A Formal Analytical Approach Was Utilized to Develop Chart Analyses Of

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DOCUMENT RESUME ED 026 970 24 HE 000 764 .By-Hanson, John R. Form in Selected Twentieth-Century Piano Concertos. Final Report. Carroll Coll., Waukesha, Wis. Spons Agency-Office of Education (DHEW), Washington, D.C. Bureauof Research. Bureau No-BR-7-E-157 Pub Date Nov 68 Crant OEC -0 -8 -000157-1803(010) Note-60p. EDRS Price tvw-s,ctso HC-$3.10 Descriptors-Charts, Educational Facilities, *Higher Education, *Music,*Music Techniques, Research A formal analytical approach was utilized to developchart analyses of all movements within 33 selected piano concertoscomposed in the twentieth century. The macroform, or overall structure, of each movement wasdetermined by the initial statement, frequency of use, andorder of each main thematic elementidentified. Theme groupings were then classified underformal classical prototypes of the eighteenth and nineteenth centuries (ternary,sonata-allegro, 5-part or 7-part rondo, theme and variations, and others), modified versionsof these forms (three-part design), or a variety of free sectionalforms. The chart and thematic illustrations are followed by a commentary discussing each movement aswell as the entire concerto. No correlation exists between styles andforms of the 33 concertos--the 26 composers usetraditional,individualistic,classical,and dissonant formsina combination of ways. Almost all works contain commonunifying thematic elements, and cyclicism (identical theme occurring in more than1 movement) is used to a great degree. None of the movements in sonata-allegroform contain double expositions, but 22 concertos have 3 movements, and21 have cadenzas, suggesting that the composers havelargely respected standards established in theClassical-Romantic period. Appendix A is the complete form diagramof Samuel Barber's Piano Concerto, Appendix B has concentrated analyses of all the concertos,and Appendix C lists each movement accordog to its design.(WM) DE:802

FINAL REPORT

Project No. 7-E-157

Grant No. 0EG-0-8-000157-1803 (010)

FORM IN SELECTED TWENTIETH-CENTURY PIANO CONCERTOS

November, 1968

U.S. DEPARTMENT OF HEALTH, EDUCATION& WELFARE OFFICE OF EDUCATION

THIS DOCUMENT HAS BEEN REPRODUCED EXACTLYAS RECEIVED FROM THE PERSON OR ORGANIZATION ORIGINATING IT.POINTS OF VIEW OR OPINIONS

STATED DO NOT NECESSARILY REPRESENT OFFICIALOFFICE OF EDUCkTION POSITION OR POLICY.

U.S. DEPARTMENT OF HEALTH, EDUCATION, AND WELFARE

Office of Education Bureau of Research ....1411.11,...MIN..f

FINAL REPORT

Project No. 7-E-157 Grant No: 0BG-0-8-000157-1803 (010)

FORM IN SELECTED TWENTIETH-CENTURY PIANO CONCERTOS

John R. Hanson

Carroll College

Waukesha, Wisconsin

November, 1968

The research reported herein wasperformed pursuant to a grant with theOffice of Education, U. S. Department of Health, Education, and Welfare. Contractors undertaking such projects under Government Sponsorship areencouraged to expressfreely their professional judgmentin the conductoftheproject. Points of view or opinions stated do not, therefore,necessarily represent official Office of Education position or policy.

U. S. DEPARTMENT OF HEALTH, EDUCATION, AND WE1FARE

Office of Education Bureau of Research TABLE'OF CONTENTS

SUMMARY. . 0

INTRODUCTION . 3

RESULTS AND FINDINGS 8

CONCLUSIONS . . 11 BIBLIOGRAPHY Reference Sources . 12 Scores . . . . l4

APPENDIX A.. Piano Concerto by Samuel Bafber. Example of complete chart analysis 17 APPENDIX B. Conaensations of the chart analysesof all the concertos . II 28

APPENDIX C. Lists of all the movementsin the concertos according-to formal type, andan enumeration of cadenzas, cyclicism, and concertos withother than three movements . . t, 47

ii 0 SUMMARY

This report concerns a reseah projectundertaken to fulfill the dissertation requirement for a doctoral degree. The dissertation was submitted to the Eastman School of Music inRochester, New York, and it is entitled Macroform in SelectedTwentieth-22E11g Piano Concertos. The dissertation presents a formalanalysis of all the movementswithin thirty-three selected piano concertos of thetwentieth century, with twenty-six composers represented. The following concertos are included: Barber, Bartok (First, Second, andThird), Britten, Chavez, Copland, von Einem) Gershwin_Ginastera, Haieff, Hanson, Helm(Second), Kabalev- sky (Third), Khachaturian, La Mo7ataine,G.F. Malipiero (Third),Martina (Third), McPhee (For Piano and Wind Octette), Menotti,Pijper, Poulenc, . Prokofiev (7irst, Second, Third, andFifth), Ravel (G major), Rawsthorne (Second), Schoenberg, Shostakovich (First andSecond), Stravinsky (Capriccio and Concerto for Piano and WindInstrumentb). There arc published scores (orchestral or two-pianoarrangement) for each one, and each concerto has been commercially recorded ondisc.

The dissertation presents in chart formdetailed analyses of each of the movements of the concertos. This report includes a detailed analysis of the Barber Concerto as an exampleof the procedure used (Appendix A); condensations of the analyses of all of theconcertos showing their major formal divisions also appearin this report (Ap- pendix B).

The analyses in the dissertation concernthe large, over-all or "macro" form of the movements as determined bythe statement and stibse- quent use of the main thematic elements. After these elements had been located, they were arbitrarily labeled(with a number, or letter, or combination of both) and the labels listedvertically on a page, along with an identifying measure number and abrief explanatory statement. On the basis of aural impression, thethematic elements were then grouped into sections and the structure resultingfrom the sectioning was usually identified with a formal prototype such as"sonata-allegro," "rt...,do," "ternary," etc. Some movements did dhow some modificationsof these designs, and some movements were labeled"free, sectional" when there was extensive departure from standard patterns. The thematic elements themselves range from brief figures, throughmotives, to longer, lyric phrases; they are quoted in musical notation on aseparate page following the chart of each movement. Following the charts of each concerto, a commentary includesinformation regarding formal modifications orir- regularities, thematic unifying devices, andcharacteristics of the harmonic and melodic style.

While the main purpose of the dissertation wasto present the series of analyses as a reference source,three main conclusions were reached. The first was that the concept of acceptingthematic statements and uses as the determinant ofthe large, aver-all form provedvalid for this particular choice of literature. Second, while various styles and formal

1 movements were classi- modifications were encountered,the majority of the fied according to oneof the formal prototypesof the Classical-Romantic marked indebtedness to period (18th and 19thcenturies), showing a rather between harmonic pre-existing formaltraditions. Third, no correlation dissonant style was not style and form was inevidence--that is, a more arrangement, or conversely, necessarily associatedwith an unusual formal with an adherence a moretraditional style was notnecessarily associated aid mixtures werefound. to stricter classicalform-is; many combinations

Characteristics peculiar tothe classical concertoinclude the use the "double of three movements,the cadenza for thesolo instrument, and In these 20th cen- exposition" in the openingsonata-allegro movement. have three movcments(the tury concertos, twenty-twoof the thirty-three (five of others have from oneto five); twenty-one contain cadenzas concertos which-have them in twomovements);however, there are no double exposition. containing a movement insonata-allegro form with a in the section Other common and less commonelements are discussed Appendix CI each movementof all the on Findings. Then, appearing as concertos is contained in alisting according tothe following categor- (not strict A B A), sonata-allegro, ternary(A B A), three-part ies: variations, A A B, two- five-part rondo, seven-partrondo, theme and unipartite, and free,sectional part or binary,five-part but not rondo, with other than three move- dasigns. .Cadenzas,cyclicism, and concertos ments also are enumerated.

2 INTRODUCTION

One of the intriguing aspectsof art is the reason for its appeal to man--what are the elementscontributing to its beauty?One generally accepted theorem is that beauty in artis the result of a balance between unity and variety. It is often difficult to be veryspecific about the elements of art and their use asdevices of unity or variety,especially in music, which is the mostabstract of the arts. Nevertheless, in the past, certain techniques of analysishave been accepted as being meaningful and relevant to the understandingof a work of music.

These techniques include describing theover-all form of each movement of a work (that is describingthe ordering of the thematicmaterial and key centers) and searchingfor balancing similarities ordifferences in the thematic material(that is seeking common elements of length, shape, key, motives, rhythmic devices,and any other bharacteristics peculiar to the themes of a work).

During the late lath century andduring the 19th century, composers limited the possibilities of ordering thethematic material to a certain few generally accepted formal prototypes,given such names as "sonata- allegro," "three-part," "rondc," or "themeaid variations," and these forms were employed in the concertoliterature as well as in purely symphonic music and in chamber music. Due to the presence of the soloin- strument, the concerto, besides exhibitingthe aforementioned forms, also acquired some other standardizationspeculiar to it, such as the,"double exposition" modification of thesonata-allegro form, and the use of a "cadenza."

The purposes of this research project are: 1) to provide a reference source of informationregarding the large, over-all or "macro"form of all the movements within thirty-threeselected piano concertos of the 20th century, and 2) to determine theinfluence of pre-existing formal prototypes and practices on 20th century composersof concertos.Also, elements of the harmonic style were takeninto consideration to see if there might have been a relationshipbetween style and form.

The macroform was determined bythe statements and subsequent ordering and use of the thematicmaterials, and this over-all formalpattern was schematicallyrepresented by means of a diagram for eachmovement. Twentieth century freedoms in keyrelationships and more dissonant harmonic styles have diminished the importanceof tonality as a determinant of form, but tonalities have been considered,where possible.

