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University Microfilms International 300 North Zeeb Road Ann Arbor, Michigan 48106 USA St. John's Road, Tyler's Green High Wycombe, Bucks, England HP10 8HR 77-31,907 KNIESNER, Virginia Elizabeth, 1951- AND FORM IN SELECTED FRENCH : 1900-1950. The Ohio State University, Ph.D., 1977

University Microfilms International , Ann Arbor, M'chigan 48106

© Copyright by Virginia Elizabeth Kniesner 1977 TONALITY AND FORM IN SELECTED FRENCH s 1900-1950

DISSERTATION

Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University

By Virginia Elizabeth Kniesner, B.M., M.A.

* * # * «•

The Ohio State University 1977

Reading Committee: Approved byi

Professor Burdette Green Professor Norman Phelps Professor William Poland W'jdl Adviser School of Music ACKNOWLEDGMENT

I wish to thank my adviser, Professor William Poland, for his excellent guidance and criticism throughout the course of this investigation. My discussions with both Professor Norman Phelps and Professor Burdette Green proved to be most helpful in enriching the contents of this study and in making my thoughts clear. I am grateful to my Graduate School Representative, Professor Emeritus.Wave Shaffer, for his careful reading of the dissertation in preparation for my oral examination, I would also like to express my gratitude to the following music librarians who assisted in making the necessary musical scores available for study« Olga Buth at The Ohio State University; Arne Arneson at the University of Colorado at Boulder; Lenore Coral at the University of Wisconsin at Madison; Virginia Gifford at Vassar College? Barbara Winchester at the Library of the Harvard Musical Association; Prank Campbell at the New York Public Library at Lincoln Center; Donald Leavitt at the Library of Congress; and Jean-Michel Nectoux at the Bibliotheque Nationale in . The copyright permission from Salabert, Leduc, Presser, Dover, and European American Music Distributors is

ii greatly appreciated as well as the cooperation and prompt mailing of piano catalogues from thirty-nine French publishers or their American representatives. An especially warm "thank you" is offered to Elizabeth, Albert, John, and Daniel Kniesner, Their faith and encouragement throughout my graduate studies will always be remembered.

iii VITA

May 17, 1951 Born - Cleveland, Ohio 1972 E.M. in Piano Performance, Kent State University, Kent, Ohio 1973 M.A. in , The Ohio State University, Columbus, Ohio 1976-1977 Teaching Associate, School of Music, The Ohio State University, Columbus, Ohio

FIELDS OF STUDY

Major Field: Music Theory Studies in : Professor William Poland Studies in the History of Music Theory: Professor Norman Phelps Studies in Music History and Literature: Professor Keith Mixter

iv TABLE OF CONTENTS

Page ACKNOWLEDGMENT ii VITA iv LIST OF TABLES ix LIST OF EXAMPLES xiii CHAPTER ONE INTRODUCTION 1 Purpose and Scope 2 Organization 5 Tonality and : Analytical Symbols and Terminology 8 Form: Analytical Symbols and Terminology 27 Summary 32 CHAPTER TWO HISTORICAL BACKGROUND 33 Early Uses of the Term, "" .... 3^- A Brief Historical Survey of the 35 Theoretical Writings Concerning the Sonata Genre ^0 Tonality and Form in the Piano Sonatas from the Standard Repertoire ^1 v Page The Status of the Piano Sonata in French Music« 1780-1950 58 An Overview of the French Piano Sonata from 1951 "to 1975 67 Summary 79 CHAPTER THREE SONATAS s 1900 TO 1915 81 Historical Setting 81 ' Sonate en mi bemol mineur (19001 ... 84 Theodore Lack's Sonate Pastorale. Op. 253 (1906) 101 Jean Hure's Premiere Sonate (1907) .. 115 Vincent d'Indy's Sonate en mi. Op. 63 (1907) 128 Summary 143 CHAPTER FOUR SONATAS: 1916 TO 1930 153 Historical Setting 154 's Sonate (1916) 158 Pierre de Breville's Sonate en re ma.jeur (1923) 185 Yves de la Casiniere's Sonate en si mineur (1926) 196 's Sonate en re ma.jeur (1926) 212 Summary - 224

vi Page CHAPTER FIVE SONATAS: 1931 TO 1940 234 Historical Setting 234 's Sonate en si mineur (1931) 237 's Sonate en fa ma.ieur (1932) 249 Emmanuel Bondeville's Sonate (1937) 268 Summary 282 CHAPTER SIX SONATAS: 1941 TO 1950 292 Historical Setting 293 Jean-Michel Damase's Sonate. OP. 24 (1943) .... 295 Andre Jolivet's Sonate pour piano (191-5) 311 's Sonate (1948) 328 Summary 35-1 CHAPTER SEVEN SUMMARY 362 Analytical Method 364 Tonal Language, Piano Style, and Thematic Content 367 Form of the Sonata as a Whole 370, Form within the Movement 374 Tonal Organization of the Sonata as a Whole 376 vii Page Tonal Organization within the Movement 381 Conclusion and Recommendation 398 APPENDIX AND TITLE INDEX 4-02 LIST OF REFERENCES 4-08 ADDITIONAL READINGS 413

viii LIST OF TABLES

Page 1. Key Symbols: Roman Numerals and Accidentals for 42 Keys Eased on as the Tonic Pitch ... 9 2. Lavignac's Closely Related Keys 13 3. D'lnay's Closely Related Keys ...... 14 4. Key Relationships from Tonic Key. .... 17 5. Key Relationships from Tonic Key .... 17 6. Darkness and Brightness of Keys from a Major Tonic 21 7. Darkness and Brightness of Keys from a Minor Tonic 21 8. Symbolization of That Are Part of Diatonic Seventh Chords in Keys 26 9. List of Abbreviations 31 10. Summary of Key Relationships in the Three- movement Piano Sonatas from the Standard Repertoire 54 11. Summary of Key Relationships in the Pour- movement Piano Sonatas from the Standard Repertoire 54 12. Dukas' Sonate en mi bemol mineur. Analysis of Form and Tonality 89 13. Lack's Sonate Pastorale, Op. 2.53. Analysis of Form and Tonality 104 14. Hure's Premiere Sonate. Analysis of Form and Tonality 118 ix Page 15. D'Indy's Sonate en mi, Op. 63. Analysis of Form and Tonality 133 16. Summary of Form in the Sonatas from 1900-1915 1^3 17. Summary of Tonal Organization in the Sonatas from 1900-1915 • • • 1^6 18. Frequencies of Intra-movement Key Relationships and Darkness/Brightness Relationships in the Sonatas from 1900-1915 1^9 19. Milhaud's Sonate. First Movement, Analysis of Form and Tonality 162 20. Milhaud's Sonate. Second Movement, Analysis of Form and Tonality 171 21. Milhaud's Sonate, Third Movement, Analysis of Form and Tonality I76 22. Breville's Sonate en re bemol. Analysis of Form and Tonality I87 23. Breville's Sonate en re bemol. Analysis of Form and Tonality I89 Zb, Casiniere's Sonate en si mineur. First Movement, Analysis of Form and Tonality ..... 200 25. .Casiniere's Sonate en si mineur, Second Movement, Analysis of Form and Tonality 205 26. Casiniere's Sonate en si mineur. Third Movement, Analysis of Form and Tonality ..... 209 27. Sauguet's Sonate en re ma.jeur. Analysis of Form and Tonality 221 28. Summary of Form in the Sonatas from 1916-1930 227 29. Summary of Tonal Organization in the Sonatas from 1916-1930 229

x Page 30. Frequencies of Intra-movement Key Relationships and Darkness/Brightness Relationships in the Sonatas from 1916-1930 232 31. Aubin's Sonate en si mineur. Analysis of Form and Tonality 239 32. Auric's Sonate en fa ma.ieur, First . Movement, Analysis of Form and Tonality 260 33. Auric's Sonate en fa ma.ieur, Second Movement, Analysis of Form and Tonality 262 34. Auric's Sonate en fa ma.ieur, Third Movement, Analysis of Form and Tonality 264 35. Au:ic's Sonate en fa ma.ieur, Fourth Movement, Analysis of Form and Tonality ..... 265 36. Bondeville's Sonate, .First Movement, Analysis of Form and Tonality 2?6 37. Bondeville's Sonate. Second and Third Movements, Analysis of Form and Tonality .... 279 38. Summary of Form in "the Sonatas from 1931-1940 284 39. Summary of Tonal Organization in the Sonatas from 1931-1940 287 40. Frequencies of Intra-movement Key Relationships and Darkness/Brightness Relationships in the Sonatas from 1931-1940 289 41. Damase's Sonate, OP. 24, First Movement, Analysis of Form and Tonality ...... 297

42. Damase's Sonate, On, 24, Second Movement, Analysis of Form and Tonality 302 43. Damase's Sonate, On. 24, Third Movement, Analysis of Form and Tonality 303 44. Damase's Sonate, Ox>. 24. Third Movement, Reduction of Key Organization 306

xi Page 45. Jolivet's Sonate pour piano. First Movement, Analysis of Form and Tonality ..... 321 46. Jolivet's Sonate pour piano. Second Movement, Analysis of Form and Tonality 324 47. Jolivet's Sonate pour piano, Third Movement, Analysis of Form and Tonality 326 48. Dutilleux's Sonate, First Movement, Analysis of Form and Tonality 3^2 49. Dutilleux's Sonate, Second Movement, Analysis of Form and Tonality 3^ 50. Dutilleux's Sonate, Third Movement, Analysis of Form and Tonality 346 51. Summary of Form in the Sonatas from 1941-1950 35^ 52. Summary of Tonal Organization in the Sonatas from 1941-1950 357 53. Frequencies of Intra-movement Key Relationships and Darkness/Brightness Relationships in the Sonatas from 1941-1950 359 54. Summary of Form in the Sonatas from 1900-1950 371 55. Summary of Tonal Organization in the Sonatas from 1900-1950 377 56. Summary of Key Schemes of the Sonata-allegro Forms in the Sonatas from 1900-1950 382 57. Summary of Frequencies of Intra-movement Key Relationships and Darkness/Brightness Relationships in the Sonatas from 1900-1950 . 388 58. Darkness/Brightness Schemes Based on Accumulative Degrees in the Sonatas from 1900-1950 397

xii LIST OF EXAMPLES

Page 1. Dukas; Sonate en mi bemol mineur, First Movement, Meas, 228-230 86 2. Dukas' Sonate en mi bemol mineur, First Movement, Meas. 159-160 90 3. Dukas' Sonate en mi bemol mineur, First Movement, Modal interchange, Meas. 207-209 91 4. Dukas' Sonate en mi bemol mineur, Fourth Movement, Introductory Motive, Meas. 1-2 93 5. Dukas' Sonate en mi bemol mineur.- Fourth Movement, First Theme, Meas. 17-18 .. 94 6. Dukas' Sonate en mi bemol mineur,~ First Movement, First Theme, Meas. 1-11 .... 96 7. Dukas' Sonate en mi bemol mineur, Fourth Movement, First Theme, Meas. 26-31 .. 97 8. Dukas' Sonate en mi bemol mineur, Third Movement, Meas. 188-191 97 9. Lack's Sonate Pastorale, Op. 253. First Movement, Meas. 1-8 ...... 106 10. Lack's Sonate Pastorale, Op. 253. First Movement, Meas. 33-40 107 11. Lack's Sonate Pastorale, Op. 253. Fourth Movement, Meas. 25-26 and 37-38 ..... 108 12. Lack's Sonate Pastorale, Op. 253, Second Movement, Meas. 1-4 ...... 110

