versus Flat” technique used in “Dansa” from Bachianas Brasileiras No. 4, mm. 89-97 76 Example 5.20. “Dansa” from Bachianas Brasileiras No. 4, mm. 120-134 76 4 Example 6.1. The 1st movement of Variazioni per orchestra, mm. 21-23 79 Example 6.2. The 3rd movement of Variazioni per orchestra, mm. 1-4 80 Example 6.3. The 7th movement of Variazioni per orchestra, mm. 1-6 81 Example 6.4. The 9th movement of Variazioni per orchestra, mm. 1-6 82 Example 6.5. First page of “Preludio” from the orchestral Bachianas Brasileiras No. 4 84 Example 6.6. Canonic writing in section B of “Preludio” from the orchestral Bachianas Brasileiras No. 4 85 Example 6.7. Cello section in the recapitulation of “Preludio” from the orchestral Bachianas Brasileiras No. 4 85 Example 6.8. Rehearsal nos. 1 and 2 of “Choral” from the orchestral Bachianas Brasileiras No. 4 86 Example 6.9.
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  • Polyphonic Harmony in Three of Ferruccio Busoni's Orchestral Elegies

    Polyphonic Harmony in Three of Ferruccio Busoni's Orchestral Elegies

    POLYPHONIC HARMONY IN THREE OF FERRUCCIO BUSONI’S ORCHESTRAL ELEGIES Colin Davis, B.M., M.M. Dissertation Prepared for the Degree of DOCTOR OF PHILOSOPHY UNIVERSITY OF NORTH TEXAS May 2015 APPROVED: Timothy L. Jackson, Major Professor Hendrik Schulze, Committee Member Stephen Slottow, Committee Member Frank Heidlberger, Committee Member and Chair of the Department of Music History, Theory, and Ethnomusicology Benjamin Brand, Directory of Graduate Studies for the College of Music James Scott, Dean of the College of Music Costas Tsatsoulis, Interim Dean of the Toulouse Graduate School Davis, Colin. Polyphonic Harmony in Three of Ferruccio Busoni’s Orchestral Elegies. Doctor of Philosophy (Musicology - Music Theory), May 2015, 225 pp., 82 musical examples, bibliography, 91 titles. This dissertation focuses on three of Busoni’s late orchestral works known as “orchestral elegies”: Berceuse élégiaque (Elegie no. 1, 1909), Gesang vom Reigen der Geister (Elegie no. 4, 1915), and Sarabande (Elegie no. 5, 1918-19). The study seeks to provide a better understanding of Busoni’s late style as a crucial bridge from late nineteenth-century chromaticism in the works of Liszt, Wagner, and others to the post-tonal languages of the twentieth century. At the heart of this study lies a particular concept that forms the basis of many characteristic features of Busoni’s late style, namely the concept of polyphonic harmony, or harmony as a cumulative result of independent melodic lines. This concept is also related to a technique of orchestration in which the collective harmony is sounded in such a way that the individual voices are distinct. In the highly personal tonal language of Busoni’s late works, passages often consist of a web of motives weaved throughout the voices at the surface level of the music.