It is often difficult tocomprehend an over-all pattern of themes when one listens to or looks at apiece of music. The author has found the type of diagram in the book byMoore and Heger entitled The Sm21...... zion and the S ymphonic Poem to be veryhelpful in giving an overview, of a movement1 This particular format has thusbeen used in the dissertation.

lEarl V. Moore and Theodore E. Heger, The Symphony and the ..S.n&E.A.s Poem (Third revised edition; Ann Arbor,1971).

3 single page, the form- It enables thereader to trace, usually on a elements of a movementwithout getting involved determining thematic The dis- in complex, and oftenconfusing, paragraphs ofdescriptions. diagrammatic manner thethem- sertation, then, presentsin a factual, movement of theselected atic occurrences andformal divisions of each accompanying thematic concertos. In addition to theform charts with there is a commentaryfor each concertowhich includes illustrations, thematic information regarding formalmodifications or irregularities, harmonic and melodicstyle. unifying devices, andcharacteristics of the of the common and A concluding chaptersummarizes and codifies some in the study. some of the lessusual elements encountered because the author Twentieth century pianoconcertos were chosen established, multi - wished to see how 20thcentury composers treated an because the author has a movement form for aspecific ensemble, and particular liking for this genre. basis for making A few rather arbitrarycriteria served as the either- selections of works. First, the music hadto be publlshed, but It was also the score or the two-pianoarrangement was acceptable. to decided that a logicalcontinuation of the ideaof. availability was recorded, since include only concertoswhich had been commercially presumably would want tobe those persons interestedin the analyses eliminate concertos by sever- able to hear the work. However, this did Dallapiccola, Foss, Henze, al prominent composers,including Blacher, and Sessions. Only works Hindemith, Maderna,Persichetti,I4. Schuman, and none for the lefthand for a single pianosoloist were considered, specifically alone was included. The selection waslimited to works Capriccio being the one excep- entitled "concerto,"with Stravinsky,s seemed to render The athematic, complexstyle of Elliott Carter tion. of meaningless any attemptto describe hisrecent concerto in terms Besides those concertos the theme-orientedform charts of thisstudy. differences which have standard.gymphonicinstrumentation (with minor percussion) the McPhee isscored for a in the woodwinds,brass, and strings and solo trumpet, wind octette, theShostakovich First is for and the Stravinsky the Stravinsky Concertois for wind ensemble, ther., Capriccio has an addedstring concertino. All things considered, of nationalities, concertos in this studyshow a broad representation periods within the century. of musical styles, andof chronological METHODS

concertos are arranged In the dissertation,the charts of the date of the alphabetically by composer. Information regarding the top of the form composition and the firstperformance appears at the chart for the firstmovement of each concerto. appears as thetitle The suggested nameof the form for a movement used when possfble; above each form diagram. Standard form names are "ouasi" other times it is necessaryto oualify a formwith "modified" or diffi- another description. Irregularities in the form or or to use following the culties in classification arediscussed in the commentary ternary chart of the last movementof each work. Common terms include recapitulation), five- (A B A), sonata-allegro(exposition, development, rondo. "Three-part" is part rondo(generallyABACA), and seven-part Ithich case there may sometimes used as a labelrather than "ternary" in contrast:between the firsttwo parts'or ther maynot be not be thematic Sometimes there is a returnof previous materialfollowing a digression. grouping of themes, sothat al- more than onepossible interpretation or It is not the purposeof ternatives are occasionallygiven or discussed. movement must beidenti- this thesis to declareunequivocally that each to the author to be fied with a formalprototype. The forms offered seem the most likelyinterpretation of thethematic ordering. enabling most of The charts appear in aspecial, small-sized type, Following is a descriptionof the them to be contained on asingle page. Appen- material included on aform chart, an exampleof which appears as of the diagrams of ax A in this report(Appendix B is a condensation divisions of eachmovement). all the concertos,showing the main formal

Beginning at the left marginof the form charts,certain material Form column, Rehearsal is delegated to thefollowing specific columns: These will be number, Measure number,kb Theme, and Brlefstatement. explained in turn: (lettered vertically) for the Form column: This contains labels form main sections of amovement, primarilythose alluded to in the the major formal title. A solid line cuttingthe column occurs at In the case ofsonata-allegro design, twoform columns are,. divisions. exposi- used, the second oneshowing the interiordivisions within the dotted line is tion and recapitulation. Sometimes a short line or a The number in parentheses used to show minorbreaks within a section. in that section. following a section labelgives the number of measures the measures are not num- Rehearsal number: In many of the scores, numbers is therefore, in those cases, acolumn listing rehearsal bered; to lo- included and aspecific rehearsal numberis listed when it helps at the top of this cate a thematic occurrence. The letter "R" appears column. Measure number: Each acknowledgment of a theme orof an important juncture is identified by measurenumber. The measures are numbered continuously for the entire movement.This column is labeled"m."

In Key: A column for key center isused, where applicable. nebulous, some styles, keycenters are practically non-existent, or very in which case they are not listed. When they are indicated,it does not mean that the Wholesection remains in that key, butonly thnt at or near the inception ofthe particular item underconsideration, a key center is in evidence. In this column, capital lettersindicate major The or major-type keys; lower-case letters, minor or minor-typekeys. column is labeled "K."

letters) so Theme: The major ideas are labeledwith numbers (or that recurrences are readily apparent. These thematic labels arealways placed in parentheses.An underline indicates theidea is in the piano. The labels are quite arbitrary, andthe numbers do not indicate apy- thing in themselves; that is, a (1) Is not necessari4 a"main theme" or a (2) a "second" or"subordinate theme." The only*methods for differ- entiating the status of material arethe following:

(1) A letter such as (a) or(b) may be used for a motive(a melodic idea consisting of a few toseveral notes) preceding a longermelodic statement which will receie anumber.

(2) Similarly, a letter such as(x) or (y) may be used for a figure (a brief melodic idea corsistingof only a few notes).

(3) A set of numbers and letterssuch as (2a) and (2b) shows two rather proximate parts of the samelonger melodic material.

(2x) or (2y) indicate a musical (4) A number and a letter such as figure occurring as a part of, or as anoutgrawth of, a longer melodic statement.

With some movements, these methodsof status differentiation by letter did not seem necessary; therefore, only thematic numbers were used. Due to the nature of music, itis impossible to be completely faithful to such categories, and moreoverit was sometimes difficult to decide if a particular musicalthought, when compared toothers in the While same movement,merited a nuMber, or a letter, orperhaps neither. it is true then that the actualassignment of theme numbers andletters was arbitrary and in some casesopen to debate,it is hoped that the appearances and orderingof these numbers successfullyfulfill the purpose of clearlyshowing the main thematic occurrencesand relationships within a movement.

On a separate page followingeach form diagram, the labeledthemes are listed in musicalnotation.

Brief statement: Each thematic entry is followedby a descriptive. phrase or two concerning theidentified theme ot the nature ofthe

6 thematic continuation. Remarks on derivations of ideas or relationships to other themes are also included.

Following the form charts and thematic illustrations for each concerto, there is a commentary in paragraph form which discusses each movement separately and also the concerto as a whole. Consideration of modifications or irregularities of forms is included in these conmen- taries. Since the author was interested in exploring unifying devices in the works--especially regarding themes--factors of motivic inter- relationship, thematic transformation, and cyclicism were given attention. Also, it was felt that a few comments on the characteristics of. the style would be helpful in determining a possible correlation between style and form. RESULTS AND FINDINGS

When this study was undertaken, it was notpresumed that the pro- posed analytical approach would beapplicable or would show significant results for all the works to be considered. As it turr,ed out, however, the concept of formal analysis based onthematic appearances indeed proved to be the most valid for this particularchoice of literature. The specific technique was to select themain thematic elements based on the importance ofinitial inceptions and subsequent reappearances, and, having done so and having listed theirordering, then to determine the most logical groupings of these elements.Aural impressiow strongly influenced the choices. In the majority of cases, it was found that the resulting structure suggested amacroform that was based on or was similar to oneof the standardized classical forms.

According to each composer's owncharocteristics of style, these "thematic" elements are not necessarily lyrictunes, but range from fi:Ilres of a few notes, through motives ofseveral notes, to melodic ideas of phrase length.While they are mostly melodic, occasionally a chord structure, a harmonic progression, or arhythmic motive assumes the role of one of these form-determining"thematic" elements.

Music of course is in a constant state ofevolution, and While this study points up a continuation of many formaltraditions from the eighteenth and nineteenth centuries, differences al1 changes also must be considered. It was necessary, for instance, to qualifythe forms of several movements with the word "modified" orto describe some movements as "free, sectional"design, but then, even in the Classical andRoman- tic periods there was often considerableindividual deviation from established forms.

The importance of key centers andcertain key center orderings, as well as stereotyped cadences, phraselengths, and rhythmic structures, has diminished in the music of this centuryto the point where in many instances these elements can no longer beconsidered as form determi- nants. On the other hand, a practice that seemsto be gaining favor is the autogenetic process wherein material seemsto grow and develop from that which immediately precedes it in anever-changing pattern; this . was in evidence in someof the concertos.

Thematic statements and orderings may or maynot be traveling the route of cultural extinction. Present-day evidence of athematic tech- nioues in avant-garde, electronic, andchance compositions maybe pointing to the thematic demise. It will take several more years, however, before this trend can be moresurely recognized, because the elimination of form-determining thematic occurrencespresents very serious and difficult prdblems inaesthetic coherence and meaningful- ness. For the selections under considerationin this study, thematic statement and ordering proved to be the mostviable form determinant. Thematic unifying devices were found to be an important part of many of the concertos. Some are rather overt, such as cyclic returns of themes appearing in previous movements of a work. Many devices are more subtle, however, being based on similaritiesbetween themes re. garding such characteristics as figures, contours, intervals, rhythms, and climax points.While some styles include a rather wide variety and succession of themes, many are based on the classic principle of making the most economical use of a limited amount of material.