xiii Page 13. Lack's Sonate Pastorale. Op. 253. Second Movement, Meas, 9-12 Ill 14. Lack's Sonate Pastorale. Op. 253. Third Movement, Meas. 1-8 ...... 112 15. Lack's Sonate Pastorale. OP. 253. Third Movement, Meas, 41-48 ...... 113 16. Lack's Sonate Pastorale. Op. 253. Fourth Movement, First Theme, Meas, 1-4 ..... 114 17. Lack's Sonate Pastorale. Op. 253. Fourth Movement, Second Theme, Meas, 21-24 ,. 114 18. Hurl's Deuxieme Sonate. Meas. 38-44 116 19. Hure's Premiere Sonate. First Theme, Meas. 15-21 119 20. Hure's Premiere Sonate, Second Theme, Meas. 33-40 120 21. Hure's Premiere Sonate. Meas. 13-15 121 22. Hure's Premiere Sonate, Meas, 59-65 121 23. Hure's Premiere Sonate, Melodic Reduction of Meas. 13-15 and 33-^0 122 24. Hure's Premiere Sonate. Meas. 99-103 123 25. Hurt's Premiere Sonate, Meas. 129-136 126 26. D'Indy's Sonate en mi. Op. 63. ' First Movement, "x" Motive, Meas, 1-2 134 27. D'Indy's Sonate en mi. Op. 63, First Movement, Meas. 34-37 135 28. D'Indy's Sonate en mi, Op. 63. Second Movement, Meas, 116-117 136 29. D'Indy's Sonate en mi, Op. 63. Third Movement, "X" Theme, Meas, 183-187 ,,,, 136 30. D'Indy's Sonate en mi, Op. 63. First Movement, "y" Motive, Meas. 7-9 ...... 137 xiv Page 31. D'Indy's Sonate en mi, Op. 63. Second Movement, Scherzo Theme, Meas. 2-3 .. 138 32. D'Indy's Sonate en mi. Op. 63. Third Movement, Meas, 87-89, 93-96, and 107-110 139 33. D'Indy's Sonate en mi. Op. 63. Third Movement, Meas, 76 139 3^. D'Indy's Sonate en mi. Op. 63. First Movement, "z" Motive, Meas. 175-176 .. 140 35. D'Indy's Sonate en mi, Op. 63. Second Movement, Meas, 28-29 ...... 140 36. D'Indy's Sonate en mi, Op. 63. Second Movement, Tonal Structure 142 37. Milhaud's Sonate, First Movement, Codetta Theme, Meas. 107-108 I63 38. Milhaud's Sonate, First Movement, Third Theme, Meas, 80-87 164 39. Milhaud's Sonate, First Movement, First Theme Variant, Meas, 118-119 165 40. Milhaud's Sonate, First Movement, Meas. 142-145 . 167 41. Milhaud's Sonate, First Movement, Meas. 208 168 42. Milhaud's Sonate, Second Movement, Outline of Tonal Succession, Meas. 103-218 171 43. Milhaud's Sonate, Second Movement, First Theme, Meas. 1-6 173 44. Milhaud's Sonate, Second Movement, Second Theme, Meas. 63-70 173 45. Milhaud's Sonate, Second Movement, Meas. 184-187 175

xv Page 46. Milhaud's Sonate, Third Movement, Motivic Analysis of Themes 1?8 47. Milhaud's Sonate, Third Movement, Tonal Organization 180 48. Milhaud's Sonate, Third Movement, Meas. 58-59 181 49. Milhaud's Sonate, Third Movement, Meas. 26-27 182 50. Milhaud's Sonate, Third Movement, Meas. 128-13^ 183 51. Milhaud's Sonate, Third Movement, "a" Theme, Meas, 1-8 ...... 184 52. Breville's Sonate en re' bemol, Pentatonic Scale,. Meas. 66-67 191 53. Breville's Sonate en re b£mol. Whole-tone Scale, Meas. 71 192 54. Breville's Sonate en re bemol, Meas. 95-97 . 194 55. Debussy's Ballade for piano, Meas. 63-64 ... 195 56. Breville's Sonate en re b6mol, Modal Interchange, Meas. 1-2 196 57. Casiniere's Sonate en si mineur, First Movement, Meas. 30 198 58. Casiniere's Sonate en si mineur, First Movement, Meas, 55 198 59. Casiniere's Sonate en si mineur, First Movement, Second Theme, Meas. 31-33 .. 199 60. Casiniere's Sonate en si mineur, First Movement, First Theme, Meas, 1-8 201 61. Casiniere's Sonate en si mineur, First Movement, Reduction of Tonal Organization 203

xvi Page 62. Casiniere's Sonate en si mineur. Second Movement, Meas. 14-15 .. 205 63. Casiniere's Sonate en si mineur, Second Movement, Meas, 30-31 206 64. Casinifere's Sonate en si mineur. First Movement, Meas, 14- and Second Movement, Meas. 36 . 206 65. Casiniere's Sonate en si mineur, Second Movement, Analysis of Bitonality .... 208 66. Casiniere's Sonate en si mineur, Second Movement, Meas, 11-14 and Third Movement, Meas. 1-4 ; 210 67. Casiniere's Sonate en si mineur. Third Movement, Further Reduction of Tonal Organization 211 68. Sauguet's Sonate en re ma.ieur, Third Movement, Meas. 30-32 215 69. Sauguet's Sonate en r£ maieur, Second Movement, Meas. 1-4 215 70. Sauguet's Sonate en r4 ma.ieur, Second Movement, Meas. 39-42 216 71. Sauguet's Sonate en re ma.ieur, First Movement, Meas. 21-28 218 72. Aubin's Sonate en si mineur, First Movement, Meas. 1-3 241 73. Aubin's Sonate en si mineur, Third Movement, Meas. 1 242 74. Aubin's Sonate en si mineur, First Movement, Meas. 19 243 75. Aubin's Sonate en si mineur, Second Movement, Meas. 1-6 243 76. Aubin's Sonate en si mineur, Third Movement, Meas. 3» 35-36, and 98-100 244 xvii Page 77, Aubin's Sonate en si mineur, First Movement, Meas, 19 248 78, Auric's Sonate en fa ma.ieur. First Movement, Meas, 8-16 ...... 254 79, Auric's Sonate en fa ma.ieur, First Movement, Linear Writing, Meas. 8-16 256 80, Auric's Sonate en fa maieur. First Movement, Meas, 24—27 ...... 257 81, Auric's Sonate en fa ma.ieur, Third Movement, Meas. 1-4 258 82, Bondeville's Sonate, First Movement, First. Theme Motive, Meas, 1 270 83, Bondeville's Sonate, Third Movement, Meas, 42-47 270 84, Bondeville's Sonate, Second Movement, Meas. 14-15 272 85, Bondeville's Sonate, First Movement, Meas. 42 273 86, Bondeville's Sonate. Third Movement, Meas. 185-187 274 87, Bondeville's Sonate, Third Movement, Meas. 123-128 275 88-, Damase's Sonate. Op, 24. First Movement, Third Theme, Meas, 128-132 298 89. Damase's Sonate, Op. 24. First Movement, Second Theme, Meas. 220-223 307 90. Damase's Sonate, Op. 24. First Movement, Meas. 1 308 91. Damase's Sonate. Op. 24. First Movement, First Theme, Meas. 70-72 ...... , 309 92. Damase's Sonate, Op. 24. Second Movement, Meas. 37-38 309 xviii Page 93. Damase's Sonate. Op. 24, First Movement, Meas. 100-101 310 94. Damase's Sonate. Op. 24. Third Movement, Meas. 260-262 311 95. Jolivet's Sonate pour piano, First Movement, First Theme, Meas, 21-22 ... 314 96. Jolivet's Sonate pour piano, Third Movement, Scale Source, Meas. 11-30 .. 314 97. Jolivet's Sonate pour piano, • Third Movement, Scale Source, Meas. 31-45 •• 315 98. Jolivet's Sonate pour piano, Second Movement, Meas. 15-16 31? 99. Jolivet's Sonate pour piano, Second Movement, Meas. 5-14 317 100. Jolivet's Sonate pour piano, First Movement, Meas. 1-2 318 101. Jolivet's Sonate pour piano, Third Movement, Meas. 46-52 319 102. Dutilleux's Sonate, First Movement, Second Theme, Meas. 77-78 330 103. Dutilleux's Sonate, First Movement, Meas. 124-125 332 104. Dutilleux's Sonate, First Movement, Meas. 160-161 332 105. Dutilleux's Sonate, First Movement, Parallel Minor Triads, Meas, 281-282 333 106. Dutilleux's Sonate, First Movement, Parallel Major Triads, Meas, 362-364 333 107. Dutilleux's Sonate, First Movement, Meas. 112-114 334 108. Dutilleux's Sonate. Second Movement, Meas. 73-74 335

xix Page 109. Dutilleux's Sonate, First Movement, Parallel Major Seventh Intervals, Meas. 247-248 335 110. Dutilleux's Sonate. First Movement, Meas. 191-197 337 111. Dutilleux's Sonate. First Movement, Pointillism, Meas. 88-89 337 112. Dutilleux's Sonate, Second Movement, Meas. 42-43 338 113. Dutilleux's Sonate, Third Movement, Choral Theme, Meas. 1-4 3^0 114. Dutilleux's Sonate. Third Movement, Progression of Keynotes in Choral and Variation I 3^9 115. Dutilleux's Sonate, Third Movement, Variation II, Reduction of the Tonal Organization 350

xx CHAPTER ONE

INTRODUCTION

Although studies exist on the topic of French piano music 1 and the piano sonata,2 no one has yet examined the body of French piano sonatas, the majority of which were composed and published in the twentieth century. This situation exists for several reasons. Two features have characterized the bulk of piano music that has traditionally received attention through critical literature and concert performances; the music has been typically German and essentially pre-'twentieth-century. Due to the lack of

An excellent book is Norman Demuth's French Piano Music; A Survey with Notes on its Performance (London: Museum Press, 1959). See also 's La Musiaue francaise de piano• 3 vols. (Paris: Presses Universitaires de , 1948). o "See William Stein Newman, A History of the Sonata Idea. 3 vols. Vol. I: The Sonata in the Baroque Bra: Vol. II: The Sonata in the Classic Era; and Vol. Ill: The Sonata Since Beethoven (Chapel Hill: The University of North Carolina Press, 1959, 19^3 > and 1969) and Anthony Hopkins, Talking About Sonatas (London: Heinemann, 1972). See also J. S. Shedlock, The Pianoforte Sonata: Its Origin and Development, ed. W. S. Newman, 1964- reprint of I895 (New York:Da Capo, 1964).

1 2 performances and general awareness of these works, several of them have had their printing discontinued by the publisher, thereby decreasing their availability. Recent trends, however, appear to reveal a desire on the part of performers, educators, and audiences for a broader repertoire involving the piano.

