California State University, Northridge

CALIFORNIA STATE UNIVERSITY, NORTHRIDGE

Concerto and Recital Works by Bach, Haydn, Grieg, Guastavino, and Domine

A graduate project submitted in partial fulfillment of the requirements for the degree of Master of Music in Music, Performance

by Joanna Ezrin-Schauer

May 2017

The graduate project of Joanna Ezrin-Schauer is approved:

______

Dr. Pei-Shan Lee Date

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Dr. Gayle Kowalchyk Date

______

Dr. Dmitry Rachmanov, Chair Date

California State University, Northridge

Dedication

In loving memory of Dr. Calvin Ezrin, Geraldine Ezrin,

and Michael K. Burke

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Acknowledgement

Thank you to Dr. Dmitry Rachmanov, Dr. Gayle Kowalchyk, Dr. E. L. Lancaster, Dr. Pei-Shan

Lee, Professor Edward Francis, and Professor James Domine for your guidance, wisdom, and

encouragement.

Thank you to my family-Terry, Rebecca, Daniel, Robert Ezrin, Arlene Sarner, and

Michael K. Burke, whose support made this possible.

Table of Contents

Signature Page ii

Dedication iii

Acknowledgement iv

Abstract vi

Section 1: Fantasia and Fugue in A Minor BWV 944 by J.S. Bach 1

Section 2: Piano Sonata in E-flat Major Hob. XVI/52, L. 62 by Franz Josef Haydn 3

Section 3: Las Niñas by Carlos Guastavino 6

Section 4: Sonata in A Minor for Cello and Piano by Edvard Grieg 10

Section 5: Piano Concerto #3 in A Minor by James Domine 14

Bibliography 18

Appendix A: Program I (Concerto) 20

Appendix B: Program II (Solo Recital) 21

Abstract

CONCERTO AND RECITAL WORKS BY BACH, HAYDN, GRIEG, GUASTAVINO, and DOMINE

By Joanna Ezrin-Schauer Master of Music in Music, Performance

In this paper, I analyzed and discussed the works that I performed on my Masters Degree solo recital and concerto concert. My recital and concerto performances consisted of works by

Johann Sebastian Bach, Franz Josef Haydn, Edward Grieg, Carlos Guastavino, and James

Domine. The goal of this thesis is to provide an analysis of the form, harmonic structure, and history of these pieces.

In selecting the solo recital program, I was aware of the balance of styles representing each of the Baroque, Classical, Romantic, Twentieth, and Twenty-First Century periods of music. The variety of these styles gives the pianist an opportunity to capture the full spectrum of techniques, articulations, and interpretive approaches on the piano. It also provides an historic flow, giving the audience a glimpse of the development of harmony, form, and increased capabilities of the keyboard as it developed over the years from harpsichord to

vi pianoforte to the modern piano. Although I placed the Contemporary piece, Guastavino’s Las

Niñas at the end of the first half of the solo recital program, it has a Romantic harmonic flavor and was a good compliment to the Haydn Sonata. The Grieg, being almost a half hour in length, and having a glorious grand finale, provided an effective ending to the second half of the recital.

The Domine Concerto, containing a compilation of traditional forms with styles ranging from Baroque to Classical to Romantic to Rock and Jazz, is a challenge requiring the pianist to wear many musical hats, demanding a wide range of versatility. Working closely with the composer was an honor and provided an opportunity to closely follow his wishes.

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Section 1: Fantasia and Fugue in A Minor BWV 944 by Johann Sebastian Bach

Johann Sebastian Bach (1685-1750) lived a life that was confined geographically to a limited region. Despite having little exposure to the greater world, Bach displayed a level of sophistication in his compositions that suggested a worldly wisdom. Born in Eisenach, the capital of the duchy of Saxe-Eisenach (which is now Germany), Bach was trained by his father on both the violin and viola. Following the death of his father, he moved 30 miles away to

Ohrdruf in 1695 and was raised by his newly married brother, Johann Christoph (1671-1722), an organist.1 Johann Christoph, a former student of Johann Pachelbel (1653-1706), became Johann