Compositional idioms were given some consideration in the study in order that relationships between styles and forms might have been seen. The conclusion was reached that such correlations are not valid--that is, a more dissonant style is not necessarilyassociated with an unusual formal arrangement, or conversely, a more traditional style is not necessarily associated with an adherence to stricter classical forms. Rather, many combinations and mixtures were found. For instance, the concertos by Hanson and Kabalevsky are in a rather conservative harmonic style and show rather traditional formal arrangements; the concertos by Gershwin and Martinil are also in a more traditional, tertian idiom but formally are not very traditional. The Bartok First and Second concertos show a relatively advanced, dissonant idiom, but are quite traditional formally, and the concertos by Ch5.vez, Ginastera, and Schoen- berg are in a dissonant idiom and also show highly individualistic formal treatment. Another group shows an admixture in both areas, combining aspects of traditional and less traditional practices in both harmonic idiom and form. This group would include the works by Britten* Prokofiev, and Stravinsky.

Twenty-one of the concertos exhibit the classical practice of three-movements fast-slow-fast over-all form. The Haieff, also in three movements, has a slow-fast-fast scheme. Of the remaining eleven, three have one movement (Pijper, Prokofiev First, and Schoenberg) and the Copland has two movements. Those with four movements (usually a scherzo is the added second movement) include the Britten, Ginastera, Hanson, Prokofiev Second, Rawsthorne, and Shostakovich First, while the

Prokofiev Fifth has five movements. Counting four movements for the r Schoenberg because of interior divisions, the thirty-three concertos have a total of 103 movements. With the exception of the Pijper and the Poulenc, all of the concertos end climactically.

Twenty-nine movements are classified as sonata-allegro, but the majority of them do have some oualifying modifications. Twenty of the first movements are in sonata-allegro form, and there are four second movements, four third movements, and one fourth movement in this form. While some works have introductions, there was no evidence of a "double exposition."

Nineteen of the second movements are either ternary(A B A) or three-part (not strict A B A). Five-part rondo designs are identified in nine movements, and seven-part rondo in five, with most of them being concluding movements. Only four movements employ theme and variation technique. Fifteen movements are classified as "free, sectional" rather than being included in any of the other categories,

9 due to certain characteristics peculiar respectivelyto those movements.

Cadenzas appear in twenty-one of the concertos; five have them in two movements. They are all written out by the composers. Lengths vary widely, from quite short to rather extensive. Purpose and placement also differ, with some being a more integral partof the form while others remain in the tradition of technical display. Fourteen of the cadenzas are in first movements. Of course, there are many places for thesolo piano (where there is no orchestralaccompaniment) which do not have the aura of a cadenza.

Cyclicism (use of the same theme in more than onemovement) is quite prominent in many of the concertos, andis especially noticeable in last movements.

Although each concerto contains individualisticcontributions, some of the more noteworthyfeatures in the group,under consideration are the following: continuance from one movement to the next with little cr no pause (Bartok First, movements II to1112 Bartok Third, movements II to III, Chavez, movements I to IIand II to III, Copland, movements I to II, and Helm, movements II toIII); continuous, non - cadential style in a long, uniquely-formed movement(Chavez, movement I); influence of jazz or "popular" music(Copland and Gershwin); cadenza at the very beginning(Ginastera); concerto in one movement (Pijper and Prokofiev First), in two movements(Copland), and in five movements (Prokofiev Fifth); movement III as a short fantasia between II and IV (Shostakovich First); serial technique (Schoenberg and Ginastera); unusual instrumental ensembles(wind octette in McPhee, string orchestra and solo trumpet in ShostakovichFirst, wind ensemble in Stravinsky Concerto, and added string concertinoin Stravinsky Capriccio).

To conclude, then, the dissertationhas presented formal analyses of each of the movements of the concertos,and the study has shown the validity of tracing thematic statements and occurrencesto determine formal structures, and has shown that even amongthe various styles and formal innovations encountered, there is a strongadherence to classical formal practices regarding thematic usage andordering.

Lists of all the movements according totheir assigned formal types appear as Appendix C. Also included is a listing of the appearancesand placements of cadenzas, the occurrencesof cyclicism, and of those con- , certos with other than three movements.

10' CONCLUSIONS

The research carried out inithisproject yielded three major conclusions:

First; in the particular group of 20thcentury concertos under consideration, it was indeed possibleto select and label therespective thematic elements, with the order ofsaid elements becoming thebasis on which the large,over-ail formal plan of a movementis determined. This does not imply that all20th century works or even all 20thcentury concertos can be analyzed on thisbasis, but since many prominent composers are representedin this study, it seems safeto assume that a majority of 20th century works(at least up to 1960) would show adepen- dence upon thematic statements and use asthe aver-all formal determi- current prac- nant. (Neither does it imply that it will alwaysbe so; tices in avant-garde, chance, andelectronic compositions seem tobe replacing recurrent thematic statementswith other form-determining factors). Beyond the statements and use ofthe thematic material as the determinant of the macroform, practicallyall the compositions exhibited some common elements amongthe themes which served asunifying factors within a work.

Second; since it was possible to classifymost of the movements according to one of the pre-existingformal prototypes of the 18th and 19th centuries, there was no doubtthat the majority of the composers of the concertos consciouslyemployed time-tested plans of musical formal coherence.Nevertheless, it is necessary to add thatwithin the framework of these standard formal schemes,there was a great amount of individualistic variety and modification.Also, fifteen of the total 103 movements were classified as"free, sectional" design becausetheir particular thematic ordering did notqualify them for inclusion in oneof the standard fornal categories.

Third; no correlationbetween harmonic style and formalpractices was in evidence, sothat a more dissonant style didnot necessarily have an unusual formalarrangement nor was a moretraditional style necessarily associated with an adherence tostricter classical forms. Many combinations and mixtures were found.

Two pedagogical applications emergefrom the study. First, the availability of this type of chartalalysis will help a student appre- ciate, in a minimum amount of time,the formal structure of a given movement. Second, having a student work out such achart analysis for himself will greatly enhance his understandingof and appreciation for the formal designs in a given composition. BIBLIOGRAPHY

Reference Sources

Burk, John N. "Notes" from Boston Symphony OrchestraPro- grammes (1949-50), p.

Britten, Benjamin.Notes on record jacket, quoted byJames Lyons. Britten, Piano Concerto. Decca DL 10133.

Copland, Aaron. Notes on record jacket. Copland, Piano Concerto. Columbia ML 6098.

Culshaw, John. The Concerto. New York, 1949.

Fontaine, Paul. Basic Formal Structures in Music. New York, 1967.

Friskin, James, and Irwin Freundlich. Music for the Piano. New York, c. 1954.

Ginastera, Alberto. Notes in two-piano score. Ginastera, Concerto para Piano y Orquesta. Buenos Pires, 1964.

Girdlestone, Cuthbert.Mozart and His Piano Concertos. Dover ed., New York, 1964.

Gould, Glenn.Notes on record jacket. Schoenberg, Piano Concerto. Columbia MS 7039.

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Guerry, Jack Edwin. Bartokts Concertos for Solo Piano. Un- published doctoral dissertation, MichiganState Univer- sity, 1964.

Haieff, Alexei. Notes on record jacket. Haieff, Piano Concerto. MGM E3243.

Hanson, Howard. Harmonic Materials of Modern Music.New York, 1960.

Hanson, Lawrence and Elizabeth. Prokofiev. New York, 1964.

Hill, Ralph, editor. The Concerto. Baltimore, c. 1952.

Hopkins, Antony. Talking about Concertos. Belmont, Cali- fornia, c. 1964.

12 Hunter, Julie Anne. An Analysis of Willem Pijper'sPiano Concerto. Unpublished Master's Thesis, EastmanSchool of Music, 1962.

Hutcheson, Ernest. The Literature of the Piano. Third edition, revised by Rudolph Ganz. New York, 1964.

Krick, Charlotte Virginia. The Piano Concerto; An AnalyticalSurvey of its Principal Forms. Unpublished Master's Thesis, Eastman School of Music,19417

La Montaine, John. Notes from two-niano score.La Montaine, Piano Concerto, Op. 9. New York, 1965

Leibowitz, Rene. Schoenberg and His School. Transl. by Dika Newlin. New York, 1949.

Machlis, Joseph. Introduction to Contemporary Music. New York, c. 1961

Moore, Earl V., and Theodore E.Heger. The Symphony and the Symphonic Poem. Third revised edition. Ann Arbor, 1957.

Nestyev, I. Prokofiev. Transl. by Florence Jonas. Stanford, 1960.

Perie, George. Serial Composition and Atonality. Berkeley and Los Angeles, 1962.

Prokofiev, Serge. Autobiography, _Articles Reminiscences. Transl. by Rose Prokofieva. Moscow, 195-?

Rawsthorne, Alan. Notes on record jacket. Rawsthorne, Piano Concerto No. 2. Landon LS 513.

Sahlmann, Frederick. The Piano Concertos of SergeProkofiev:A Stylistic Study. Unpublished doctoral thesis, EastmanSchool of Music, 1966.

Searle, Humphrey. Twentieth Century Counterpoint. New York, c. 1954.

Stein, Leon. Structure and Style. Evanston, Illinois, c;1962.

Stevens, Halsey. The LiPe and Music of BelaBartok. Revised edition. New York, 196E7-

Stevens, Ndllis A. The Conerted Piano Musicof Stravinsky. Unpublished doctoral thesis, Eastman Schoolof Music, 1961.

Tovey, Donald Francis. Essays in Musical Analysis. Volume III, Concertos. London1-7.977.-

Veinus, Abraham. The Concerto. New York, C. 1944

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Nbite, Eric Walter. Stravinsky - - The Composer andHis Works. Berkelv and los Pngeles, 1966.