Purpose and Scope

This dissertation proposes to investigate certain aspects of tonality and form in .fourteen of the twenty- eight French piano sonatas known to have been composed and published during the years 1900 to 1950. A chronological listing of the sixty-four twentieth-century French piano sonatas found by the author is presented in the appendix, which includes page references of citings in the disserta­ tion. Selection of compositions for this list was made on the basis of two criteria: the piece had to be both composed and published in the twentieth century; and the work had to have the word, "sonata," as the title or part of the title. The latter criterion does allow the inclusion of piano works which do not fit the traditional concept of sonata, and the exclusion of sonata-like works bearing other titles, such as "" or "." This criterion, however, is necessary for a study that is designed to investigate the use of the term, "sonata," as a title by twentieth-century French . The primary 3 sources for the appendix entries are The Pianist's Resource Guide ; Piano Music in Print and Literature on the Pianistic Art. cl97^ by J. Rezits and G. Deatsman; the National Union Catalogue; and thirty-nine catalogues from French publishers or their American representatives. The piano sonatas selected for analysis in this dissertation were chosen as being representative of the variety of tonal styles existing in French piano sonata writing from 1900 to 1950. Tonality and form were chosen in this study, because these two aspects have served as the defining characteristics of the keyboard sonata since the time of its origin. The investigation is limited to the period from 1900 to 1950, because the majority of the tonal twentieth-century French piano sonatas were composed during these years. Tonality and form in the selected sonatas were analyzed with the "textbook" sonata as the reference base, since most educated musicians would probably approach a composition entitled "sonata" with the textbook model in mind. No piano sonata in these analyses is forced to fit in the model of the textbook sonata. The model is simply used for matching purposes in order to distinguish those elements in a French piano sonata that are standardized from those that are particular to that sonata. The tonal structure and form of each sonata is analyzed in the context of the single movement and in the relationship between 1+ movements. A description of the tonal language is included in each analysis. Those elements of the language thai" greatly contribute to defining the personal style of the are shown "by musical examples. The results of the analyses are not only matched with previous trends in piano sonata writing, "but also with the concurrent compositional practices in twentieth-century France. To summarize the purpose of this dissertation, the two main objectives are restated. First, the dissertation proposes to investigate the use of tonality and form in tonal French piano sonatas composed and published during the first half of the twentieth century through an analysis, of representative works. The dissertation is concerned with the use of tonality and form in each movement of the sonata and with the tonal structure and form of the sonata as a whole. The analyses have been based on the assumption that twentieth-century piano sonatas are an outgrowth of models from previous style periods, especially those of the Classical era from approximately 17^0 to 1820. The second objective of the dissertation is to provide a starting point for further research into the nature of the twentieth- century French piano sonata by the inclusion of an appendix containing the titles, composers, and publishing information of all sonatas found by the author in her preparation for the present dissertation. 5

Organization

The dissertation is organized in four parts: two introductory chapters, four analytical chapters, a summary chapter, and three bibliographic sections. The first introductory chapter, Chapter One "Introduction," describes the purpose, depth, and structure of the investigation, and includes an explanation of analytical symbols, terminology, and abbreviations. The second introductory chapter, Chapter Two "Historical Background," serves several purposes. It acquaints the reader with the changing role of the term, "sonata," as a title of musical compositions, as a popular piano composition during the Classical era, and as a subject for theoretical description. Tonal and formal organization in the "textbook" model of the piano sonata are discussed through the analysis of sonatas from our standard repertoire. The purpose is to establish the basis for comparing the French piano sonatas examined in the four analytical chapters of the dissertation with a standard concept of the genre. Finally, Chapter Two places the French piano sonatas from 1900 to 1950 in historical context through a brief survey of the history of the French piano sonata from the earliest known examples around i780 to those written as late as 1975* The second part of the dissertation comprises the four analytical chapters, Chapters Three through Six, which 6 proceed chronologically from 1900 to 1950 dividing the fifty years into four stylistic periods of French piano sonata writing: I9OO-1915, 1916-1930, 1931-19^0, and 1941-1950. Fourteen of the twenty-eight French piano sonatas known to have "been composed and published during the first half of the twentieth century are analyzed in these chapters. Each analytical chapter includes an introduction explaining the criteria for the selection of the sonatas to be analyzed and a brief description of the musical life in France during that period. The main body of each analytical chapter consists of an analysis of three or four complete piano sonatas through verbal description, anlytical tables, and musical examples. Each sonata analysis is preceded by information about the composer and his works. These chapters are concluded by summary sections that review the results of the analyses. The third part of the dissertation is the summary chapter, Chapter Seven "Summary," which summarizes the stylistic elements and the. formal.and tonal organization found in the selected sonatas with additional comparative statements concerning the existence of trends in the French piano sonatas from 1900 to 1950 and the role of the twentieth-C'./^ury French piano sonata in the history of music. Chapter Seven concludes with a recommendation of possible research projects in the area of tonality and form in sonata-like works of other countries and other centuries. 7 The fourth and final part of the dissertation comprises three bibliographic sections: "Appendix and Title Index," "References," and "Additional Readings." The "Appendix and Title Index" is a chronological listing of all the twentieth-century French piano sonatas known to the author. The listing of these sixty-four sonatas is organized in six sections with the first five being categorized chronologically. The first four categories correspond directly with those of the four analytical chapters, Chapters Three through Six: I9OO-I915, 1916-193°# 1931-19^0, and 1941-1950. The fifth section, dealing with the period, 1951-1975» is related to the discussion found on pages 67-78 of Chapter Two. Fourteen sonatas are placed in the sixth section subtitled, "Sonatas with Unknown Date." Within each of these six sections the sonata titles and bibliographic information are arranged in alphabetical order by the composers' names. Page numbers following piano sonatas in the appendix refer to title citations within the dissertation. The second bibliographic section, "References," has five subject headings: books, articles, unpublished research papers, musical scores, and recordings. All entries in this list are cited in the dissertation. The musical scores do not include twentieth-century French piano sonatas, since these are presented in the separate bibliographic section entitled "Appendix and Title Index." The last bibliographic section, "Additional Readings," has 8 three subject headings: books, articles, and unpublished research papers. The entries in this list are not cited irr the dissertation, but provide sources for further study in areas related to the twentieth-century French piano sonata.

Tonality and Harmony: Analytical Symbols and Terminology

This section derives and explains tonality and symbols and terminology found throughout the dissertation in the musical examples, tables, and text. The primary symbol in the analyses of tonality and otr harmony is the Roman numeral.

Tonality

Table 1 on page 9 displays the Roman numeral symboli- zation for forty-two keys based on C as the tonic pitch. Major keys are symbolized by upper-case Roman numerals, while minor keys are represented by lower-case Roman numerals. Forty-two is the maximum number of keys possible in relationship to C as the tonic pitch without the use of double-flat and double-sharp keynotes. Fourteen of these forty-two keys are derived by listing the major and minor keys whose keynotes are diatonic to the scale. The remaining twenty-eight keys are derived by listing the major and minor keys whose keynotes are diatonic to the C-flat and C-sharp major scales. 9

Table 1 Kay Symbols: Roman Numerals and Accidentals for 42 Keys Baaed on C as the Tonic Pitch.

(1) (2) (3) <*) * CbM bl bl *(1) Keys with tonic chords that are CMCbm I bi biI diatonic to the . Cm I i (2) Keys with tonic chords that are C#S1 //I #1 diatonic to the natural minor C#m H #i scale. DbM bll bll Dbm bii bii (3) Keys with tonic chords that are DM XI II nondiatonic to the major scale, Dm ii ii D#M #11 (4) Keys with tonic chords that are #ii #ii nondiatonic to the natural, Ebbl bill bill . Ebm biii biii EM III III Em iii iii E#M mi #111 E#ra #iii tfiii FbM biv blV Fbm biv biv FM IV IV Fm iv iv F#M #Tf #IV F#m #iv #iv GbM bV bV Gbra bv bv GM V V Gm V V ~C#M #V #V G#m #v AbM bVI bVI Abm bvi bvi AM VI VI Am vi vi A#M #VI §VI AJRM #vi #vi BbM bVII bVII Bbm bvii bvii BM VII VII Bm vii vii B#M #VII #VII B#m #vii #vii The key symbols in Table 1 may "be applied in relationship to any tonic pitch by using the Roman numerals that are not preceded by a sharp or flat sign as representing keys with tonic triads whose roots are diatonic to the corresponding major scale. The major scale is used as the reference base since its scale degrees are stable. Flat signs before Roman numerals indicate keys whose keynotes are a half step lower than the set of keynotes available in the major scale. Sharp signs before Roman numerals indicate keys whose keynotes are a half step higher than the set of keynotes available in the major scale. Natural signs, then, as well as double-flat and. double-sharp signs, are not needed before Roman numerals. A key is considered to be diatonic to a major key system if its tonic triad is diatonic to the major scale. The diatonic keys in a major key system are I, ii, iii, IV, V, and vi. A key is considered to be diatonic to a minor key system if its tonic triad is diatonic to the natural form of the minor scale. The diatonic keys in a minor key system are i, bill, iv, v, bVI, and bVII. The appearance of a flat or sharp sign before a Roman numeral does not necessarily mean that the same accidental is present before the notated keynote. For example, the key of A major is F-sharp minor, and would be symbolized by vi. The submediant key of A minor, namely 11 , is. represented by bVI. The flat sign here simply means that the key built on the sixth degree of the natural minor scale has a keynote that is a half step lower than the sixth degree in the parallel major scale. Only twenty-six of the forty-two key symbols displayed in Table 1 are used in the dissertation. The sixteen key symbols that are not used are the following: bl, bi,

#If #i, #11, #ii, #111, #iii, bIY, biv, #V, #v, #VI, #vi, #711, and. #vii (see pp. 18-19). The keys represented by these sixteen key symbols are symbolized instead by the remaining key symbols in Table 1. Nineteenth- and twentieth-century theorists have expressed various systems of key relationships. Most of these theorists consider every major and minor key to have five closely related keys. keys that are closely related to a tonic major key have tonic triads that are diatonic to its major scale, namely ii, iii, IV, V, and vi. The five keys that are closely related to a tonic minor key have tonic triads that are diatonic to the natural minor scale, namely bill, iv, v, bVI, and bVII. The set of closely related keys of tonic major ana minor keys may be viewed as consisting of the- key, the dominant key, and the relative major and minor keys of the gubdominant, dominant, and tonic keys. The key signatures of closely related keys do not differ from that of the tonic key by more than one sharp, or flat, and their 12 position in the is close to the tonic key. All other keys are classified as distantly related with the degree of distance measured by the circle of fifths. Since the study of tonality in this dissertation is concerned with that of the French piano sonatas written during the period, 1900-1950, the prevailing theories of key classification in France during this time are examined. The Paris Conservatory and the Schola Cantorum have "been the two principal French schools for the advanced study of music since their founding in 1789 and 1896, respectively. Most of the subject matter taught at the Paris Conservatory between approximately 1875 and 1950 is found in Albert Lavignac's Encvclopedie de la musiaue et dictionnaire du ConservatoireThe corresponding source for the teachings at the Schola Cantorum from approximately I896 to 1950 is LL Vincent d'Indy's Cours de composition musicale.

•^Albert Lavignac and Lionel de la Laurencie, Encvclopedie de la musiaue et dictionnaire du Conservatoire. Part I, historical, 5 vols, and Part II, theoretical, 6 vols. (Paris: Librairie Delagrave,.1925). The system of key relationships.found in Part II, Vol. 1, pp. 278-282 may be read in' an earlier publication: Albert Lavignac, Music and Musicians, ^th ed. rev. and ed. H. E.'Krehbiel, translated.from the French by V/illiam Marchant (New York: Henry Holt; 1903), pp. 279-292.. LL • Vincent d Indy and Auguste Serieyx, Cours de composition musicale. 3 vols. (Paris: Durand, Book I, 1903; Book II, Part 1, 1909; and Book. II, Part 2, 1933)* Lavignac defined five closely related keys for every major and minor key as being those that had key signatures which did not differ from that of the tonic key by more than one sharp or flat (Table 2). He considered all other keys to be distantly related to the tonic key. The degree of distance was measured by the degree of difference in their key signatures. Lavignac's system of key relation­ ships was adopted in part from such earlier theoretical writings as Anton Reicha's Cours de composition musicale (1818) and Francois-Joseph Fetis' Traite complet de la theorie et de la Pratique de l'harmonie (1844).