Sebastian’s clavier and organ teacher for the next five years. In 1700, Bach moved 150 miles away to Lüneberg as a chorister in a boys’ school. He spent his years of employment in various cities throughout Germany, finally settling in Leipzig for the last 27 years of his life. He resided in Weimar from 1708-1717 where he composed the Bach Fantasia and Fugue in A minor BWV

9442. It is believed to have been composed in the year 1708, but sources are not certain of the exact date. The Fantasia, which is only ten measures long, is highly improvisatory. The chords are written in blocked form, leaving the harpsichordist free to play the lush harmonies in an arpeggiated manner, and also to bring out the melodic dissonances and resolutions. The phrasing is unusual in that the groupings of the measures are 3+2+2+3. It begins in the tonic key of A minor and with use of multiple suspensions, creates dissonant harmonies that are uncharacteristic of most Baroque works. It briefly visits the subdominant key, again with a delayed resolution and suspension, before resolving to the D minor triad. The return to A minor contains the greatest dissonance of all when the F major seventh chord has a G# suspension introduced

1 Eva and Sydney Grew, Bach (New York: McGraw-Hill, 1972), 8. 2 Johann Sebastian Bach, Miscellaneous Keyboard Works (New York: Dover Publications, Inc., 2012), 212-221. 1 before ending on a half cadence. The fermata over the final chord gives the audience a brief moment of peaceful calm before the tumultuous subject begins. The contrast between the extremely short, introspective, and harmonically rich Fantasia and the energetic, unceasing

Fugue, is very dramatic. The three voice fugue, noted as being the longest of Bach’s fugues, aside from the ”Art of the Fugue,” has a subject that is derived from the organ “Fugue in A minor,” BWV 543. Its exposition alone is nearly as long as some of Bach’s shorter fugues. It is unwavering in its momentum from start to finish with non-stop sixteenth notes, only coming to rest at the final cadence. The countersubject is a perfect complement to the fluid, legato sixteenth note subject with its non-legato eighth note chordal outlines, mimicking the sequential patterns of the subject. Its counterpoint continues in perpetual motion, modulating through various keys while revisiting the subject and countersubject with episodic sequences and imitations. Although the polyphonic texture in this piece is not very dense, being only a three-voice fugue, Bach compensated by keeping the pianist’s fingers moving in perpetual commotion. This piece is less- frequently performed than Bach’s other works and is a refreshing addition to a pianist’s recital program.

Section 2: Piano Sonata in E-flat Major Hob. XVI/52 L.62 by Franz Josef Haydn

Franz Josef Haydn (1732-1809) was primarily a violinist but also played the piano well.

His earlier piano sonatas, accessible to student pianists, have a harmonic simplicity and predictability to them, and his compositional style evolved throughout his life. Haydn’s arrival in

London in 1791 had the greatest impact on his piano writing. His “London visits constitute the most fully documented period of Haydn’s career.”3 His “visits to London in 1791 and 1795 brought him suddenly to the hub of fortepiano making.”4 The new English Broadwood pianos, with the ability to play rapidly repeated notes and the capacity for a fuller tone than the

German pianofortes to which Haydn had been accustomed, injected a new life into his compositions. In addition to discovering this new-found piano on his first trip to London, Haydn made the acquaintance of the famous London-based German pianist, Therese Jansen (1770-

1843). He and Jansen must have developed a mutual friendship because in May of 1795, Haydn served as witness at her wedding to Gaetone Bartolozzi. Haydn was a great admirer of Jansen’s playing, as he dedicated three piano trios to her, and his last three piano sonatas “according to a small (now lost) catalogue of his works composed in England… were intended for her as well”.5

The Piano Sonata in E-flat Major Hob. XVI/52, L. 626, composed in 1794, is the final piano sonata among Haydn’s prolific output. This work is considered to be one of the most magnificent of Haydn’s piano works. Although the initial, hand-written autograph was dedicated to Therese Jansen, the dedicatee on the first published edition in 1798 by Artaria in Vienna, was

3 Jens Peter Larsen, The New Grove Haydn (New York: Norton, 1982), 60. 4 László Somfai, The Keyboard Sonatas of Joseph Haydn (Chicago: University of Chicago Press, 1995),14. 5 Larsen, 68. 6 Joseph Haydn Sonaten Für Klavier (Frankfurt, London, New York: C.F. Peters, 1937).