13 BIBLIOGRAPHY

Scores

(Two-piano and score) Barber, Samuel. Piano Concerto, Op.38. New York: G. Schirmer, Inc., c.1962. Boosey and Hawkes; Bartok, Bela. Concerto I. (Score) New York: c. 1927 byUniversal Edition, renewed1954.

First Concerto for Pianoand Orchestra. (Two-piano) Wien: Universal Edition, c. 1927.

Concerto II for Piano andOrchestra. (Score) New York: Boosey and Hawkes, c.1932 by Universal Edition.

Second Concerto for Pianoand Orchestra. (Two-piano)Wien: Universal Edition, c.1941.

Third Piano Concerto. (Score and Two-piano) London: Boosey and Hawkes, c.1947.

Revised version, Britten, Benjamin. Piano Concerto No. 1, Op.13. 1967. 1945. (Two-piano) London:Hawkes & Son, c. (Two-piano) Chavez, Carlos. Concerto for the Pianowith Orchestra. New York: G. Schirmer, Inc., c.1942. (Score) New York: Copland, Aaron. Concerto for Piano andOrchestra. Cos Cob Press, c. 1929. Boosey and Hawkes,sole publishers. Orchester, Op. 20. (Score) vonEinem Gottfried. Konzert fur Klavier und Berlin-Wiesbaden: Ed. Bote & G. Bock, c.1956. (Two-piano Gershwin, George. Concerto in F for Piano andOrchestra. and score) New York: Harms, Inc., c. 1927 and1952.

(Two-piano) Ginastera, Alberto. Concerto para Piano yOrquesta. sole Buenos Aires: Barry, c. 1964. Boosey and Nawkes, Inc., selling agent.

(Two-piano) London: Haieff, Alexei. Concerto for Piano andOrchestra. Hawkes andSon, C. 1954. Orchestra, Op. 36. (Two-piano) Hanson, Howard. Concerto for Piano and 1952 by the Eastman School ofMusic. New York: Carl Fisdher, Inc., c. .(Two-piano) Helm, Everett. Zweites Konzert furKlavier und Orchester. Berlin-Wiesbaden: Ed. Bote & B. Bock, c.1957.

lh Kabalevsky, Dmitri. Concerto No. 3, Op. 50, for Piano and Orchestra. (Two-piano) New York: International Music Co., n.d.

Khachaturian, Aram. Concerto for Piano and Orchestra. (Score) London: Anglo-Soviet Music Press, c. 1946.MCA Music, U. S. Agent.

La Montaine, John. Concerto for Piano and Orchestra, Op. 9. (Two-piano) New York: Galaxy Music Corp., C. 1965.

Malipiero, G. Francesco. 30 Concertoper Pianoforte e Orchestra. (Score) Milan: G. Ricordi and Company, c. 1950.

Martinu, Bohuslav. Third Concerto for Piano and Orchestra. (Two-piano). Prague: Panton 1960. Boosey and Hawkes, Inc., sole selling agents.

McPhee, Colin. Concerto for Piano and Nind Octette Accompaniment. (Two-piano) New York: Associated Music Publishers, Inc., c. 1931, 1957.

Menotti, Gian Carlo. Concerto in Fa per Pianoforte e Orchestra. (Two- piano)Milan: G. Ricordi and Company, C. 1948.

Pijper, Willem. Concerto for Pianoforte and Orchestra. (Score) London: Oxford University Press, c. 1931.

Poulenc, Francis. Concerto pour Piano et Orchestre. (Two-piano) Paris: Editions Salabert, c. 1950.

Prokofiev, Serge. Concerto No. 1, Op. 10. (Two-piano) Moscow: Moscow State Music Publishers, 1962. Leeds Music Corp., M C A Music, selling agents.

Concerto No. 2, Op. 16. (Two-piano) New York: Leeds Music Corp., M C A Music, c. 1948.

Piano Concerto No. 3, Op. 26. (Score) New York, Edwin F. Kalmus.

Concerto No 5, op. 55. (Two-piano) New York: Boosey and Hawkes, Inc., c. 1947.

Ravel, Maurice. Concerto pour Piano et Orchestre. (Two-piano) Paris: Dnrand and Company, c. 1932.

Rawsthorne, Alan. Concerto No. 2 for Piano and Orchestra. (Score) London: Oxford University Press, c. 1952.

Schoenberg, Arnold. Concerto for Piano and Orchestra, Op. 42. (Two- piano and score) New York: G. Schirmer, Inc., c. 1944.

Shostakovich, Dmitri. Concerto for Piano and Orchestra, Op. 35. (Score) New York: Broude Brothers., n. d.

. Concerto No. 2 for Piano and Orchestra, Op. 102. (Score) New York: Leeds Music Corp., M C A Music, c. 1957. Stravinsky, Igor. Capriccio for Piano and Orchestra. (Two-piano) New York, International Music Company, n. d.

. Capriccio for Piano and Orchestra. (Score) Revised 1949 version. New York: Boosey and Hawkes, c. 1952.

. Concerto for Piano and 'land Instruments. (Two-piano) Edition Russe de Musique.New York: Boosey and Hawkes, C. 1947.

(Score) . Concerto for Piano and Wind Instruments. Revised 1950. London: Boosey and Hawkes, C. 1960.

16 APPENDli A

1910) PIANO CONCERTO, OP. 38 SAMUEL BARBER (b.

Composed in 1962.First performed on September 24,1962; Soloist was John Browning, with the Boston Symphonyunder Erich Leinsdorf, at the openingweek of the Lincoln Center for thePerforming Arts, Philharmonic Hall,New York.

MVMT. I. SONATA-ALLEGRO DESIGN m. K. the use oi *(abc) ALLEGRO APPASSIONATO.Introductory section consists of three motives, all announced in thepiano.Motive (b) is at m. 4, o. Starting at m. 16, punctuating chordsin tli FA 01 motive (c) is heard at m. 7. 4J 11 " orchestra and a piano arpeggio based on(b) lead to the main theme. Accompaniment pattern 20e (1) MU MOSSO:Orchestra states main theme. derived from theme. theme in the piano.Second 4 35 g# (1) A more expressive statement of the E-4 phrase taken over by orchestra in m.39 W., as piano gets figuration...... 'l 4+ c# (1) The head motive is used in both the pianoand Orchestra in developments v4 44 03 style. transition, as piano drops out. 6 59 (a) First motive, at different levels, begins of m. 11e 7+ 70 (b) In dotted pattern, derived from arpeggio o rl C-' 8 73 (c) Leads to subordinate theme. 4.). in the oboe. CA 9 79g# (2) First statement of the lyrical theme o .0 accompanied by its own diminution. 04 H10 87g# (2) Sung again in the strings, >4 0 the winds. "LI 44 11 95 (a) In diminution in imitative entries in 70. El 11+ 97 (b) The dotted-pattern arpeggio from m. drum roll, leads to pause 8 1 1+ 98 (c) In diminution in the winds, over a .0 59. ) o preceding the development.(Piano tacet since rn. v) piano chords 12 101 (b) DOPPIO MOSSO.Motive in orchestra, with punctuating

=1 immlMaw olmw .mMthen piano arpeggiation. -. Wm.& Mays Motive (a) at m. 112. 13 108 _Inthe pianochordally in theorchestra. - orchestra; added piano figuration. 14 114 (b) Imitative entries of (b) in piano and (b) in piano and orchestral tremolo 16+ 133 (a) To the accompaniment, based on ...... motive (a) is given several statementsin the orchestra. .-, o 17+ 143 ibl _In dotted pattern, from m.70...... 18 145 (c) In imitative entries. dissolution from m. 155-159. 18+ 149 lalInverted statements of (a); .then 4a in piano and orchestra, starts a q 19+ 160 (b) Use of tritone, in diads and triads a) build-up. E figuration based on (b) in the pian 04 21+ 179 (a) Statements in orchestra, to continuing o ,.., Climaxes at m. 186 on c efil e a# chord. a) > Bravura Cadenza.Starts with contrary motion sixteenth-note sweep. a) 22 186 ct Head motive of main theme givenmotivic treatment. A t4 187 (1) o Pattern from m. 54 appears briefly. a) 195 Ts Concludes with rising scale; almostchromatic, but omits notes in ca 201 U successive fourth relation (no ej I.,sl.,g, s, etc. )

(Continued) *An underlined entry indicates that theidea is in the piano.

17 SAMUEL BARBER PIANO CONCERTO, Op. 38

MVMT. I. SONATA-ALLEGRO DESIGN

(Continued) R. m. K. 23 202 e (1) Return of main theme, similar to mm. 20-34.

.11,, 24+ 217bb (1) Similar to exposition, but with change of key. ...- ct 25+226 eb (1) Except for key, continues much the same as before, with some modification and re-writing. g 0 27 239 (a) Inverted,is used for shortened transition. +, al . 28 247kbb (2) Statement of subordinate theme given to piano here. ..- pel 0 E-, 29 255e (2) Sudden shift of key.This is similar to second statement of this ..44 a. . theme in the exposition (m. 87) except for change of voice parts. u"3 40 30 263 e (a) In diminution, similar to m. 95, but m. 265 is new. 0.) tri 3(}1- 266 Dotted pattern in piano, cadencing on E-minor triad at m. 267. c4

30+267C (2) Subordinate theme enters in horn, implying C major tonality, as coda is elided with end of recapitulation as piano holds E-minor triad. 31 272 (a) ALLEGRO MISTERIOSO.Start of final build-up with (a) in orchestra, accompanied with sixteenth quintuplet related to (c) ...... or (b). as 31+275 Arpeggiation featuring tritone (from (b) or (c)) in piano; tritone ro o tremolo in orchestra. (..) 31+277e () E center is re-established, with diminution of (1) in piano and orchestra. 32 282e (c) This motive used for final drive to tke cadence.