Table 2 Lavignao'3 Clo3ely Related Keys.

From a Ma.ior Tonic Key From a Minor Torn'p. Kay ii bill iii iv IV v V bVI vi viii

D'Indy defined closely related keys as being those with tonic chords which share at least one common pitch with the tonic chord of the tonic key^ (Table 3» p. 1^). These keys are considered to be directly related to the tonic key. By this system d'Indy derived twelve keys for

%Md .T~Bcidk "I. pp. 127-128. every major and minor key. He reduced this set of keys to only eleven by denying the existence of a direct relation­ ship between a minor dominant key and a major tonic and between a major subdominant and a minor tonic. D'Indy subdivided his eleven closely related keys into two categories: primary and secondary. The primary keys from a major tonic are the subdominant major and minor and the dominant major. From a minor tonic the primary keys are the subdominant minor and the dominant major and minor. All other closely related keys are considered to be secondary. Although d'Indy did not..discuss in detail those keys which are not closely related, it is assumed that since they do not have a direct relationship with the tonic they are classified as distant or extraneous keys.

'able 3 D'Indy's Closely Related Key3.

From a Minor Tonic ICev

•bl I till bill XII biii iii iii IV IV (omitted) iv iv V V v (omitted) v WI VfI VI bvi vi vi

Lavignac's and d'Indy's systems of key relationships have two significant differences that should be stressed. First, d'Indy's set of closely related keys, with the 15 exception of the minor in relation to a major tonic and the major in relation to a minor tonic, contains all of Lavignac's closely related keys. Second, d'Indy included in his closely related keys the parallel mode of three keys in Lavignac's set. For example, from a major tonic Lavignac's closely related keys are ii, iii, IV, V, and vi. D'Indy included iii, IY, V, and vi in his set and in addition the parallel modes of the , subdominant, and submediant, that is, III, iv, and VI. D'Indy explained this inclusion of the parallel keys by what he called the "double phenomenon of harmonic resonance."^ Here, he was speaking of the aural perception: of a close relationship between major and minor triads that share the same . It is important to note that d'Indy's set of closely related keys, by including both the major and minor modes for certain keynotes, reflects the practice by many composers of substituting parallel modes. D'Indy, however, did not differentiate the degree of directness to a tonic key from two keys having a parallel relationship with one another. One mode is not more closely related than another.

'Indv. Cours.... Book 1, 5. 127: "Mais il s'agit ici d'accords et non de sons isoles; or, par le phenomene double de la resoriarinarice harmonique, tout accord peut.se presenter sous deux aspects, deux modes differents." For the purpose of analysis, the system of key relationships given by Donald. Francis Tovey in his hook, The Forms of Music (1944)^ is adopted in this dissertation. Tovey's system has been adopted for two reasons. First, it is very similar to Lavignac's and d'Indy's system, and second, Tovey, to the author's knowledge, has provided the most comprehensive, descriptive classification of Clas­ sical key relationships used "by composers in their music. Although Tovey*s system is based, on compositional practices from Bach to Wagner, it does provide a starting point for the. discussion of tonal music in the twentieth century. Tovey has three degrees of key relationships to a tonic key (0): direct (1), indirect (2), and doubly indirect (3). The Neapolitan direct (Nl) and Neapolitan indirect (N2) are special cases that will need explanation. Unrelated keys are classified as unconnected (U).

Table k on page 17 shows the classification of twenty-six key relationships from a major tonic key. The key relationships from a minor tonic are shown in Table 5

on page 17 . The same set of Roman numerals. i.s used in

^Donald Francis Tovey. The Forms of Music (London: , 1944).1956 reprint by Cleveland, Ohio: World Publishing, pp. 57-63• The same key system was described in the introductory chapter of an earlier book by Tovey: A Companion to Beethoven's Pianoforte Sonatas (London: The Associated Board of the Royal Schools of ; Music, 1931 )• 17 both major and minor key tables, but they have different relationships to their respective tonic keys. The symbol, bill, in Table for example, is read as "the lowered mediant major key," whereas the same symbol in Table 5 is simply "the mediant key."

Table k Key Relationships from a Major Tonic Key.

0 - I 2 - bill U - ffl 2 - bVI HI - VII 0 - i 3 - biii U - #iv 3 - bvi Ml - vii MX - till 2 - III U - bV 2 - VI H2 - bii 1 - iii U - bv 1 - vi 2 - II 1 - IV 1 - V 2 - bVII 1 - ii 2 - iv 2 - v 3 - bvii

Table 5 Key Helatiorships from a Minor Tonio Key.

0 - I 1 - bin 0 - #1V 1 - bYl N2 - YII 0 - i 2 - biii U - #iv 2 - bvi H2 - vii Nl - bll 3 " III U - bV 3 - vi N2 - bii 2 - iii U - bv 2 - vi 3 - II 2 - IV 2 - V 1 - bVII 2 - ii 1 - iv 1 - v 2 - bvii

The directly related keys (1) in both Tables ^ and 5 are identical with Lavignac's five closely related keys. The set of direct (1) and indirect (2) keys in both Tables k and 5 are identical with d'Indy's closely related keys with the exception of Tovey's ii and v in major and IV and bVII in minor. We also find that where d'lnay considered the parallel mode of the tonic key to be closely related, Tovey defined it as "identifiable" with the tonic key "for purposes of relation." 8 Tovey, However, unlike d'lnay,

3' • • - Tovey, A"Companion.... p. 5. has further categorized his set of twelve keys into direct and indirect relations. The indirectly related keys are defined by being the parallel modes of the five closely related keys or by being keys closely related to the parallel mode of the tonic key. The keys of II, bVII, along with bvii in major v/ere classified as ambiguous by Tovey, since he felt that they usually fail to establish themselves as keys. They are heard as either "on the dominant of the dominant" or "on the subdominant of the subdominant." The case is similar for ii, II, and bvii from a minor tonic. However, when these six tonal levels are established as keys in the music analyzed in this dissertation, their relationship to a tonic key is classified according to Tables 4 and 5. The keys of #IV, #iv, bV, and bv are considered to be unconnected in both the major and minor key systems, since the ear cannot distinguish #IV from bV and #iv from bv. According to Tovey, all enharmonic spellings of the keys listed in Tables k and 5 are also considered to be unconnected. This category includes bl, bi, #1, #i, #11, #ii, #111, #iii> blV, biv, #V, #v, #VI, #vi, #VII, and #vii as well as key's with a double alteration such as bbVII or ifciv. For the purpose of this dissertation, un­ connected keys other than #1V, #iv, bV, and bv are considered to be heard as their enharmonic equivalent, 19 and are related to a tonic key by either Table 4 or 5. The Neapolitan key of bll in both major and minor is considered to be a special case in d'Indy's and Tovey's system. This key, which appears to be distantly"related in the circle of fifths as the fifth perfect fifth below a major tonic key, becomes directly related as the "upper leading tone" of the tonic in both major and minor. The Neapolitan perceived as altered ii in a harmonic progression would be expected to resolve to V, but the Neapolitan key perceived as essentially Subdominant in a key progression is expected to move to I or i. Since the is conventionally a major triad, the key of bii functions as an indirect Neapolitan. Tovey took the Neapolitan key concept one step further than d'Indy by including the keys of the "lower leading tone," VII or vii, as having a Neapolitan-like relationship to the tonic. In other words, the key . succession of bll-I is similar to I-VII. When VII _ . progresses to I a Neapolitan relationship occurs that would be similar to I-bII. It is actually the tonic key that serves the Neapolitan function when related to VII or vii. When the tonic key is minor then the Neapolitan relationship of VII and vii is indirect, since the Neapolitan function in triadic harmony is usually served by a major triad. 20 Both d'Indy and Tovey attribute an additional aspect to key relationships, that of the psychological phenomenon of relaxation when keys progress toward the flat side of the circle of fifths, and tension when keys progress toward the sharp side. The degree of relaxation or tension of a key is determined by its position in the circle of fifths and only in relation to a tonic key. D'Indy and Tovey referred to the experience of relaxation as being analogous to the darkness of key relationships and of tension to the brightness of key relationships. Tables 6 and 7 on page 21 show the system of key relationships in terms of dark (D) and bright (B) keys. D'Indy considered the degree of darkness and brightness to stop at the fourth perfect fifth above and below the tonic, since ambiguity (A) results from enharmonic spellings produced by the fifth, sixth, and seventh fifths. He did consider the fifth perfect fifth below the tonic to be a special exception since the ear usually hears a bll instead of #1 or bii instead of #i. D'Indy held that the progression to the dominant is never destructive of tonality, whereas moving from the subdominant to the tonic key has the tendency to make a dominant out of the tonic.^ Tovey also stopped at the fourth degree, but refers to the

^D'Indy, Cours.... Book I, pp. 130-131. 21 succession of I-VII as "a move into mysterious brighir- - ness.""*"0 This is compatible with his theory that I has a Neapolitan relation to VII,

Table 6 Darkness and Brightness of Keys from a Major Tonic.

0 - I 3D - bill A - #1V 4D - bVI 53 - VII 3D - i A - biii A - #iv A - bvi 2B - vii SO - bll 4-3 - ill A - W 33 - VI A - bii IB - iii A - bv 0 - vi 23 - II ID - IV IB - V 2D - bVII ID - ii 4D — iv 2D - V 5D - bvii.

Table 7 Darkness and Brightness of Keys from a Minor Tonio.

3B - I 0 - bill A - #IV ID - bVI A - VII 0 - i 3D - biii A - #iv to - 'ovi 5B - vii 2D - bll A - III A - bV A - VI 5D - bil 4B - iii A — bv 3B - vi 5B - II 23 - IV - V IB - bVII 2B - ii ID - iv . IB - V 2D - bvii

Several interesting relationships are to "be found in these tables. In Tables k and 5 the of the tonic has the same relationship as the tonic key, while the of the tonic is classified as being directly related. However, in Tables 6 and 7 "the parallel keys are three degrees apart on the dark/bright scale, but the succession of keys between their relative major or minor does not produce an increase or decrease in tension or relaxation.