Magdalena von Kurzbeck (1767-1845).7 The sonata was then published by Longman and

Clementi in London in 1800 titled, “A Grand New Sonata for the Pianoforte Composed

Expressly for Mrs. Bartolozzi, Op. 78.”8

The first movement, marked Allegro moderato, in sonata allegro form, utilizes a unique harmonic approach for the Classical period by using the Neapolitan key as a modulation launch pad. Also, the contrast between the majestic A theme and the delicate, bordering on humorous, B theme is as extreme as anything Haydn composed. The opening theme embraces the magnificence of the French Overture style, encompassing the entire span of the piano keyboard.

The B theme resembles a person giggling and thus embraces the personality traits for which

Haydn was so famous. The development surprisingly begins in the unexpected key of C Major, which could be explained as the parallel major to the relative minor key. The greater harmonic surprise in the development is the return of the second theme in E major, the Neapolitan key.

This is a foreshadowing of the second movement. Through an enharmonic modulation, the piece returns to the tonic key in the recapitulation. There is another moment of foreshadowing the upcoming key of the second movement in the open octaves that enharmonically imply the dominant seventh of E major with C-flat and B-double flat octaves, transporting it in the direction of that key, then catapulting back into the dominant of the E-flat Major key with a startling subito forte and dramatic race to the end of the movement.

Haydn was forward thinking in selecting the Neapolitan key for the Adagio movement.

7 Daniel Heartz, Haydn, Mozart, and Early Beethoven (New York: Norton, 2009), 517-518.

8 John Caldwell, English Keyboard Music Before the Nineteenth Century (New York: Courier Dover Publications, 1985), 270.

This “raised the question of possible influence from Beethoven; the slow movement is in E major, representing a remarkably original juxtaposition of tonalities.”9 Traditionally a second movement of a Classical sonata is in the dominant or relative minor key. This unexpected choice of key creates a dramatic shift in mood beyond that of the change of tempo. In this adagio movement, “Haydn invented a concert-style slow movement.”10 It is composed in ternary form with a fantasia-like B section in the parallel minor key, returning to E major with an embellished

A section and short coda. The movement begins with an introspective simplicity that evolves into, at times, a beautifully spun ornamentation, and at other moments includes rhythmic complexities.

The third movement, back in E-flat major, uses a strict sonata form, rather than the traditional third movement rondo form. It is the embodiment of Haydn’s famous humor, beginning with a taunting series of repeated notes, mimicking the sound of laughter then a jolting stop. It starts over again in F minor. It is not until the third try that the piece finally gets under way with rapid scales and virtuosic finger work throughout. The A theme seems like it is mocking the listeners throughout. It is not until the B theme in the dominant key of B-flat major that there is an arpeggiated passage with a somewhat lyrical implication of a melody line.

This respite only lasts for a moment before it returns to the mockery using repeated eighth notes and syncopated accents. The third movement was likely composed with the intention of making use of the new capabilities of the Broadwood English pianos. The non-stop momentum of this movement has an adagio moment in which the cadence goes back to the tonic, E-flat major of the recapitulation.

9 Larsen, 110. 10 Somfai,179.

Section 3: Las Niñas by Carlos Guastavino

Carlos Guastavino (1912-2000) is one of the most celebrated composers in Argentina; however, outside of his native country, his work has been overshadowed by his Argentinian contemporaries Alberto Ginastera (1916-1983) and Astor Piazzolla (1921-1992). “While

Guastavino is well known in Argentina, he is still known only to a small, rather specialized audience here in the United States.”11 When researching articles, books, and dissertations on

Guastavino’s music, I found only one Ph.D. dissertation on his piano music: "An analysis of selected piano works by Carlos Guastavino," by Ricardo Roel, University of Miami 1995. Even this dissertation is limited to only discussing and analyzing the solo piano works of Guastavino.