287

.7= SAMUEL BARBER PIANO CONCERTO, OP,38

14.19g1Doppio rneso MOSSO

19 WIMPRIMIMPINWWwwilir,

SAMUEL BARBER PIANO CONCERTO, OP. 38

MVMT. II. CANZONE.THREE-PART DESIGN

IL m. K. (taken from the main theme) 2 d (1) MODERATO. The accompaniment ...... the flute introduces the one-measure In starts in the first measure; .-I motive that is the basis forthe whole melody. Piano gets statement of theme. 4-, 1 10 e (1) H motive (a) in left hand(derived from ( Cri 1+ 12 git (a)(h) New continuation features a. of first movement) and motive(b) in right hand (derivedfrom (b) 4-.0 Right hand in m. 13 is afurther transformaiion r4 of first movement). r4 4, of (b).

elided with cadence from m.15 to m. 1( 2 16 d# (1) In orchestra; beginning -,,. 17 # (lj In piano. $.4 simikr to mm. 12.-15. 0 18 cif (a)(b) Piano has (a), orchestra(b); Mm. 18-21 are a, from mm. 6-9, with pianoimitati 22 Mm. 22-25 resemble material Po g orchestra after two beats. o 13 in imitation in the strings o 4 26 c# (b) The modification of (b) frorn m. a) leads to return of (1). an brings the section to a close and

Figuration continues c# (1) In piano, with thirty-second-notefiguration. 31 repeats oo and some parts are exchanged,but tune from mm. 31-42 ,--1 mm. 2-15, orchestra instead of piano. tra 39 gli (a)(b)Similar to m. 12, but with (b) in a. 22-25. Po 7 43 Mm. 43-46 resemble mm. .g 47 c# (1) Two measures of (1) added asextension.

adds final imitative entryof (1) co 8 49 cli (b) Similar to mm. 26-27; piano ro to end the movement. o . U SAMUEL BARBER PIANO CONCERTO,OP. 38

11112 MoJerA

21 SAMUEL BARBER PIANO CONCERTO, Op.38

MVMT. Ifi.FIVE-PART RONDO DESIGN

Chords in orchestra,identified as motive(a), 1 bb (a) ALLEGRO MOLTO. establish 5/8 meter. Piano enterswith left hand ostinato at m.6 1. in right hand, featuringsecundal 1+ 8 bb (1) Forceful, exciting main theme simultaneities.Drives to climax at zn.37.

<1 4 37 (a) Piano has chordal motive. theme in lower brass;piano has its ostinato. g 4+ 42 bb (1) First eight measures of o head of the theme inthe orchestra; piano .,1 5 51 bb (1) Another inception of the ia o given thirty-secondarpeggiation. 0) five-note ostinato, pianotreats material simila cn 6 60 bb As orchestra continues to mm. 18-22. secundal sixteenths inpiano lead to next section. 71 (a) Returns; then descending ostinato (material isa 77 ill MENO MOSSO. Xylophone introduces 5-note ... 5-note chromatic "cell"). in U. m which also employs the5-note chromatic c ...... 79 (2) Clarinet states this theme, G (2) Piano has statement of theme,with ostinato continuing. 9 87 pitch leve1. al Tune in trombone, as ostinatocontinues, but at another 10 95 C (2) on g leap obbligato; pianohas sixteenth figural o Violin has major-seventh .p. based on chromatic cellwith octave displacement. .IJ Material u Modification of tune in strings aspiano figuration continues. 4) 10+ 100 F v) dissolves into retransition. in TEMPO I.Rewritten return of the maintheme material. Tune 12 112 bb (1) 123. in orchestra, ostinato in piano.Piano takes thematicmaterial at m. 7:4 Builds to climax at m.14015 . u Piano enters with treatmentof (a) material, whichleads to (3). ("3 16 154 (a). Tertian chordal themein winds.Downward first 18 170 D (3) MENO MOSSO. second phrase. 2. phrase balanced by rising sixteenth embellishment,and tune in top voice. o20 187 D (3) Piano enters with triplet (3) Full orchestral statementof theme. 22 201 has chordal theme; in m.223, the F# (3) Following a diminuendo, piano 24+220 adds figuration. Chorc v) chords are taken overby orchestra as piano in piano at m. 226lead to retransition. the main theme,is (a) Material from the openingchords, and also from 25 229 gb over pedalgb in timpani, in used to return tooriginal tempo and mood: zt, orshestra has chords andpiano has secundalarpeggiation. g TEMPO I.Orchestra has entries ofmain theme I ..2 27 248 d (1) PIU MOSSO DEL .,i successively higher levels, overd pedal; really a"false return." 2 polychords, reminiscent ofthe start of till Cd 29+273 Piano enters with violent cu cadenza of the first movement. c4

(Continued)

22 SAMUEL BARBER PIANO CONCERTO,Op. 38

MVMT. III.FIVE-PART RONDO DESIGN

(Continued)

R. rn. K. Following two measures ofostinato the maintheme 30 274bb (1) A TEMPO. enters in piano at m.276, and the furiousdrive continues over cq a pedalbb. thematic figures. The piano breaks intoglissandi, as orchestra has 32 295bb with the openingchordal G (2)(a) The melodic patternof (2) is combined : 33 303 Piano enters with thiscombined <4 material to carry the motion. g idea in m. 31134 . o In piano, then inorchestra. . 70 35 321 (a) u secundal sixteenths in piano,builds to the 035+329 bb (1) In orchestra, with w climactic, closing chords.

345

23 SAMUEL BARBER PIANO CONCERTO, OP, 38 3:Ct

Allroproi+o or.% ,pre, RL-1.

214 SAIVEL BARBER PIANO CONCERTO, OP. 38

COMMENTARY

I. The first movement of Barber's concerto exhibits rather sin- gular treatment of sonata-allegro design. The theme following the three opening motives is readily identified as the "main theme," yet the opening section is by no means an isolated introduction since the motives have continuing importance through the rest of the movement. They are employed for the transition between the themes, and they constitute the whole development section up to the cadenza; indeed, they are closely related to each other and to the main themes.

As is the case in other concertos, the cadenza is the concluding element of the development section; Barber bases his on the main theme.

The key pattern in the exposition and recapitulation also merits attention. In each case, the second statement of the main themG (measures 35 and 217) is in the key in which the suboidinate theme later enters, so there is key contrast within the main theme section as well as both unity and contrast between the two thematic sections.

Barber's use of motivic material is classically economical,.as through the movement most of the material of the respective voices is re-, lated to one of the three opening motives, or to one of the two themes.

Motive (c) may be thought of as the catalystic element which uni- fies the three primary motives. There is a strong similarity of contour between motive (c) and the first measure of motive (a:). The tritone leap is the obvious unifying factor between (c) and (b), but also to be noted is that notes three, four, and five of (b) (d e a#) show the same inter- vallic relationship as the head of (c) (d# eW b).

In comparing motive (a) with the main theme (1), one discovers that the notes representing the high points of the successive upward figures of (a) (e, d#, c#2 c-natural, and b) are reflected in the low points of the 'successive downwa7d figures of (i) (d#, d-natural, c#, c -natural, and b).

Finally, the initial ascending sixth, the triplet, and the descending seventh unify motive (a) and the subordinate theme (2). This affinity=is further substantiated by the fact that in both the exposition and the recapitulation, motive (a) immediately follows the statements of (2) and gtves the effect of being a transformation or modification of (2). Themes (1) and (2) are thus connected, not only by both being related to (a), but also through the stress of the interval of the sixth at thet: beginnings, which then expands to a minor seventh by the end of the initial phrase of each theme.

The notes of motive (a) form a ten-note scale, with the minor third g bb omitted. The notes of the first phrase c)2 the main theme (1) also form a ten-note scale, lacking the minor third Z# - a.Successive intervals in the scales of mottves (b) and (c) are, respectiviTy, 1-3-2-1-3-2 and

, 1-3-3-4-1, ooth starting on e. The sUbordinate theme employs all twelve notes by the end of its fourth measure.

11. The slow second movement is an example of monothematictreat- ment within a three-part framework. The divisions are based on the strong cadences occurring at measures 15 to16, and at 30 to 31, resulting in the three balanced sections.Mutually exclusive treatment is not meant to be implied, however, as procedures from thefirst section occur in the second; also, material atthe conclusion of the second section returns at the conclusion of the third section.

This movement is based on one main motivic idea, labeled(1) on the diagram. This appears as a one-measure element in3/2 meter. Other motives which are outgrowths of (1) appear, and the(a) and (b) motives, modifications of (a) and (b) of the first movement, are used,with all of these being one-measure ideas also, but in4/4 meter.

As with both themes (1) and (2) of the first movement, themain idea of this movement is accompanied by figuration taken fromitself.

III. The last movement is a very clear five-part rondo. The tonic center is B-flat minor, and, as Fontaine points out, this completesthe sequence E minor, C-sharp minor, and B-flat minorfor the keys of the movements, such outline of a diminished triad relating tothe tritone idea of motives (b) and (c) of the firstmovement.2The keys of the sections of the last movement (13-flat minor, F-sharp minor, and Dmajor) outline the augmented triad, such outline being the head motiveof the main idea (1) of the first movement.

The themes of the last movement seem to emphasizecontrasting elements. The main theme, With its long, gradual sweeping ascentand secundal clashesds set into further relief by the narrow-range,chromatic second theme. Within the second theme, the motive in the second measure is inverted for the third measure. The theme of the C section (3) exhibits a larger range, but tertian harmony is its unique element, and the phrase contours alternate descending and ascendingprogressions. The initial chordal motive (a) shows a relationship totheme (2) because .of the alternating chromaticism.