•^Tovey, The Forms of Music, p. 61. 22 The analytical procedure adopted in this dissertation consists of relating the various keys in each movement of a sonata to the principal key of the movement. The principal key of each movement is then related -to that of the entire composition. For instance, if a three- movement piano sonata were in P major with the first and third movements in the principal key and the middle movement in the key of the relative minor, the key scheme of the movements, P major——F major, would "be symbolized as I-vi-I. On a smaller dimension, Q minor, the principal key of the middle movement, becomes the tonic key for that movement, and a modulation to the dominant key within the movement would be symbolized as i-v. Some sonata movements do not begin and end in the same key. The same is true of some sonatas as a whole. The principal key of a movement or an entire sonata is the final key and not the opening key. In addition to relating keys to a tonic key, the analyses also consider the aspect of key ,11 that is, the rate of change between tonal centers within a section, movement, or entire sonata. Although the actual experience of a rhythmic pattern created'by key changes is not always

11Jah 'laHiie.""Guidelines for Stvle Analysis (New York: W. W. Norton, 1970), p. 55. 23 felt, a section of music with, a relatively fast key rhythm contributes to the impression of "vitality" and. "activity" in the music.12 The tonality of some of the sonatas analyzed in this study is not based on the major-minor key system. Their scale resources are either from the eight ecclesiastical modes or from experimental scales similar to Busoni*s set of 113 seven-pitch scales between an octave.1^ Busoni's scales were generated by raising and lowering intervals • in the familiar major and minor scales. These systems of tonality are symbolized by upper- and lower-case Roman numerals according to Koechlin's theory that whether a tonality is based on ecclesiastical modes or experimental scales, it is considered to be major when a is •present above the tonic pitch, and minor when a 1£L is present. Kev succession refers to the sequence of keys in a sonata. A kev scheme results when the principal keys of ' the formal sections in the music are abstracted and

12Ibid. "^, Sketch of a Hew Bsthetic of Music, translated from the German by Dr. Th. Baker (New York: G. Schirmer, 1911), p. 29. 7 7 ' - 1h. , Theorie de la musiaue (Paris: Heugel, 1935), p. 37, £n. 3. 24 displayed in succession. Key progression is a particular type of key succession or scheme in which,the keynotes move down in fifths or thirds, up in seconds, or away from the tonic keynote.1-' This is an extension of the principle of progressive and regressive root movement from the level of harmonic successions to the level of keys. Consequently, key successions or schemes that contain keynote movement other than down in fifths or thirds, up in seconds, or away from the tonic keynote are defined as kev regressions. In addition to progressive and regressive keynote movement, key relationships are described as either closely or distantly related to a tonic key according to Tables 4 and 5. The terms darkness and brightness of keys are used as descrip­ tive terminology for the relative decrease and increase of tonal tension evidenced in key successions and key schemes according to Tables 6 and 7.

Harmony

Upper-case Roman numerals are used to symbolize harmonies: I, II, III, IV, V, VI, and VII, Lower-case Roman numerals are not used to symbolize harmonies. Flat and sharp signs preceding Roman numerals have the same meaning in referring to harmonies as they have for keys; both use the major scale as the reference base.

1 ' ^Paul/n0."Harder, Harmomip Materials in Tonal Music: A programed Course, 2 vols., 3rd ed. (Boston, Mass..Allyn and 3acon, 1977), Vol. 1, p. 171. " 25 A harmony may "be represented by a single pitch, an interval, or a chord. V/hen harmonies are represented by triads, additional symbols of "M," "m," "d," and "A" follow Roman numerals in which the triads are respectively, major, minor, diminished, or augmented in quality. Altered pitches in larger than a triad are indicated by flat and sharp signs preceding Arabic numbers (Table 8, p. 26). A flat sign is used when the supratriadic pitch is a half step lov/er than the pitch that is diatonic to the major scale. The sharp sign is used when the supratriadic pitch- is -a half step higher- than the pitch that is diatonic to the major scale. The natural sign is not used before Arabic numbers. Arabic numbers following Roman numerals are not used to show inversions of tertian structures, '//hen the analysis of inverted structures is pertinent to the understanding of the music, figured symbols are shown below the triad quality symbol. If a member other than the root of the triad is missing in tertian structures larger than the triad, the triad quality symbol is placed in parentheses. If the root is. absent in tertian structures larger than the triad, then the Roman numeral is placed in parentheses. When a harmony is expressed- by an interval, the rules for determining the 26 root of that interval are the same as those presented "by Hindemith.^

Table 8 Symbolization of Harmonies That Are Part of Diatonic Seventh Chords in Major and Minor Keys.

Haior Key Minor Key

IM7 Ira7 Ilm? IId7 Illra? bIIIA7 IVM7 IVmb? VM? VM7 VIm7 bVlM7 VIXd7 VIIdb7

Harmony can effect three aural experiences in the listener. Consequently, there are three possible functions that can be served by harmonies. The first function is that of creating repose or closure through the reinforce-• ment of the first scale degree. This is called a Tonic function and may be served by tonic or submediant harmonies, The second function, the Subdominant function, produces the experience of digression from repose by presenting the supertonic or subdominant harmonies. The third functional classification of harmonies is the Dominant function, which may be served by the mediant, dominant, or leading-tone harmonies. The aural experience of the Dominant function is tension caused by the anticipation of repose.

"" • l6Paul Hindemith, The Craft of . 2 vols.. 4th ed., translated, from .the German by. Arthur Mendel (New Torkt ; Schott", 19^-5)» Vol. 1, pp. 08-7^. Harmonic succession refers to the sequence of harmonies in music. When the principal harmonies that support the formal sections of the music are abstracted and presented in succession a harmonic scheme results. The classification of all harmonies into three functional categories produces functional harmonic successions and functional harmonic schemes. A harmonic progression is a harmonic succession or soheme in which the harmonies move down in fifths or thirds or up in seconds or away from the tonic harmony. All other harmonic movement in harmonic successions or schemes produces harmonic regressions.

Form: Analytical Symbols and Terminology

This section defines the terms used in the analysis of form in piano sonatas. The formal sections in sonata- allegro and theme with variations forms'have descriptive designations. In sonata-allegro form the large formal sections are designated as exposition, development, and recapitulation. The smaller sections of this form bear the appellation of first theme, second theme, and sometimes third theme. Only the large sections of the theme with variations form have descriptive designations, namely Theme, Variation I, Variation II, Variation III, and so on. Large sections in formal plans other than the sonata-allegro and theme with variations are represented by capital letters derived from the sequence of letters in the English alphabet. Small formal sections in forms other than sonata-allegro are designated by small letters. When a large or small formal section of the music reoccurs as a variant of its original presentation, the symbolization consists of letters followed by Arabic numbers. For example, the first altered version of the first large section of music would be shown as Al. At the same time, A1 may contain the third variant of the second small section of music, which would be represented by b3. Small letters are used in two different manners. One usage is to represent small sections of the form. • The other usage is to categorize the substantive material in musical passages according to thematic identity. A theme is defined as an important idea in the musical discourse of a composition. It may take the form of a , note-value pattern, or harmonic succession; or any combina­ tion of these three elements. Just as the identity of a harmony is determined by the key, in a similar manner, the function of thematic material is also determined by context. Themes occur in the main text of the music, where they are either exposed for the first time, re-exposed with or without alteration, 29 or developed through elaboration or dissection. When thematic material functions as the substance of the main text the small letter symbolization represents not only thematic identity, but also small sections of the form. When thematic material, however, occurs in contexts other than the main text, as in introductory, transitional, or closing passages the small letters represent thematic material only and are placed in parentheses. An introduction is defined as a musical passage of any length whose primary function is to prepare for the exposition or re-exposition of material in a main text section. By this definition an introduction does not necessarily have to occur only at the beginning of a sonata or a sonata movement, but may appear in the middle of a movement. Among the various manners in which an intro­ duction serves as a preparatory section is through incipient thematic statements of what will follow in the main text or by establishing the , tonal level, or texture of the succeeding substantive section. A preparatory function is also found in some transi­ tional passages. The distinguishing feature of a transition is that its primary function is to connect previous "intro­ ductory or main text sections with those that follow. A transition may draw upon thematic material and tonal levels from the preceding section and/or prepare for the thematic 30 material and tonal.level of the succeeding section. When a transitional passage is brief in relation to the length of the main text sections it is called a link. Occasionally, a transition is preceded "by a passage that causes a dissolution of the main text section through an extension of thematic material that produces an imbalance in the formal structure. An extension does not necessarily have to be followed by a transition. Instead, an extension may simply be followed by a restatement of the main text section or by a closing section. Three terms are used for formal sections that function as endings or closings. The closing theme is a particular type of concluding section which is usually first encountered at the end of the exposition of a sonata-allegro form. The closing theme follows the second theme section and in the key of the second theme. The same material then reoccurs after the second theme of the recapitulation. The thematic material of the closing theme section may reappear within the development section, in v/hich case the function may not be that of ending a section, but of providing thematic material. It is possible to have a closing section at the end of the development in sonata-allegro form, but it is not defined as a closing theme unless the same material occurs after the second theme in either the exposition or recapitulation. 31 Otherwise this closing section would be defined as a codetta. A codetta is any formal section other than a closing theme that occurs within a movement as an added conclusion to a main text section. A codetta may "be of any length, but is normally shorter than a coda. A coda is a closing section that is added at the end of a movement or sonata. A coda is also of variable length and often functions as a thematic summary section. To conclude this chapter, a list of abbreviations most frequently encountered in the analytical tables and musical examples of this dissertation is presented in Table 9•

Table 9 List of Abbreviations

CI Th Closing Theme D/B Darkness/Brightness Scale Dav Develojment Sxp Exposition ext extension Intro Introduction K Rel Key Relationship Lth Length in measures Meas Measure or Measures Mvt Movement Rec Recapitulation Th Theme T Lev Tonal Level trans transition T Rel Tonal Relationship var variant Var Variation 32

Summary

This chapter has presented the purpose, dimension, and organization of the dissertation along with analytical symbols and terminology for tonality, harmony, and form. The following text, Chapter Two "Historical Background," presents, historical precedents of the twentieth-century French piano sonata and a brief survey of French piano sonatas written after 1950• CHAPTER TWO

HISTORICAL BACKGROUND .

The six sections in this chapter are: 1) "Early Uses of the Term, 'Sonata';" 2) "A Brief Historical Survey of the Piano Sonata;" 3) "Theoretical Writings Concerning the Sonata Genre;" 4) "Tonality and Form in the Piano Sonatas from the Standard Repertoire;" 5) "The Status-of the Piano Sonata in French Music: 1780-1950;" 6) "An Overview of the French Piano Sonata: 1951-1975." The first section discusses the etymology of the word, "sonata," and selected early uses as a title of musical compositions. The second section describes the Classical era as a period during which piano sonata writing flourished, and discusses the decrease in the number of piano sonatas written during the Romantic period and twentieth century. The third section reviews early theoretical writings about the sonata as an instrumental genre. The fourth section discusses trends in the tonal and formal schemes of piano sonatas from our standard repertoire. Among the composers discussed in this section are Haydn, Mozart, Clementi, Beethoven, Schubert, Mendelssohn, Chopin, Schumann, Brahms, and Liszt. The last 33 3 Ur two sections focus on the history of the French piano sonata "by examining the importance and quantity of this genre in France from 1780 to 1975.

Early Uses of the Term, "Sonata"

The term, "sonata," comes from the Latin verb, sonare. meaning "to sound." Sonare was originally incorporated in titles during the Renaissance period for pieces to be played by musical instruments, in contrast to the verb, cantare. for pieces to be sung. The term, sonare. carried no of formal structure, tonal scheme, or the use of specific compositional devices. It simply meant "to sound." The earliest use of "sonata" as a noun is found in the French cognate, sonnade. which was used in. a phrase from a Renaissance mystery play of i486: "Orpheus fera ses sonnades."1 The first known use of "sonata" as a title was in a 1561 Venetian publication of music for the lute. The first solo sonatas specifically written for the harpsichord date from the Baroque era with a publication by Del Buono in 16^1.^ Although the Del Buono sonatas are

Newman, The Sonata in the Baroque Era, p. 18. 2Ibid. •^Ibid.« p. 19. little known today, the Baroque keyboard sonatas "by such composers as Kuhnau, , and J. S. Bach have become part of the standard repertoire. The sonatas of the Baroque period displayed a considerable variety in the number of movements. The best known keyboard sonatas by Kuhnau are the fourteen from 1692, 1696, and 1700. The number of movements in these sonatas range from three to eight movements. No tempo scheme is evident other than mere contrast. Some of the keyboard sonatas by D.. Scarlatti, on the other hand, consist of only one movement in a simple . Two distinct types of sonatas did. exist during the Baroque period: the (church sonata) and the sonata da name-ra, (chamber sonata). The former tended to be a serious work with a tempo pattern of slow-fast- slow-fast. The latter type was a lighter work consisting of several movements. By the time J. S. Bach was writing his keyboard sonatas, the sonata da chiesa was being called simply "sonata," and the came to be known as the "suite" or "partita."