It does not mention the two-piano work for which he is so famous, Tres Romances Argentinos.

This work contains the two-piano version of Las Niñas. No one can actually verify whether Las

Niñas originated as a piano solo work and later arranged for two pianos, or vice versa.

In a phone interview with the Argentinian concert pianist, Eduardo Delgado12, he believes that the piano solo version was composed first and then included in the two-piano suite. Delgado initially inspired me to find the Guastavino Tres Romances Argentinos Suite many years ago. He told me about the piano solo version, which was available only in Argentina and at the

International Music Source Library Petrucci.

Guastavino, noted for bringing larger forms such as operas and concert works into the greater consciousness of Argentinian composers, actually limited himself to primarily composing shorter works, such as chamber music, art songs, and character pieces. In a 1968 interview with

Charles M. Schultz, Guastavino explained, after being asked why he had not written any

11 Jonathan S. Kulp, “Guastavino” (PhD Diss., University of Texas, 2001).

12 Eduardo Delgado, phone interview, 22 September, 2016. 6 orchestral music, that he indeed had written a small quantity of orchestral works but preferred the more intimate nature of reduced instrumentation. He said, “Do you know why? Because I express myself better in chamber works. Furthermore, I’m not pretentious.”13 This comment may have been aimed at Ginastera, who was extroverted and brilliant at marketing his music in the

United States. Guastavino, on the other hand, was noted for being shy and humble. Refusing to conform to the approaches of his contemporaries, Guastavino’s legacy was his use of traditional tonality in his compositions. This was described by Jorge Edward Molina:

Throughout his compositional trajectory, Carlos Guastavino moved within the limits of tonality, a language that in its more than three hundred years of existence suffered, in spite of its renovations, the logical consequences of erosion and exhaustion. Carlos Guastavino nevertheless, negotiated the roads with a personal accent, without ever trying his hand at some of the new-tonal recourses of the twentieth century, supported by Stravinsky, Hindemith, and Bartòk, among many others.14

He became one of the voices of the Argentinian people, exuding the national spirit in his music. In his own words, “The aroma of popular music, I have it in my veins. Do you know why? I was a boy at five or six years old and an uncle of mine used to come from Blaquieta, which is in the province of Buenos Aires. He was a peasant, he had wheat fields, you see? He came to Santa Fe where I lived... and this uncle was very, very nice, and while he was shaving he used to sing things from the province of Buenos Aires, so beautiful, so pretty, so lovely that even now I play them on the piano remembering them and it moves me. And that stuck with me. That

13 Interview by Charles M. Schultz, La Prensa, 19 March 1968. 14 “Durante today such trayectoria composition, Carlos Guastavino se movió destroyed de los límites de la tonalidad, lenguaje que en sus más de trescientos años de vigencia sufrió, pese a sus renovaciones, las consequencias lógicas del desgaste y el agotamiento. Carlos Guastavino sin embargo, transitó sus caminos con un acento personal, sin siquiera echar mano de algunos recursos neotonales del sigmoid XX aportados por Stravinsky, Hindemith, y Barton, entre otros muchos.” Jorge Edgard Molina. “Cultor de una refinada dignidad,” El Litonal (Santa Fe), 12 Nov 2000. Opinión section. 7 got into my blood.”15

Guastavino's music moved from classical forms to a more nationalist expression, as exemplified by his piano suites and his 10 Cantilenas Argentinas (Argentine Songs, 1956-58), hailed by some critics as the high point of his piano output. “Thereafter, his style underwent a radical simplification, eschewing orthodox development, seeking to encapsulate the musical essence of each inspiration in a single short span. Larger pieces still occasionally appeared, such as the piano duet sonatina, Romance del Plata (1987), after which he retired from composition.”16