Barber's style remains quite faithful to sense of keycenter and use of tertian harmonic material. There is nonsiderable contrapuntal interest in this concerto. Moderating harmonic elements are the avoidance of common root movement patterns, some use of polychordal andnon-tertian combinations, and occasionalbrief, but effective employmentof synthetic scalar material. Besides the scales of the themes of the first movement, just prior to measure 187; the ascending scale endingthe cadenza, measure 201, which has a 1-1-1-2-1-1-1-2arrangement; and in the last movement, the rising seconds in the theme at measure15 are in the

2 P. Fontaine, Basic Formal Structures in Music (New York, 1967) p. 226.

26 2-1-2-1-2-1 pattern.

Nhile the motivic technique of the concerto is based on classic principles, the range of intensity, the melodic and harmonic flavor, and the bravura piano part all contribute to the inherent "neo-romantic" quality.

Regarding the preceding quoted musical examples:

Reprinted from Piano Concerto by Samuel Barber by permission of G. Schirmer, Inc. Copy- righted 1962

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27 (b. 1910) m.I.PIANO CONCERTO, OP. Sonata-allegro Section 38 (1962) m.SAMUELII. BARBER Canzone. Section Three-part m.III. 1 Five-part RondoSectionSection A 20 ExpositionIntroductory 795920 SubordinateMain theme theme Transition 1 First part31493116 ThirdSecondCoda part part 170112 77 SectionbectionSection A,C B 229 Retransition 101202 DevelopmentRecapitulation186 Cadenza . 274 43 Section A" 267 Coda 239202247 MainSubordinateTransition theme theme m.I.PIANO CONCERTO NO. 1 Sonata-allegro Section (1926) B. Bartok m.II. Ternary Section (1881-1945) III. Sonata-allegroSectionExposition 38 ExpositionIntroduction105 Subordinate38 Main theme theme 1791144216 89 1 'SectionSectionSectionTransitionCoda A A B to last 148 Development5792 5 FirstSecondThird theme themetheme 441333131 DevelopmentRecapitulationCoda 415333 SubordinateMain them theme movement(16 measures) 334492357. ReturnCoda 357398 Second and Third First theme themes m.I.PIANO CONCERTO NO. 2 Sonata-allegro Section (1930-31) B. BARTOK m.II. Ternary Section(1881-1945) m.III. Seven-part RondoSection 1 Exposition 5832 Main theme1 Mhin theme Episode 1-2081-73 Section AB (measuresbeginningnuMbered at 1) 4578 71 SectionSectionIntroduction A CB 180 95 ReturnDevelopment 180200 Main 'Transition 82themes inverted Second theme 1- 41 Section A 211162145255 94 CodaSection AD 307285 Coda 255222 Second theme Cadenza 326 PIANO CONCERTO NO. 3 (1945) B. BARTOK (1891-1945) III. Five-part Rondo I. 1 Sonata-allegro Exposition 27 1 Mhin theme Transition 137II. 8958 1 Ternary .Section ASection BA 344228213138 SectionTransition AB 75 Development 6854 Second theme Closing theme (measure numberingcontinues to III.) a 392382 SectionTransition C 392 Fugato theme 118 Recapitnlation 175162145118 SecondTransitionMhinClosing theme theme theme; 473427 ReturnAnother to fugato m.392 themetheme -1.u7 movementextension concludes 76U644,527 SectionCoda A PIANO CONCERTO NO. 1 IN D MAJOR (1938, rev. 1945) BENJkMIN BRITTEN (b. 1913) Passacaglia Variation m.I. 50 1 Toccata, SectionMhinIntroductory theme Free, Sectional II. 85 1 Waltz, Ternary SectionSection AB --1m.III. 11 impromptu. Var.SectionTheme I Technique 284260215 92 DevelopmentTransitionReturnCadenza main (divided theme by 164233 SectionCoda A 433221 Var.Var.Var. II vrIV III 320285332 ReturnCoda main theme dotted bar lines) 'BE645472 Var.Var. VI VII IV. Mhrch, Mbdified Sonata-allegro 110 25 1 DevelopmentExpositionIntroduction 7125 SubordinateMain theme section 199279229 ReturnCoda of main theme171110 AccompaniedFirst part cadenza I.PIANO CONCERTO Large Ternary (1938-40) CARLOS CHAVEZ II. Two part (b.1899) m.III. Free Form; SectionToccata style 1v. Introduction31 Section A,inceptions 91,Important 156, 173,at mm.311 182, m. 68 1 SectionSecondFirst part.part.withm. 27.appearances at mm. 681 Theme atNew theme, 313207 83 FirstThirdSecond part part part 346 Section B, 627,379,inceptionsImportant206, 6601413, 232, 7151487, at256, mm.346172415361 271. 752. 861 109. .1065 787 SectionCoda Allinceptions 849,Important 890, at918, mm. 992. 787, 1117 PIANO CONCERTO (1926) AARON COPLAND (b. 1900) 73-6I. 57 1 Lyric fantasia; Quasi binarySection(measure AB numbering 263II. 87 Modified sonata-allegroDevelopment&position 161 Subordinate87 Main section section continues to II) E39393367 RecallCoda from first movement297263 First part Cadenza CONCERTO IN F (1925) GEORGE GERSHUIN (1898-1937) --1m.I. Free, Sectional; Large Ternary IrCuroductionSection m.II. 48 1 Five-part SectionSection BA m.III. 1 Large Ternary ScctionSection A 1 Main theme Si Section A 127 5195 Lyric Allegro theme theme Lyric theme 141111222211 SectionSection A' A'C 131 Section B 107 Main theme75 themeCyclic from return I. of lyric 144366 Section AB 366 MotivesLyricplus new themefrom melodic introduction, material. 131225205 Second CyclicSecond theme returntheme from C of II. 467396 Coda 384 Allegro theme andMotives Allegro from theme. introduction, 257 Section At 301283257 Return of second theme CyclicMainof II.theme return from B 386 Coda 323362346 Main Main theme theme themeCyclic from return I. of lyric PIANOI. CONCERTO, OP. 20 (1956) GOTTFRIED VON EINEM II. Binary (b. 1918) 375III. Five-part Rondo Modified. Sonata-Allegro 60 1 DevelopmentExposition 34 1 Nhin theme Subordinate theme '167 32 1 SectionCoda BA 156108 82 1 Section CAtAB 109 plusordinateQuasi-return. a new theme theme in modified108 return,60 First part Cadenza Ehin and sub- -2653T2:223 CodaSection A" PIANO CONCERTO (1961) ALBERTO GINASTERA (b. 1916) I.m. Cadenza e varianti VariationSectionAccompanied I cadenza m.II. 94 1 Scherzo Allucinante.SectionFirstIntroduction part Quasi Arch. --1m.III. 20 Adagissimo.FirstSecondSection part part Three part 6054478068 VariationVariation IVIIIII V 200360279 SecondCodaThird part 49 Third part , 101 107141118 88 VariationVariationVariation VI VIIIVII XIX 3-0 1-6.6151 Coda Seven-part rondo IV.108 7914 1 Toccata Concertata.SectionIntroduction AIB1A 155193218 SectionSection AB C Offt ME294272 SectionCoda A . PIANO CONCERTO (19)49-50) ALEXEI HAIEFF (b. 1914) m.I. 1 Modified Sonata-allegro ExpositionSection 4 Main their II. 1 Modified Sonata-allegro ExpositionSection 9 First theme OR Five-partm. Rondo 1 Section A 92 Development, including new 8668 MainSubordin, the-fl, material : theme 103 Development 497334 Third Second theme theme Third theme 121103 73 Section ACB 292230204 RecapitulationInterlude 230244 Main theme Subordinate theme 216188 RecapitulationCoda 188202 SecondFirst themetheme 188216 CodaSection A 413III. 7859 1 Free, Fantasy, Quasi Section A'BA ( or Coda ) A AI B (b. 1896) m.I.PIANO CONCERTO, SONATINA Section OP. 36 (1948) m.II. HCNARD HANSON Ternary Section Three-partSectionFirst part m.IV. Ternary Section A 12 1 ExpositionIntroduction 3612 SubordinateMain theme theme 1-T5 8568 1 'Section ASection AB SecondThird partpart 126 4797 SectionCoda AB 67 Recapitulation 102 6745 ClosingSubordinateMain theme theme theme 157 373-.6 122 Closing theme .PIANO CONCERTO NO. 2 (1956) EVERETT HELM (b. 1913) --1m.I. Modified Sonata-allegro SectionExposition I First theme m.II. 45 1 Three-part SectionSecondFirst part part; cadenza mt.III. Sonata-allegro SectionExposition 62 Subordinate1 Main theme theme 108 4398 Return,Development first theme 2417 SecondThird themeidea 75 61 Third part 107 RecapitulationDevelopment 107132 FirstCadenza part 155231213 Coda 193155207 SubordinateMain theme theme Transition PIANO CONCERTO NO. 3, OP. 50 (1952) DMITRI KABAIEVSKY (b. 1904) m.I. Sonata-allegro SectionExposition m.II. Ternary Section P. m.III. 1 Seven-part Rondo SectionSection AB 127 Development 127 73 Subordinate5 theme MainFirst theme part 120 9835 SectionSection A B 150111263236 63 SectionSedtionSection Al CIBA' 361284 CodaRecapitulation 320284235 SUbordinateMain theme theme Cadenza TO'333301345 CyclicofTransitionCoda first return movement of slbordinate theme PIANO CONCERTO (1935) ARAM MACHATURIAN (b. 1903) I. 11 1 Sonata-allegro ExpositionIntroduction 11 Main theme II.173 84 1 Ternary Section B1A III.200109 1 Quasi Ternary SectionSectionCadenza A B 182307 DevelopmentRecapitulation 307 Main 80theme90 SubordinateTransition theme 736220 Coda E3E340256 . mainSectionCoda, theme includingA of I. cyclic return of E9-8401481 CodaCadenza 347 Subordinate theme PIANO CONCERTO, OP. 9 (1959) JOHN LaMONTAINE (b. 1920) moI. Sonata-allegro ExpositionSection m.II. Elegy. Section bar-form.Sectional, resembling m.III. Sectional;Section withtwo repeatpart, 107 Development 4881 5 Main theme SubordinateClosing theme theme 4826 Section AAtB 48 Transition 126106 7214 1 SectionReturnIntroduction IntroductionAB 232164 RecapitulationCadenza 200164173 MhinClosingSubordinate theme theme theme 72 6351 Quasi Cadenza Coda 213174149 SectionCoda B . 307285 Coda PIANO CONCERTO NO. 3 (1948) G. FRANCESCO MALIPIERO (b. 1882) I. 1 Sonatina Exposition 21 First Subordinate1 Main theme 8231 1 Three-part ThirdSecondFirst part part III. 7558 1 Free, SectionalCadenzaTransitionFirst section 65 RBcapitulation 5833 themeClosingSecondtheme Subordinatetheme 90 13-5131157 RecallCodafirst ofsection theme from TãS 91 Coda 856578 Mhin theme FirstClosing Subordinate theme theme