A Brief Historical Survey of the Piano Sonata

It is not until 1732 that we find the first set of sonatas with the piano as the specified instrument.^ It

h.Newman, The Sonata in the Classic Era, p. 83. 36 was the Italian composer, Lodovico Giustini, who wrote these first piano sonatas only twenty-three years after his compatriot, Cristofori, had made the first piano. These pieces were not only the first piano sonatas, tut the first known, dated music of any type that had been specified for the piano.^ This instrument assumed a particular importance for the sonatas of the Classical era. William Newman considers the piano of the Classical period to have replaced the of the Baroque period as the most important instrument for sonata scoring: Much as the stringed instruments, especially the newly cultivated violin, had been central to the scoring of the Baroque sonata, so tlie~; keyboard instruments, especially the newly cultivated "fortepiano," were central to the Classical sonata. ...The start of the era is rather clearly defined by the conspicuous flowering of the harpsichord and clavichord sonata around 17^0. The transition from pre- to high-Classic phases of the era is similarly well defined by the raomentuous transition from harpsichord to piano in the 1760's and 1770's. And the onset of the late-Classic phase in the 1790*s can be identified partly by the new exploitation of the piano's idiomatic techniques and sonorities, although this exploitation had been anticipated two decades earlier in dementi's early sonatas. No-fc only did the importance of the piano sonata writing characterize the Classical period, but this era in

^Newman, The Sonata in the Baroque Era, p. 19^. ^Newman, The Sonata in the Classic Era, p. 80. 37 music history is also the period in which the greatest number of piano sonatas were written. For example, Haydn composed sixty sonatas, Mozart composed twenty, Clementi wrote sixty-four, and Beethoven composed thirty-two. Schubert, who wrote fifteen sonatas, was the last great composer to compose a considerable number of sonatas before an obvious decline in sonata writing. Mendelssohn, Chopin, Brahms, and Schumann composed only three piano sonatas each, and Liszt wrote only two. Several opinions are held by critics for the reason in the decline of piano sonata writing during the nineteenth century. Arnold Whittall feels that the perfection of the first-movement or "sonata-allegro" form is found in Beethoven, in the same way that J. S. Bach is often considered the master of the : The Beethovenian perfection did not seem to demand a new approach on the part of those who came later. Instead most composers appeared to feel that they must travel a similar path, aim at a similar goal. They failed to realize that, because Beethoven had travelled the path and attained the goal, their own aspirations were, to a degree, futile. The great music in written after Beethoven owes its quality to distinction of style, to new concepts of unity in the work as a whole. There were compression and expansion, the working out of Beethoven's implications. But the form itself was his. Only in his work are form and style both new and perfectly realized. In 1828, the year after Beethoven's death, the disintegration of sonata form was already under way.

^Arnold Whittall, "The Sonata Crisis; Schubert in 1828," The Music Review XXX/2 (1969), p. 124. 38 F. E. Kirby pointed out that part of the decline in piano sonata writing may have "been due to a change in attitude toward the sonata. If many of the composers in the nineteenth century felt that Beethoven had perfected the piano sonata, then perhaps they also believed that this perfected form could not be" surpassed, but rather used as a model for disciplining their own compositional technique. Kirby maintained that the piano sonata came to be regarded as a "learned" form during the nineteenth century: In 183^, Carl Czerny published his translation of Anton Reicha's Traite de haut composition, in which the piano sonata was singled out as the form with which best to expound the method of composition in the large forms of instrumental music, as a means of mastering the art of composition, preparatory to writing for o or some type of . Kirby supported his thesis further by quoting who in 1838 expressed a similar view of the status of the piano sonata» Schumann stated that since Beethoven's time many obscure composers would write piano sonatas in the hope of acquiring recognition as being serious composers: ...there is no better way in which they can introduce themselves to the higher class of critics and please them at the same time. Therefore most sonatas of this kind must be regarded as samples, so to speak, or as studies in form; they are seldom theQresult of an irresistible inward impulse.

Q F. E. Kirby, "The Piano Sonata in the Repertory of Early Romanticism," The Piano Quarterly. No. 63 (Spring, 1968), p. 22. ^Robert Schumann, On Music and Musicians, ed. K. Wolff, trans. P. Rosenfeld (New York, 19^6), pp. 6^-65. 39 To a large extent this opinion toward the piano sonata still persists in the twentieth century. Great or serious composers are considered to be those who can compose "learned" or "academic" forms successfully. Consequently, critics are more concerned with the sonata and other genres of "high art" music than with the Gebrauchsmusik of a composer. This attitude is reflected by Norman Demuth, the author of French Piano Music (1959). In speaking of Cecile Chaminade's career, he stated that "Chaminade had ambitions, as her Piano Sonata (Op. 21), her ballet 'Callirhoe' (Op. 27), and her brilliant Concertstuck (Op. 40) for Piano and Orchesta testify."10 Cesar Franck's compositions until 1840 were designed to display his pianistic virtuosity. His attempt at the early age of thirteen to write piano sonatas is viewed by Demuth as the striving for a higher ideal:

Franck made tentative attempts to rise above this kind of thing, but the early "Grandes Sonates" (1835 et seo.) reveal that his knowledge was limited and the genre was. not one where poverty of technique could be-,covered up by virtuoso figuaration and bravura. A third pertinent aspect of the Classical period is that the term "sonata" had become by that time a more

10Demuth, French Piano Music, p. 92.

i:LIbid.. p. 41. BO clearly defined concept. Newman pointed out that At the onset of the Classic Era the title "sonata" already bore a fairly specific meaning in music, one that it had gradually acquired during the century-and-a-half of the Baroque Era. That is, it already implied "a solo or chamber instrumental cycle of aesthetic or diversional purpose, consisting of several contrasting movements that are based on relatively extended designs in 'absolute' music. This greater unity of thought by Classical composers concerning the nature of the sonata as exemplified in their compositions provides convincing evidence that the Classical period more than any other era should be considered the period of "common practice" in sonata writing.

Theoretical Writings Concerning the Sonata Genre

Although Classical composers were standardizing certain structural aspects of the sonata in their musical compositions, it is not until the Romantic period that the Classical sonata concept is explicitly expressed in writing. Francesco Galeazzi's Elementi teorico-uratici di musica. Vol. II (1796), Anton Reicha in his Traite de haut composi­ tion musicals of 1826, Adolph Bernhard Marx in Die Lehre von der musikalischen Komposition of 184-5» and Carl Czerny in his first composition book of 184-8 are among the first

12Newman, The Sonata in the Classic Era, p. 19. writers to describe the design of the Classical sonata as the prototype of sonata. Although these early writings manifest a greater interest in the form of the first movement of a sonata, we find, nevertheless, by the middle of the nineteenth century that writers, especially Czerny, have also clearly outlined the design of the Classical multi-movement sonata-. The abstraction of the complete Classical sonata by these theorists has been adopted as the model design of the sonata in books on form and analysis^ written after 1890. Ebenezer Prout, Percy Goetschius, Hugo Leichtentritt, and Donald Tovey are a few of the well-known textbook authors. It should be noted that this model sonata was not abstracted from just the piano sonatas of the Classical period, but also from the multi-movement sonata pieces written in other instrumental mediums, such as the and the .

Tonality and Form in the Piano Sonatas from the Standard Repertoire * Some of the common elements found in the "textbook" description of the multi-movement sonata are reviewed at this point. The typical design for the Classical piano sonata (c£ 1760-1820) includes three movements with a tempo pattern of fast-slow-fast. The first movement is usually in sonata-allegro form. The three parts of this form are the repeated exposition, the development, and the 4-2 recapitulation. The exposition contains two theme sections which are presented in succession with the first theme section in the tonic key and the second theme section in a related key. In a major key movement the dominant major or relative minor is frequently the choice of the second theme key. The minor dominant key or relative major is used if the first theme is in a minor key. The development section consists of the elaboration or dissection of one or more themes in an unrestricted or fantasia-like form. The development section contains the greatest number of modulations and foreign keys with a return to the tonic. Both themes are typically restated in the tonic key in the recapitulation section. Smaller parts which are most often found in this first-movement form are a slow motivic introduction to the exposition? a transition passage to the second theme in "both the exposition and recapitulation; a retransition to the first theme at the end of the development section; a closing theme section or codetta at the end of the second" theme, in both the exposition and recapitulation; and a coda at the end of the recapitulation. Among the exceptions to this first-movement sonata-allegro form are the theme and variation form of Mozart's Sonata in A. K. 331 and in Beethoven's Sonata in A-flat. Q-p. 26. A variety of forms are found in the slow second movement of the multi-movement sonata: sonata-allegro form, abridged sonata-allegro form, simple rondo form, ^3 sonata-rondo form, ternary, compound ternary, "binary, or theme and variations. An example of binary form is Haydn's Sonata in. D (Peters No. 7), of rondo form is Beethoven's Sonata in . On. 13. of theme and variations is Beethoven's Sonata in . Op. 57. The third movement in the three-movement sonata design is usually in rondo form or sonata-allegro form. Sometimes the theme and variation form is found as in the case of Beethoven's Sonata in S. Op. 109. The third and final movement is usually in a faster tempo with a lighter texture than the first movement. The typical tonal plan of the Classical three- movement piano sonata has the first and last movements in the tonic key of the sonata with the middle movement in a closely related key. The majority of the piano sonatas "by Haydn, Mozart, Clementi, and Beethoven are in major keys. Of the forty-three Haydn piano sonatas published by C. F. Paper's thirty-two are three-movement works and twenty- eight of these are in major keys. Haydn's most common key schemes are I-I-I and I-i-I. The next most common key for the middle movement of Haydn's major key sonatas is the subdominant major key found in Peters Nos. 5, 8, l*f>, 16, 17, 26, and 4-2. The major submediant key is the most common key for the middle movement of his minor key sonatas. Eight of the early sonatas by Mozart—K. 279, 281, 283, 309, 311. 330, 332, and 333 (177^-78)—are in major keys, and use the subdominant major key for the middle movement. Of the thirteen three-movement piano sonatas "by Beethoven, only two use the subdominant key for the middle movement, namely Op. 14, No. 2 and Op. 31, No. 1, both of which are in . Beethoven more frequently chose the minor tonic key for the middle movement of his major key sonatas (see Op. 10, No. 2; Op. 14, No. 1; Op. 79; and Op. 109) and the major submediant key for his minor key sonatas (see Op. 10, No. 1; Op. 13; Op. 31, No. 2; and Op. 57). Although Beethoven never used the dominant key in the middle movement, Haydn used it in his Sonata in E-flat Maior (Peters No. 3) from 1790 and his Sonata in (Peters No. 9) of 17^7• Mozart also used it in two instances, in his Sonata in D, K. 284 (1775) and the Sonata in 0. K. (1738). Clementi used the minor dominant key in his Sonata in F minor. No. 19. Another very common multi-movement sonata design is the four-movement sonata. This design is an extension of the three-movement sonata through the insertion of a dance movement between the slow movement and the finale. Through most of the eighteenth century the dance movement consisted of a minuet and trio, but the scherzo and trio became more common after Beethoven introduced it. The four-movement sonata plan, which was introduced by Johann Stamitz (1717- 1757) in his and chamber works, was adopted in the symphonies and quartets of both Haydn and Mozart. 45 With the exception of Haydn's Sonata in G Ma.ior (Peters No. 37) of 1766, it is never found in their piano sonatas, nor in those of Clementi. Instead, the two-movement, or more frequently, the three-movement sonata is used. Thirteen of the thirty-two piano sonatas by Beethoven are four-movement sonatas. Only one of these is in a minor key, Op. 2, No. 1. Nine of these sonatas have the first, third, and fourth movements in the tonic key. Of these nine sonatas the most common key choice for the second movement is the subdominant major (see Op. 2, No. 2; Op. 22; Op. 31, No. 3; and Op. 53)- Other keys for the second movement are the parallel minor (Op. 10, No. 3 and Op. 28), the parallel major (Op. 2, No. 1), mediant major (Op. 2,