The evolution of Guastavino’s style eventually led him away from classic forms, where even his Sonata and Sonatina shifted more towards free expression. This more liberated form and style of composing is evident in the piano solo, Las Niñas, composed in 1951; a relatively under- recognized piano solo piece which has never been formally analyzed. Although this is the solo version of the first movement of Guastavino’s Tres Romances Argentinos suite, there appears to be no piano solo version of the other two movements. Las Niñas is composed in the Argentinian nationalistic style for which Guastavino was so celebrated. The piece is divided into five major sections -- a quintapartite construction. The harmonies are mostly based upon the circle of fifths or tri-tone substitutions on the circle of fifths progressions. Each section feels like a piece unto itself. It begins with the theme in the key of E flat minor, but the first measures, beginning with the subdominant A flat minor ninth chord, descend step-wise to the tonic in measure four.

Guastavino repeats those opening measures, extending them with a chromatically descending bass line stepping down from the subdominant to the tonic. This initial statement of the A theme in 4/4 is followed by a new section in 6/8 that utilizes a simple one-measure motif developed

15 Carlos Guastavino, interviewed by Victor Villadangos, (Buenos Aires: July 4, 1992). 16 Guy Ricklands, Obituary, The Guardian,15 December 2000. 8 through chromatic sequences, eventually landing in the dominant key of B-flat minor by the end of the second section. The romantic flair continues until a drastic harmonic shift occurs at the end of the third section, using a B dominant seventh, the tri-tone substitution chord for the F dominant seventh in the B-flat minor key. This B dominant seventh chord then becomes the secondary dominant of E dominant seventh, which is the dominant of the new key moving into the fourth in A major. Not only is this drastic harmonic shift a shock to the audience, but the character of the piece changes dramatically as well. This fourth section marked “scherzando” is staccato, filled with repetitive notes, mimicking the sound of girls giggling. It is playful and contrasts with the earlier sections, yet uses many sequential elements that maintain the integrity of the nationalistic Argentinian flavor. This section is written in its relative key of F-sharp minor, then journeys to the home key of E-flat minor via five measures of subito fortissimo thunderous chords going through another circle of fifths that leads to the A-sharp dominant seventh. This awkwardly spelled A# dominant seventh (A#-Cx-E#-G#) is the enharmonic equivalent to the B- flat dominant seventh, the dominant of the tonic key of E-flat minor. Once the tonic key is established the final section is a repeat of the A theme with an extended arpeggiated run that leads to the final chord.

Las Niñas is a blend of Guastavino’s nationalistic style with tinges of great post-

Romantic influences. Not only is the harmonic structure tonal and pleasing to the ear, yet slightly out of sync with the harmonies of the post-Romantic period, the form is unparalleled in that it is neither through-composed nor anything that fits into traditional analysis. Some scholars believe that Guastavino deserves more international acclaim, and hopefully performing this piece will help take a small step towards building a greater awareness of this composer and his lyrical piano works.

Section 4: Sonata in A Minor, Opus 36 for Piano and Cello by Edvard Grieg

Edvard Grieg (1843-1907) is noted for developing the musical voice of the Norwegian people. Through his nationalistic Norwegian folk style, he single-handedly placed Norway among the countries represented in the Nationalistic Romantic movement. In his home city of

Bergen, Norway, there are numerous monuments erected in his honor. In fact, the city’s largest concert hall is called Grieg Hall, and the Grieg Academy is the considered to be most notable music school in Norway. It is of note that the family name Grieg, synonymous with Norwegian music, is actually derived from the Scottish name MacGregor which evolved into Gregg and eventually Greig (pronounced Greg). Alexander Greig, Edvard’s Scottish great-grandfather, immigrated to Bergen, Norway in 1770 and changed the family name to Grieg.17

Trained at the Leipzig Conservatory from the age of fifteen onward, Grieg initially composed in the German Romantic style, but soon turned away from the Sturm und Drang chromaticism of the time, in favor of more tonal clarity and melodic simplicity. Even by age twenty, when he composed the Poetic Tone Pictures Op. 3, one can hear the first elements of

Norwegian folk music in his writing.