-rr - I.PI&NO CONCERTO NO. 3 Modified Sonata-allegro (1948) B. MARTINU m.II. Modified Sonata-allegro(1890-1959) Section III. Five-part Rondo Section 1m. 58 SectionExpositionIntroduction 3353 MainTransition theme 11 1 ExpositionIntroduction 2411 SecondMain theme theme group 411494 1 SectionSectionIntroduction A B 134 Development 115 94 SecondClosing theme theme 158 93 DevelopmentRecapitulation 73 Closing theme 275270145 SectionCadenza, AC 187 Recapitulation 160134195187 First New Transitionhalf MainRetransition theme 219189 Coda 171153 Second theme group Main theme 312 Coda %.0.1CX) 266251 Second theme Closing(Return theme of Dev.) CONCERTO71-.9 FOR283 PIANO AND WLND OCTETTE Coda ACCOMTANIMENT (1928) COLIN McPHEE (b. 1901) I. 1 Modified Sonata-allegro Exposition 29 1 Main theme Transition II. 4823 1 Chorale. SectionSection A AB Ternary III. 5827 1 Finale. Section ACincludingB themes Free, sectional 717196 67 DevelopmentRecapitulation 196 Main37 theme 3econd theme 131 98 fromCoda both A and B ..r. tw., m.I.PIANO CONCERTO IN Modified Sonata-allegro Section F (1943) GIAN CARLO MENOTTI m.II. Three-part SectionFirst part (b. 1911) m.III. 1 Five-part Rondo SectionSection A 1 Exposition 5172 1 Main theme SecondTransitionClosing theme section 117 3771 CodaThirdSecond part part 157105244212 Section AlA"BC 248146 DevelopmentRecapitulation 118292248 NewMain second theme theme 174 303 Coda TE51113357 CodaCadenza 321 Closing section I.PIANO CONCERTO One movement; (1927) Free Sectional Design, . WILLEM PIJPER Seven Sections,(1894-1947) R. Section R* FirstSection Section. grouped into three parts FbrforPresentation piano use throughoutand ordhestra.of motives the concerto. and themes Sixth Section. Firstadded.Thensolo partpiano.orchestra for TburthThirdSecond Section. Section. For addedMbstlyFor piano for for climax. andsolo piano. solo piano only orchestraorchestra Instruments Seventh 3ection. orchestraFor piano and Ogfl FifthRehearsalsections Section. numbersof polymeter rather For piano and where there are differing than measure numbers are measure nuMbers given for this work for various parts. because of several -PIANO CONCERTO (19)49) FRANCTS POULENC (1899-1963) m.I. 1 Modified Sonata-allegro ExpositionSection --1m.II. 4o Ternary Section AB m.III. 1 FreeRondeau form; a laRondo Francaise related. Secti.onSecaon A 146251 RecapitulationMiddle Section 6083 Second 1theme First theme Third theme 101 9484 SectionCoda A 2701148235 74 CodaSectionFtetion AtCB 3]-3304 Coda 280251 ThirdFirst themeTheme 1-86 Sonata-allegroPIANO CONCERTO designNO. 1 and four-movement Section (1911-12) SERGE PROKOFIEV plan coMbined in(1891-1953) one movement. Exposition, as the first156 "movement"4592 1 Main theme ClosingSecondTransition themesection theme 346311269234 RecapitulationDevelopment,SlowRestatement section, ofas asas mainthe thetho "Scherzo" theme, second"Finale" as a "movement" link to the next part VC7 462410346 MainSecondClosing theme theme section PIANO CONCERTO NO. 2 (1913, revised1923) S. PRnKOFIEV (1891-1953) m.I. 45 1 Ternary Section AB m.II. 80 Scherzo. SecondFirstSection partpart Three-part m.III. 82 1 Intermezzo. SecondFirstSection partpart Three-part m.Sectionpl, but ambiguous FirstSection Section 200113 Cadenza asSection A 18712 8 Third part 116 Third part 193 6275 LinkSecondsecondfirstLink between andbetweensection 317266209 ConclusionThirdthirdsecond section and m.I.PIkNO CONCERTO NO. 3 Modified Sonatina Section (1917-1921) m.II.S. PROKOFIEV Theme and Variations Section (1891-1953) Modified Rondo Section - 1 Exposition 6861 Transition1 Main theme Subordinate theme 653918 1 VariationTheme IIIIII Large A 4383 Interior1 BInterior A Interior A 140101 RecapitulationInterlude 208140 MainTransition theme 'ETE178127 97 VariationReturn ThemeVIV 147 Large B 200170147 InteriorInterior DC C -276261 Coda 236 Subordinate theme 376275 CodaLarge Al 275 Interior A m.I.PIkNO CONCERTO NO. 5 Ternary Section (1932) m.II.S. PROKOFIEV Free Design Section (1891-1953) m.III. Toccata. Section Unipartite 1244218139 SectionCoda A'AB 544620 1 VariationMiddleSecondFirst Section theme, theme,of first withwith theme variationvariation 155 1 Single, large section 7eRR5 998880 CodaCombine first and secondthemes IV. 1 Ternary Section A V. 1 Free Design SecondFirst partpart - Developmental 122108 479130 SectionRetransitionTransition AB 327194150 CodaTransition I.PIANO CONCERTO II: G mAJoa Sonata-allegro (1931) MAURICE RAVEL m.11. Three part Section (1875-1937) m.III. SonatE-allegro Section --1m. SectionExposition 4475 1 Main theme Second.Third theme 744597 SecondFirstCodaThird partpart 1 Exposition 7937 1 FirstThirdSecond theme theme theme 172107 MiddleRecapitulation section 191172 Second theme Main-theme TOTT 214115 RecapitulationDevelopment 246230214 FirstSecondThird theme- themetheme Tff.253 Coda 230 Third themBCadenza - TOT269 Coda m.PIANOI. CONCERTO NO. Ternary Section 2 (1951) Seven-part Rondo ,. Section AIAN RAWSTHORNE -III. m. 1(b. 1905) Ternary SectionSection m.IV. Sectional SectionSection A 197121 1 Section AB 165147 SectionSection AB C 124 51 SectionSection B A 142189297 SectionSection C;B A developmentalQuasi- 735 1432374241229 CodaSectionSection DA A 74-6 389337 CodaCadenza PI1ONOScored COIXE-a0, as one mo7ement; OP. 42 divided(1942) into four sectit,ns: A1_114010 SCHOE113- (1874-1951) m.I. Theme and Variations Section in.11. Three part Section --1 468639 VariationInterludeThemeInterlude I 176235215253 FirstCodettaThirdSecond part part part 134122158 90 VariationVariationInterludeCodetta III II III. Free, Sectional IV. Modified Five-part Rondo .0 7.64m.303286 SectionSection A A'B; cadenza -150371349 Section A'AB 319319325313 CodettaSectionRecall fromB' II. E-97468430402 SectionCoda A"C PIANO CoNCERTO EO. 1, OP. 35 (1933) DnITRI SHOSTK'WICH (b. 1906) IV. Sectional; Nbdified Rondo --1m.I. Sonata-allegro SectionExposition 1 rain theme m.II.101 37 1 Ternary Section AB m.147 90- SectionSectionSection B C 117 79 RecapitulationDevelopment 130117 Subordinate45 Subordinate theme Main theme theme 1E5128 Coda 197343281238 SectionsectionCodaCadenza AD 175164 Coda III. A 29-measurefantasia leading free to .4-93413 %It the last movement. (b. 1906) I.PIANO CONCERTO NO. 1 Sonata-allegro Exposition 2, OP. 102 (1957) II. 20 DMITRI1 SHOSTAKOVICH Five-part Song Form PartPart I II III. 1 Sonata-allegro Exposition 1 Main theme . 23 1 Main theme Subordinate theme 54 Part III (I) 75 Subordinate theme 88 Development 49 88Second First subordinate part or closing theme r(54 8973 Part VIV (1)(II) 140237 RecapitulationDevelopment 237109 Main theme SubordinateClosing theme theme 222 Recapitulation 185222238 MainSubordinateCadenza theme theme 335337 Coda 314286 Closing theme - 262 Coda C0NG=0 RV. PIANO AND IZTIID INSTRTIMT3 IGOR STRININSKY (b. 188?) m.I. Free, Jectional Sonata-allegro) Section (Related to --1m.II. Ternary Section A m.III. 1 Free, Sectional; Rondo-relatedFirstSection Section 1 Part A --1 33 MainIntroduction Section 8733 SecondFirst themetheme 44958527 SectionCadenzaCadenza A'B 56 Second Section 148 5630 PartPartPart B Ai 178126 NiddleMain SectionSection; Developmental110 FirstTransition theme 197181 Coda,Third Sectionincluding cyclic181169 return RetransitionPart A 727313261 CodaCadenza 178253232 Second theme (Return Transitionintroduction) 755 from first movement 'CAPRICCIO I.FOR PIANO AND ORCHESTRA Ternary (1929) II. Ternary IGOR STRAVINSKY (b. 1882) III. Five-part Rondo 116 6019 1 SectionIntroductionSection BA A' 20 1 Section AB 2720 SecondFirst partDart 125 22 1 SectionIntroductionSection A A B 3-794165 Coda 134 7459 CadenzaSection A 241i240146220 CodaSection AIC APPENDIX C. LISTS OF MOVEMENTS BYFORMAL TYPES

SCNATA-ALLD3R0 DESIGNS

Concerto Writ. Remarks important in restof Barber Introductory motives movement.

thematic contrast. Bartok First Not a large contrast. Bartok First III Not a large thematic

Bartok Second Modified exposition. returns common Bartok Third Modified restatements or in Bartok.