No. 3)» and the submediant major (Op. 7). The other four four-movement sonatas have the following tonal scheme: Op. 26, I-I-i-irOp. 27, No. 1, I-vi-IV-Ij Op. 106, I-I- bvi-I? and Op. 110, I-vi-i-I. More than half of Schubert's piano sonatas are in four movements. He composed twenty-one piano sonatas between the years 1815 and 1828, but only fifteen of them are complete. Many of his sonatas, especially the Sonata in A minor. 0t>. 164-. D. . Sonata in E-flat maior. On. 122. D. 568. and the Sonata in B ma.ior. 0t>. 147. D. 57 5 reach proportions that are larger than any of Haydn's or Mozart's. The formal plan of his four-movement sonatas is usually k6 sonata-allegro form——minuet and trio— sonata-allegro form with a tempo scheme of fast-slow-fast- fast. An unusual key plan for the first movement sonata- allegro form was employed in the Sonata in C. No. 2. D. 279. Here, the recapitulation begins in the subdominant key instead of the usual tonic key. The key scheme of the recapitulation resulted from transposing the material of the exposition up a , such that I-V in the exposition "becomes IV-I in the recapitulation. Sometimes Schubert employed the five-part song form of ABABA in his slow movements. The theme and variation form was used in the slow movement of Sonata in A minor. On. h2. p. 84-5. Schubert is also found to have used the scherzo instead of the minuet in the third movement of his Sonata in B ma.ior. On. 1^7. D. 575. The more traditional rondo form of the fourth movement was used in the Sonata in A minor. On. 16b. D. 537. Schubert used tonal schemes that were similar to those found in the four-movement piano sonatas of Beethoven. In addition to those, the tonal plan of I-iii- I-I in the Sonata in E-flat. On. 122. D. 568 is also found. The most unusual tonal plan is I-biii-I-I in the Sonata in B-flat. On. nosth.. D. 960. Exceptions to his four- movement sonatas are those in three movements and one that has five movements. Of the five three-movement sonatas, D. 157. 279» 537. 557» and 66^-, the most popular is 4? probably the Sonata in A. Op. 120. D. 664. The five- movement sonata is the Sonata in E. No. 3. D. 459 of 1816. The remaining piano sonatas from the nineteenth century that have become part of the standard repertoire are by Mendelssohn, Schumann, Chopin, Brahms, and Liszt. These post-Classical sonatas, including the late sonatas of Beethoven, as well as the piano sonatas by twentieth-century composers, are viewed by most music critics as being directly related to the Classical sonata. Following the trend started by Beethoven and Schubert, most of the Romantic piano sonatas are in four movements. Mendelssohn composed three piano sonatas: Sonata in G minor. OP. 105 (1821), Sonata in E. OP. 6 (1826), and Sonata in B-flat. OP. 106 (1827). Both Op. 6 and Op. 106 are in four movements with a tempo scheme of fast-fast- slow-fast. In a similar manner to some of Beethoven's later piano sonatas, Mendelssohn placed the dance movement in these two sonatas immediately after the first movement. Both the first and fourth movements of Op. 6 are in rondo form. The key scheme for the Op. 6 and Op. 106 are respectively I-ii-I-I and I-i-#IV-I. The tonal plan of the three-movement Op. 105 is i-bVI-i. Schumann composed one three-movement piano sonata, the Grosse Sonate No. OP. 14 (1836) and two four-movement sonatas, the Grosse Sonate No. 1. Op. 11 (1835) and the 48 Grosse Sonate No. 2. OP. 22 (1838). The tonal plan of the Op. 14 is i-iv-i and the forms of the respective move­ ments are sonata-allegro form, scherzo and trio, and theme and variations. The formal plan of both Op. 11 and Op. 22 is sonata-allegro—ternary—scherzo and trio—rondo. Both Op. 11 and Op. 22 are also in a minor key, and only the sepond movement is not in the tonic. The second move­ ment of Op. 11 is in the mediant major, and that of the Op. 22 is in the subdominant major. Chopin:*s three piano sonatas, the Sonata in G minor. OP. 4 (1828), Sonata in B-flat minor. OP. 36 (1839), and Sonata in . Op. 68 (1844) are all four-movement sonatas. The forms of the four movements are sonata-allegro, scherzo (minuetto in Op. 4), ternary, and rondo. Chopin used mediant relationships for'the key of the second movement in Op. 4 and Op. 58. Their respective key schemes are i-blll-bVI-i and I-III-I-i. He chose the subdominant key for the second movement in his Op. 35. Its key scheme is i-iv-i-i.

Brahms composed two four-movement sonatas, the Sonata in C maior. OP. 1 (1853) and the Sonata in F-sharp minor. OP. 2 (1852), and one five-movement sonata, the Sonata in F minor. OP. 6 (I853). The first and third movements of all three sonatas are in sonata and scherzo form, respectively. The variation form is employed in the 4-9 second movement of both Op. 1 and Op. 5> while Op. 2 uses ternary form. The rondo form is found in the last movements of Op. 1 and Op. 5. "but Op. 2 employs the sonata-allegro form here. The respective tonal plans of the three sonatas are I-i-iii-If i-iv-iv-i, and i-blll-i-iv-i. The complete sonata in one movement is incompatible with the Classical conception of the sonata. One-movement sonatas do occur in the Baroque period. The keyboard sonatas by Domenico Scarlatti are excellent examples. In the Romantic period we also find a one-movement piano sonata which was composed by Franz Liszt, namely the Piano Sonata in B minor. This sonata, however, is not in the binary form of the Baroque keyboard sonatas. Instead, it consists of sonata-allegro form with a slow introduction and a..long coda within a three-movement sonata design. There are a total of five themes in Liszt's sonata. The slow introduction contains the first theme which later provides the melodic material for the transition, from the first theme of the exposition section to the second theme. The first theme section contains in the tonic key of B minor. A traditional key relationship is found in the choice of the second theme key of D major, the relative major. The second theme, which is rather short, stops at a hold and the development section begins without the interpolation of a closing theme section. 50 Characteristics of the development section point to the possible interpretation of the exposition of this sonata as corresponding to the first movement of a three- movement sonata. The development falls into three major divisions. The first and second parts of the first theme are presented in succession in the first structural division of the development. The compositional device of augmenta-. tion is applied to the second part of the first theme. The first structural division is separated from the rest by a -like passage. A cadenza-like passage containing the second theme in the minor mode is found at the end of the second structural division. The second structural division contains a "working-out" of the entire first theme in the excited mood of the exposition. Although the first two major divisions of the development are not indicated as being- at a slower tempo, the choice of note- values in the first division has the aural effect of a slow movement. The main body of this "slow movement" actually begins with the tempo marking Andante sostenuto at the beginning of the third major division. The identity of a separate movement is further supported here by the introduction of a new theme, which is the fifth of the five melodies found in the entire work. The return of the new theme at the end of the development section creates a ternary form in this last structural division which is typical of the slow 51 movements in multi-movement sonata designs. The recapitulation comes about two-thirds of the way through the work. It "begins with- the material from the slow introduction to the exposition, which is followed by a fugue on the first part of the first theme with a tempo marking of Allegro energico. The recapitulation does not begin in the tonic key of B minor, but in the key a chromatic half-step below, namely B-flat minor. After the fugue, part of the first theme returns in a form very similar to that of the exposition, and the same transition based on the material from the slow introduction links the first and second themes in the recapitulation. The second theme is in , the major mode of the tonic key. The long coda that follows the second theme contains all the themes from the entire sonata. A final statement of the slow introduction material in its original key ends the sonata. Examples of complete sonatas in two movements may be found in the standard piano repertoire of the Classical period. Usually both movements are in the tonic key although one of the movements may use the parallel mode.

Mozart's Sonata in P. K. *&7a. Haydn's Sonata in G (Peters No. 10), and dementi's Op. 2, Nos. 1-3 are excellent examples, as are Beethoven's sonatas, Op. 4-9, 78, 90, and 111. Upon examining the Mozart Sonata in F, K. *&7a we find that the first movement is in sonata-allegro form, and the second consists of an allegretto introduction to a theme with six variations. Both movements are in the tonic key of F major. Sonatas in more than four movements are rare, but they do exist in the various instrumental pieces of the Classical period as well as of later periods. It should be noted that sonatas in more than four movements are less common in the piano sonatas of our standard repertoire than in sonata pieces for other instrumental mediums. One will find sonata pieces with five, six, and even seven movements, however, the five-movement plan is the more common exception. The Schubert Sonata in 5. No. 3. D. ^59 and the Brahms Sonata in F minor. 0t>. 5 contain five movements. The attractive advantage of the five movement structure is the with consistent alternation of relative tempi that can be attained in it which is not possible with the typical four-movement sonata. The symmetry inherent in the three-movement sonata with a fast movement on both sides of a slow movement is lost in: the four-movement sonata. This symmetry can be regained in a five-movement sonata by the insertion of another fast move­ ment between the first and second movements of the fou.r- movement plan-- Another solution to the asymmetrical problem in the four-movement sonata is the addition of a slow introduction to the final movement such that the tempo pattern is fast-slow-fast-slow/fast. When a work bearing the title of "sonata" is in two or more movements, the question arises about the relationship that exists between the isolated movements. Tempo, tonality, form, and style are important factors, that may provide unity or contrast between movements. The unifying or contrasting effects of key schemes in the three- and four-movement piano sonatas from the standard repertoire are summarized in Tables 10 and 11 on page 54. The key schemes of the two-movement piano sonatas are not shown in tabular form, because their patterns are limited to only four schemes: I-I, i-i, I-i, and i-I. The lists in both tables are arranged in approximate order of . r - • frequency with the most common key schemes at the top. Both tables reveal that the most typical key relationship between movements is the "direct relationship. In fact, indirect relationships do not occur in the three-movement piano sonatas. This is probably: duetto:..the fact that the three-movement piano sonatas from the standard repertoire were either composed in the Classical period or modeled after those written in that period. In the four-movement piano sonata we find that the most frequent key schemes containing an indirect relationship are I-III-

I-I and I-VI-I-I (see Nos. 4 and 5 in Table 11). The two Tablo 10 Sunuaary of Key Relationships in tha Three-movement Piano Sonatas from the Standard Repertoire.

Key K Rel D/B 1. I-I-I 0-0-0 0-0-0 2. I-i-I 0-0-0 0-3D-0 3. I-XV-I 0-1-0 0-1D-0 K. i-bVl-i 0-1-0 0-1D-0 5. I-V-I 0-1-0 0-13-0 6. i-v-i 0-1-0 0-1B-0 7. i-blll-i 0-1-0 0-0-0 8. I-vi-I 0-1-0 0-0-0 9. i-iv-i 0-1-0 0-1D-0 10. O-tll-O 0-5D-0

Table 11 Sumnary of Key Relationships in the Four-movement Piano Sonatas from the Standard Repertoire.