By 1883, the year he completed the Sonata in A Minor for Cello and Piano, Grieg’s

Norwegian compositional style had flourished over the past twenty years. In fact, Grieg had developed so many gorgeous signature melodic motifs by that time that many of them reappeared in this work. All three of the movements are composed in sonata form. Dedicated to his brother, John (1840-1901), the world premier was performed by Edvard Grieg and cellist

Friedrich Grützmacher (1832-1903).

17 Nils Grinde, Grieg, Edvard, Grove Music Online, Oxford Music Online, Oxford University Press, accessed 12 March 2017. 10

Although the piece is very long, the simple and mournful opening theme of the first movement captures the mood of the piece in just three pianissimo half notes on the cello --E-F-E.

The opening, peaceful melodic fragment begins to stir into a frenzy, driven by a series of double third sequences that break free into the A theme being restated by the piano this time with fortissimo, accented chords. The tranquillo B theme in the relative major key begins with a reverent, prayer-like quality that evolves into an arpeggiated accompaniment under the elongated theme created by whole notes. The development takes an interesting harmonic journey, moving back into the tranquillo B theme in A major. This key can be described as either the parallel major of the tonic key, however the B theme in the exposition was originally in C major, so this presents a very different color in such a far-removed key. The recapitulation marked presto, builds more and more energy until it reaches prestissimo by the coda, which revisits the introduction to Grieg’s Piano Concerto in A Minor.

The Andante molto tranquillo second movement in the distant key of F major has a metronome tempo of a quarter note equaling 44 beats per minute. This slow tempo requires the performers to play every note with utmost care and expression. The A theme, built upon three repeated notes, uses the same melody and harmonies as the Homage March from Sigurd

Jorsalfar by Grieg. It also calls back to the B theme of the first movement that begins with the three tranquillo repeated notes. “The triplet figure in the main subject is used to form the basis of the more agitated middle section.”18 The pìu mosso development begins over a long A bass pedal point and visits several tonalities via a German sixth chord and through chromatically ascending right hand harmonies over bass pedal points. In the recapitulation, a richly chromaticized descending bass line creates a harmonic excursion through several flat keys as far

18 Brian Schlotel, Grieg, (London: Ariel Music BBC Publications 1986), 64. 11 away as D-flat major, which finally leads to the F major home key and the a tempo, ma tranquillo indication.

“In his finale, the first subject in A minor is transferred into a second subject, by being transposed up to C major, with its notes augmented to twice their former length. But this kind of symphonic transformation was not Grieg’s strong point, and a certain amount of monotony results. However, the work is a useful and attractive item in the cello repertoire, and after the first performance at Dresden on 22 October 1883, in which the German cellist and composer

Friedrich Grützmacher was partnered by Grieg, it became extremely popular.”19 This piece can be considered a representation of Grieg’s deep understanding of harmony and form, combined with his Norwegian style.

In an interview with his American biographer, Grieg explained: ‘The traditional way of life of the Norwegian people, together with Norway’s legends, Norway’s history, Norway’s natural scenery, stamped itself on my creative imagination from my earliest years.’20

This is well described in the introduction to Brian Schlotel’s book on Grieg:

To give expression to this wonder-world of Norwegian inspiration, Grieg created a musical style completely original to himself. Various influences can, of course, be detected, both from art-music and from folk-music, and during his student years he was absorbing academic ideas that were going to be useful for his musical language. His individuality thrived, however, because he was able to assimilate these various elements, and a strong personal voice speaks out in nearly all his compositions from the age of twenty-two.21

19 Schlotel, 65. 20 Ibid., 8. 21 Ibid., 8. 12

The Sonata in A Minor was the largest of Grieg’s chamber works and his only work for cello and piano. Composed nearly twenty years after his three earlier sonatas, Grieg captured his

“personal voice” in this piece and with it, added a virtuosic and expressive concert work to the repertoire of cellists and pianists alike.