Modified by abbreviatedrecapitulation. Britten IV Modified by omittingrecapitulation. Copland II than recapitulation von Einem "Quasi-return" rather because of modifications.

1) New material in the Haieff Modified by: development; 2) Interlude betweenthe development andrecapitulation; 3) Reversed - order recapitulation.

Analyzed as modifiedsonata-allegro or Haieff II as five-partrondo.

no development. Hanson Sonatina: return. Helm Modified by abbreviated

Helm III

Kabalevsky Includes a newmotive in thedevelopment. Khachaturian

LaMontaine no development,and abbreviated Malipiero Sonatina: recapitulation.

Modified, since thereturn is changed;also, Martinil there is a returnof some of thedevelopment.

Modified by abbreviatedrecapitulation. Martinll II

47 returns McPhee I Modified, since only the main theme in the recapitulation. In the exposition, there is a reversal of theme mood orderfrom the traditional.

Menotti I Modified by new material in therecapitulation.

Poulenc I Modified by: 1) New Material in the development; 2) Abbreviated recapitulation.

Prokofiev First Sonata-allegro combined with a four-movement plan in one movement.

Prokofiev Third I Modified sonatina; includes a briefmiddle section, and a modified return.

Ravel I Has more of a middle section than a development.

Ravel III Modified by a freer developmentand an abbreviated return.

Shostakovich First I

Shostakovich Second I Modified by an abbreviated recapitulation.

Shostakovich Second III TERNARY DESIGNS

Concerto Mvmt. Remarks

Bartok First II

Bartok Second II Chorale - Presto - Chorale gives

. large contrast.

Bartok Third II

Britten II

Cháve I Large ternary

Gershwin I Large ternary

Gershwin III Large ternary

Ginastera II Quasi-arch design

Hanson II

Hanson /V

Kabalevsky II

Rhachaturian II

Khachaturian III

McPhee II

Poulenc II

Prokofiev Second

Prokofiev Fifth

Prokofiev Fifth IT

Rawsthorne I

Rawsthorne III

Shostakovich First I

Stravinsky Capriccio I

Stravinsky Capriccio II

Stravinsky Concerto II THREE-PART DESIGNS(not A B A Ternaz7)

CONCERTO Myna,. Remarks

Barber II Monothematic

Ginastera III

Harlem III Monothematic

Helm II Monothematic

Malipiero II

Menotti

Prokofiev Second II

Prokofiev Second III

Ravel II

Schoenberg II

50 FIVE-PART RONDOS (ABICCA)

Concerto Mvmt. Remarks

Barber III

Bartok Third III von Einem III

Haieff II Analyzed as five-part rondo or as modified sonata-allegro.

Martina III

Menotti III

Schoenberg IV Modified, as the second digression is the recurrence of previous ideas rather than new material.

Stravdnsky Capriccio III Modified by unity of key center.

Stravinsky Concerto III Rondo'form given as an alternate possibility

SEVEN-PART RONDOS

3artok Second III ABA CADA

Ginastera IV ABABACA

Kabalevsky III Modified by a cyclic return which replaces the final A theme.

Prokofiev Third III. ABA CDC 'IA

Rawsthorne II ABACADA

51 THEME:AND VARIATION TECHNIQUE

Concerto Mvmt. Remarks

Britten III Seven variations on a theme; some resemblance to a Passacaglia.

Ginastera I Cadenza e variante. Ten variations, based on material from the cadenza .

Prokofiev Third II Theme, five variations, return theme.

Schoenberg I Theme and three variations, with interrupting interludes.

A A B DESIGNS

Haieff III A Al B

LaMontaine II A AI B

TWO-PART OR BINARY DESIGNS .

ChAvez II A, Theme (1); B, Theme (2).

Copland Quasi-binary; thematic materials shared.

von Einem II A, Themes (1), (2); B, Theme (3); Coda.

Prokofiev Fifth V First Part; Second Part; Tran- sition; Coda.

FIVE PART BUT NOT RONDO

Gershwin II Slow tempo, not rondo-like in mood.

Shostakovich Eecond II Five-part song form

52 UNIPARTITE DESIGN

Concerto MIrmt. Remarks

Prokofiev Fifth III

FREE SECTIONAL DESIGNS (Not included in other classifications)

Britten I Related to sonata-allegro

Chavez III Toccata style; Possibly three part.

LaMontaine III Intro., A, B, Intro A, B, Coda.

Malipiero III First Section, Transition, Cadenza, Recall of first section, Coda.

McPhee III A, 8, C, A & B, Coda.

Pijper One movement, with seven sections grouped into three divisions.

Doulenc III Thematic potpourri, grouped into A, B, C, Al, Coda.

Prokofiev Second IV Three large sections, but ambiguous implications.

Prokofiev Fifth II First theme, second theme, first theme, mid-section, combine themes, Coda.

Rawsthorne IV A, B, C, A, Cadenza, Coda.

Schoenberg III A, B, Al, Cyclic recall, B1, Codetta.

Shostakovich First III Quasi fantasia, connecting movements II and IV.

Shostakovich First IV A, B, C, A, D, A, Cadenza, Coda. (a modified rondo)

Stravinsky Concerto I Related to sonata-allegro, but modified by the contrapuntal nature and unified mood.

Stravinsky Concerto First and second sections; or possibly rondo-related, grouped as: A, B, A', C, A, Coda

r 53 CADENZAS AND USE

Concerto MVmt. Remarks

Barber Concludes the development.

Bartok Second Occurs within the recapitulation, between the main and second themes.

Britten I Occurs within a freer, sectional design, before the final return of the main material.

Britten .IV Concludes the development.

Copland II Contained within the development of a modified sonata-allegro design.

von Einem Concludes the development..

Ginastera I Opens the first movement, preceding variations; includes orchestral accompaniment.

Helm II Occurs as the second part of a monothe . matic, three-part slow middle movement, cyclic returns from I are included in cadenza.

Helm III Concludes the development.

Kabalevsky I Concludes the development.

Khachaturian I Follows the recapitulation.

La MOntaine I Follows the recapitulation.

La Montaine III Connects tAe Intro, to the first main section; labeled "Quasi-cadenza".

MartinU III Occurs between the fourth and fifth sections of a five-part rondo design.

Menotti I Follows the recapitulation.

Prokofiev First Occurs between the subordinate and closing themes in the recapitulation, within a one-movement plan,

Prokofiev Second I Occurs as the return of section A of a ternary design.

54 (Continued)

Prokofiev Second IV Follows second section and proceeds into third section ofa freer, sectional design. Ravel In the recapitulationoccurs as the embellished return of the third theme.

Rawsthorne Precedes the coda, after anABCA form.

Schoenberg Occurs as the second of four sections in the slow movement.

Shostakovich First Precedes the coaa, followinga freer, modified rondo form.

Shostakovich Second Concludes the development.

Stravinsky Capriccio II Occurs as the concluding element of the Andante movement, followingan A B A form.

Stravinsky Concerto. Precedes the coda, followinga large, three-section design.

Stravinsky Concerto II There are two cadenzas, whichare interruptions between the sections of the A B A design.

55 CYCLICISM

Concerto Remarks

Bartok S6dond Use of motives from I

Britten Waltz from II used inIII; Chordal motive of I used in II and IV; Main theme from I used in IV.

Copland Recall from I in II.

Gershwin Themes from I and II appear in III.

Haieff Motive from I in III.

Helm Themes from I in II; First theme from I in III.

Kabalevsky Return of subordinate theme of I in III.

Khachaturtan Return of material from I in III.

La Mbntaine Material of final movement derived from opening first movement.

Malipiero The cadenza of the third movement containsa return of ideas from I and II.

Martin4 Return of main theme of I in III.

McPhee Return of material from II in III.

Prokofiev Fifth Themes from I in III; Theme from III in V.

Schoenberg Themes from I and III return in IV.

Stravinsky Concerto Theme of opening Largo returns in I/I.

56 CONCERTOS WITH OTHER THAN THREE MOVEMENTS

Concerto Remarks

Britten I Toccata, II Waltz, III Impromptu, IV March.

Copland Shorter first movement prepares for longer, main second movement.

Ginastera I Cadenza e variante, II Scherzo allucinante, III Adagissimo, IV Toccata concertata.

Hanson I Allegro deciso, II Scherzo, III Andante molto espressivo, IV Finale.

Pijper One movement, with seven sections. Sections two, four, and part of six are for piano only.

Prokofiev First One movement, combining elements of sonata- allegro form and four-movement plan.

Prokofiev Second I Andantino, II Scherzo, III Intermezzo, 17 Allegro tempestoso.

Prokofiev Fifth I Allegro, II Moderato, III Allgro, IV Larghetto, V Vivo.

Rawsthorne I Allegro piacevole, II Allegro molto, III Adagio, IV Allegro.

Schoenberg Scored as one movement, but divided into Andante, Molto allegro, Adagio, Giocoso.

Shostakovich First Four movements, with III being a short fantasia between II and IV.

.57