Section 5: Piano Concerto #3 in A Minor by James Domine22

James Domine, born in 1953 in Pasadena, California, received his masters degree at

University of Southern California studying composition with Ellis Kohs (1916-2000), Dorrance

Stalvey (1931-2005), and Leonard Stein (1916-2004). The three suites for solo guitar in E minor,

D major and A minor were his first serious compositions. In 1979, Domine founded what would become the San Fernando Valley Symphony Orchestra. Today, James Domine is published by

Frederick Harris, and his music is listed in several levels of the Royal Conservatory of Music syllabus and included in the Celebration Series Grade 10 Repertoire Album23. The San Fernando

Valley Symphony Orchestra now features a year-round concert series and plays a leading role in expanding the musical horizons of Southern California residents. As music director and conductor, Domine has led the orchestra in over a thousand concert performances. The complete catalogue of James Domine's musical compositions include symphonies, concerti, a ballet, an opera, chamber music, solo instrumental pieces, and choral music in a wide variety of styles and genres.

Having worked with Domine previously on many occasions, he informed me that my interpretive insights were of great value to him in communicating exactly what his intensions were with regard to the performance of this work. Together we developed the following program notes that were originally presented at the premier performance on November 26, 2011. With the composer’s permission and consent they are presented here in much the same format.24

23 The Royal Conservatory of Music Celebration Series, Piano Repertoire 10, (Toronto: The Frederick Harris Music Co., 2105). 24 Program notes, San Fernando Valley Symphony Orchestra, November 26, 2011. 14

The Piano Concerto No.3 in A Minor25 evolved over a span of many years. The first movement’s main theme, derived from a rock song, The Wind of Time, composed 30 years earlier, evolved as a vehicle for improvisational style. It was not intended to be rigidly constructed in the sonata-allegro form and has a freedom of style reminiscent of rock and roll improvisation. As Domine’s work developed, it emerged into a complex sonata form that encompasses a wide variety of disparate elements. The end result is something that emerges as uniquely its own style rather than a hybridization of its parts. In the process of composing the piece, it veered ever further away from the rock song upon which it was based. The only elements remaining from it are rhythmic vitality and modal peculiarity; however, the concerto can scarcely be described as being composed in the rock idiom. The song was merely the point of departure.

The first movement of the concerto is marked Allegro strepitoso and is cast in a traditional sonata-allegro form. The opening theme is characterized by a sustained rhythmic ostinato that is elaborated with unresolved suspended second and fourth harmonies.

This is followed by a contrastingly lyrical passage that unfolds through a series of sequential gyrations. The development is a fantasia that employs improvisational techniques associated with rock music, lending the piece a sense of freshness and spontaneity. The recapitulation returns to the athleticism of the principal theme, concluding in a powerful unresolved suspension that seems to ask an unanswered question, the answer to which may someday be found in blowing on the Wind of Time.

25 James Domine, Piano Concerto No. 3 in A Minor, (Los Angeles: Earth Music Ltd., 2011).

The second movement of the concerto is entitled Eulogy. In April of 2010, the composer gave a quasi-autobiographical account in explanation of the origins of this music.

“My father enjoyed the great jazz artists of the day. Art Tatum, Errol Garner and Oscar Peterson were among his favorites. I have fond memories of my childhood when his friends would come over to our house, one of whom was quite an accomplished improviser at the keyboard. I remember the pleasant evenings spent playing and listening to the sentimental music of my parents’ generation. Later on, when I had begun to study music in earnest, the prevailing winds of composition dictated a kind of academic atonalism, a style that Dad neither understood nor appreciated. He would always ask “Why don’t you write something that people want to hear, not that modern stuff!” Of course, I took this admonishment as uninformed and slightly annoying veiled criticism that I did my best to ignore. As time has passed, and I am no longer embarrassed by the sound of triadic harmony, my father’s words haunt me with a kind of truth that I failed to recognize at the time. Dad passed away in 2008, and I like to think that this Eulogy, a nostalgic remembrance of those days, is a piece that he might have liked to hear.”26

The second movement was composed as a jazz ballad in which the first theme returns repeatedly, separated by two episodic developmental sections that jazz players call “bridges.”

There is an alternation of the episodic bridge sections with the main theme that serves as an overarching unifying principal of the entire movement.

The Eulogy won first prize in the Composers Today state competition of the Music

Teachers’ Association of California. I premiered the Eulogy with the San Fernando Valley

Symphony Orchestra, conducted by the composer, in May 2010.

26 Interview with Domine (Los Angeles: April 2, 2010). 16

The third movement, Finale, is an exquisitely crafted sonata-rondo form, with a light almost carefree touch. In the composer’s words, “This music should properly be heard along the beach under swaying palm trees and gentle breezes where elegant women who look like the Girl from Ipanema are sipping umbrella drinks out of coconut shells accompanied by men clad in

Hawaiian shirts and white pants with carefully appointed couture, not a hair out of place, while a band serenades the entourage with the music of the samba, flutes wafting serenely over our heads, washing the strand with overtones of a reggae reverie.”27 The main theme of the Finale is based loosely upon the song You’ll Never Know that is featured on Domine’s Through Your

Window28 CD released in 2008. The main theme alternates with episodic developmental sections that each explore a different harmonic and technical region. The end result is an adventurous excursion into uncharted waters. It is a rondo form and each time we depart from the A theme, a major harmonic event occurs. At the end of the recap, the A theme fades away like a wave on the beach.

27 Interview with Domine, quoting his Through Your Window CD liner notes, (Los Angeles: April 2, 2010). 28 Domine, Through Your Window CD, (Los Angeles: Rhombus Records, 2009). 17

Works Cited

Abraham, Gerald, and Edvard Grieg. Grieg; a Symposium. Westport, CT: Greenwood, 1975.

Print.

Johann Sebastian Bach, Miscellaneous Keyboard Works. New York: Dover Publications, 1991.

Benestad, Finn, and Dag Schjelderup-Ebbe. Edvard Grieg: The Man and the Artist. Gloucester:

Sutton, 1988. Print.

Boyd, Malcolm. Bach. NY: Vintage, 1987. Print.

Chiapusso, Jan. Bach's World. Westport, CT: Greenwood, 1980. Print.

Domine, James. Piano Concerto No. 3 in A Minor. Los Angeles: Earth Music, 2011

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Appendix A: Program I (Concerto)

California State University, Northridge Mike Curb College of Arts, Media and Communication Department of Music Present

JOANNA EZRIN-SCHAUER

in her Master of Music Concerto Recital*

A student of Dr. Dmitry Rachmanov

Jason Stoll, second piano

Sunday, May 8, 2016, 2:30 pm Music Recital Hall

PROGRAM

Concerto No.3 in A Minor...... J. Domine (1953)

I. Allegro Strepitoso II. Eulogy: Tranquillo poco sostenuto III. Rondo Allegro assai

*In partial fulfillment of the Master of Music degree in Piano Performance

Appendix B: Program II (Solo Recital)

California State University, Northridge Mike Curb College of Arts, Media and Communication Department of Music Present

JOANNA EZRIN-SCHAUER

in her Master of Music Recital*

A student of Dr. Dmitry Rachmanov

Monday, August 30, 2016, 7:30 pm Music Recital Hall

PROGRAM

Fantasia and Fugue in A Minor BWV 944...... J.S. Bach (1685-1750)

Sonata No. 62 in E flat Major ...... Franz Joseph Haydn (1732-1809)

Las Niñas…………...... Carlos Guastavino (1912-2000)

Intermission

Sonata in A Minor Op. 36……………………………………..Edvard Grieg (1843-1907)

I. Allegro agitato II. Andante motto tranquillo III. Allegro

Guest soloist: Daniel Grab, cello

*In partial fulfillment of the Master of Music degree in Piano Performance

Joanna Ezrin-Schauer is the recipient of the 2016 Department of Music Honors Convocation

Esther Roth Memorial Scholarship. Thank you so much to my teachers, Dr. Dmitry Rachmanov, and Edward Francis, cellist Daniel Grab, and page turner Knarik Petrosyan. Thank you also to Dr. Gayle Kowalchyk, Dr. E. L. Lancaster, and to my family and friends for their support.