Kev Scheme D/B 1. i-rv-i-i 0-1-0-0 0—1D-0-0 2. i-i-i-i 0-0-0-0 0-3D-0-0 3. i-I-i-i 0-0-0-0 0-3B-0-0 t. I-III-I-I 0-2-C-0 0-4B-0-0 5. I-Vl-i-x 0-2-0-0 0-3B-0-0 6. I-I-i-I 0-0-0-0 0-0-3D-0 7. I-vi-IV-I 0-1-1-0 0-0-1D-0 8. X-I-bvi-I 0-0-3-0 O-O-A-O 9. I-vi-i-I 0-1-0-0 0-0-3D-0 10. I-iii-I-I O-l-O-O O-lB-0-0 11. I-biii-I-I 0-3-0-0 O-A-O-O 12. Ir-ii-I-I 0-1-0-0 0-1D-0-0 i-blll-i-i 0-1-0-0 0-0-0-0 it. i-blll-bVI-i 0-1-1-0 0-0-1D-0 i-iv-i-i 0-1-0-0 0—1D-0-0 16. i-IV-i-i 0-2-0-0 0-2B-0-0 17. i-iv-iv-i 0-1-1-0 0-1D-1D-0 18. I-III-I-i 0-2-0-0 0-^B-0-3D 19. I-i-iii-I 0-0-1-0 0-3D-1B-0 20. 1-i-jflV-I o-o-u-o 0-3D-A-0 key schemes, containing doubly indirect relationships are I-I-bvi-I and I-biii-I-I (see Nos. 8 and 11 in Table 11). Consequently, it appears that the direct and doubly indirect key relationships that occur in the piano sonatas from the standard repertoire are found in four-movement sonatas and usually involve mediant or submediant key relationships. The darkness/brightness measurement of key schemes shows a more frequent use of dark relationships in the middle movement or movements. This results in a decrease in key tension after the first movement and an increase in key tension at the beginning of the last or penultimate movement. The only bright key relationship in the three- movement sonatas is IB created by the dominant key (see Nos. 5 and 6 in Table 10). Bright key relationships that occur most frequently in the four-movement sonatas are 3B and 4-B with the following key schemes: i-I-i-i, I-III-I-I, and I-VI-I-I (see Nos. 3~5 in Table 11). With the excep­ tion of Nos.18 and 19 in Table 11, dark and bright key relationships are not mixed in a single sonata. The occasional sonatas that use ambiguous darkness/brightness relationships have the following key schemes: I-I-bvi-I, I-biii-I-I, and I-i-#IV-I (see Nos. 8, 11, and 20 in Table il). In addition to tempo, tonality, form and style, two other important aspects contribute to the shaping of the relationship between movements: first, the elimination of breaks between movements and second, the presence of common thematic materials in the different movements. There are two ways in which the break or unmeasured period of between movements can be eliminated, both of which may be found in the piano sonatas of Beethoven. The first method is simply the use of the term, attacca. at the end of a movement. This indicates that the next movement should follow v/ithout pause. The word, attacca. may be found at the end of each of the first three movements of Beethoven's Sonata in E-flat. Op. 27. Ho. 1. Although there is no silence between movements, the rhythmic flow is interrupted by the use of a fermata over the last sound in each of these three movements. The second means of connecting the edges of individual movements is exemplified in Beethoven's Sonata in E-flat. On. 8la where the slow second movement flows into the last movement without a break in the rhythmic drive by means of a transitional passage consisting of a rising motivic sequence. In this example and between the third and fourth movements of Op. 27, No. 1, Beethoven strengthens the connection of movements by ending one movement on an unresolved harmony, the resolution of which is found in the beginning of the

succeeding movement. This specific technique of elimina­ ting the break between movements is also found in Haydn's Sonata in D. Wd. 9k and Sonata in A. ITo. 30. The technique of employing common thematic materials in the different movements of a sonata was used by Beethoven in his Sonata in A. 0T>. 101 when he restated the opening material from the beginning of the sonata in the first eight measures of the final movement. The same composi­ tional device is used by Mendelssohn in his Sonata in E. 0t>. 6 and Sonata in B-flat. OP. 106. Both Beethoven and Mendelssohn relate certain movements in their sonatas by thematic "cross-reference,1* that is to say, a theme from the early part of their piano sonatas is merely inserted without actual integration at the end of the sonata as a fleeting reminder of the early movement. The actual integration of the same complete theme as part of the thematic basis of more than one movement of a multi-movement work is known as cyclical technique. Cyclical technique was first promoted as a principle of composition by Franck and his French followers, d'Indy, Saint-Saens, Faure, and Bukas. An earlier example of cyclical writing may be found in Mozart's Third Horn in E-flat. K. 44-7. where he used the theme of the slow movement as the theme for the middle episode of the rondo form in the last movement. Although the theme in the slow movement is metrically transposed in the final movement, it is still exemplary of cyclical technique. Schubert's Fantasy in C, OP. 15. Schumann's Piano Quintet, and Berlioz's symphonic Fantastiaue are other pre-Franck 58 examples of cyclical writing. Mendelssohn's Sonata in E.. OP. g is one of the few examples of cyclical writing in piano sonatas "before the twentieth century.

The Status of the Piano Sonata in French Music: 1780-1950

The eighteenth-century piano sonatas of such composers as Stienne Nicolas Mehul (1763-1817)» ' Hepichet, Hyacinthe Jadin (I769-I8OO), Louis Emmanuel Jadin (1768- 1853), Jean-Louis Adam (1758-184-8), and Frangois Adrien Boieldieu (1775-1834-) constitute the "beginnings of the history of the French piano sonata. John Gillespie, in his "book, Five Centuries of Keyboard Music, considers the piano sonatas of Mehul to be outstanding in the history of French piano music: 2tienne Nicolas Mehul (1763-1817) introduced a new era v/ith his first piano sonatas (1783). By the time this talented musician began writing, the harpsichord was already on its way out and piano virtuosos held the musical spotlight. He published two sonata collections (1783 and 1788) that prove his skill in development procedures and his capacity for clear presentation of ideas. Some of the early French piano sonatas were indicated by the composer as being suitable for either the piano or harpsi­ chord, the latter instrument being fashionable in France

^John Gillespie, Five Centuries of Keyboard Music; An Historical Survey of Music for Harpsichord and Fiano (New York: Dover, 1965). p. 294-. 59 until about 1815.11* G. -P. Repichet's Deux Sonates pour clavecin ou forte piano avec accomnagnement de violon ad libitum appearing around 1795 •are fine examples of the early French piano sonata. Hyacinthe Jadin. composed eighteen sonatas around the end of the eighteenth century which were specifically for the piano.His brother, Louis Jadin, composed several piano sonatas with intersting modulations and . The sonatas of Jean-Louis Adam, on the other hand, tend to merely display an abundant use of virtuosic idiosyncrasies at the piano.^ Boieldieu's piano sonatas from the late 1700's point toward the Romantic sentiment of the nineteenth century. Fewer French piano sonatas were published in the nineteenth century. This decline of interest in piano sonatas is not peculiar to France.. The turning away from sonata v/riting in Germany after Beethoven's death in 182? has already been discussed. The only noteworthy French piano sonatas composed in the l800's are the Sonata. On. 21^ by Cecile Chaminade (1857-19^4), the unpublished

IILDemuth, . French Piano Music, p. 29. ^Selections of piano sonatas "by both Repichet and H. Jadin may be found in Maurice Cauchie (ed.), L jEcole Francaise de Piano (1784-18^5) (: Editions de l'Oiseau-Lyre., 1957). one of the few collections of early •French piano music. ^Ibid., preface. 17'Cecile Chaminade, Sonata. 0t>. 21 (Paris: Enoch, n.d.). 60 "Grande Sonates" (1835 et sea.) by Cesar Eranck (1822- I890), the Grande Sonate. On. 33 (184-7 )18 by Charles Henri Valentin Morange (1813-1888), commonly known as Alkan, and the Petite Sonate dans le stvle classique. Op. 9 (1880)"^ by Vincent d'Indy (1851-1931). Alkan's Grande Sonate, also known as les Quatre Ages ("The Four Ages"), is of particular interest as an example of a French programmatic sonata. Programmatic piano sonatas were nothing new at this time. They had been written by such eighteenth-century composers as Johann Kuhnau (1660-1722), Johann Christian Bach (1735~1782), Jan Ladislav Dussek (1760-1812), and Carl Maria von Weber (1786-1826). The four movements of Alkan's Grande Sonate describe different periods in a man's life. The first movement depicts the gaiety of a man of twenty years of age. The second movement, subtitled "Quasi-," represents the turmoil a man of thirty might experience. A calmer man of forty years is characterized in the third movement, "Un heureux menage" ("A Happy Family"). The fifty year old is represented in the last movement entitled "Promethe enchaine" ("Prometheus Bound"). This sonata occured early

-I Q Charles-Valentin Alkan (C. -V. Morhange), Grande Sonate. On. 33 (Paris: G. Billaudot, 1971). 1Q - ^Vincent d'Indy, Petite Sonate dans le stvle • classiaue (Paris: .Hamelle, n.d,). in Alkan's career. Raymond Lewenthal, who has recorded some of Alkan's piano music, claims that this sonata marks a turning point in Alkan's development as a composer: The Grande Sonate. OP. T3...is a cosmic event in its composer's development, and in the history of piano music. It is the first published work of Alkan in which he appears in full flower. Nothing in Alkan's previous output leads one to expect anything of such magnitude as this from him though there are some hints in his earlier works. Tout §. coup he produced what was not only his first masterpiece, "but the longest (longer in printed pages) and most difficult piano sonata since Beethoven's Hammerklavier. andQthe strangest one before the Ives sonatas. D'Indy's Petite Sonate dans le style classiaue. Op. 9 was also an early work in this composer's output. This four- movement work, however, follows the classical model so closely that it lacks originality and its language is dated. D'Indy also composed a solo piano sonata in 1870 when he was only nineteen years old, "but it was never published.21 It is not until the year 1900 with the piano sonata of Paul Dukas that a marked increase in the number of published piano sonatas by French composers occurs. The French concert pianist, Blanche Selva (1884-19^2), was correct in her writings of 1913 when she observed a new

20Raymond"lewenthal (ed.), The Piano Music of Alkan (New York: G. Schirmer, 1964), p, xviii. ^^Newman, The Sonata Since Beethoven, p. 535- 62 interest and vitality in the sonata genre among French composers -22 Demuth expresses a similar interpretation of the history of the French piano sonata: French Piano Sonata can hardly "be said to have grown. It emerged, and the appearance of the monumental Sonata "by Paul Dukas (1865-1935) in 1901 was an historical event in the panorama of French music. ^ Twenty-eight French piano sonatas are known to have been composed and published between 1900 and 1950* Corresponding with the four stylistic periods in the analytical chapters of this dissertation, we find that five piano sonatas were composed between 1900 and 1915» eight between 1916 and 1930» seven between 1931. and 194-0, and eight between 19^1 and 1950. (see "Appendix and Title Index," pp. ^03-^05). These sonatas range anywhere from two to four movements in length. Some show little resemblance to the "textbook" form of the piano sonata, while others do. Great variety exists in the chosen tonal language. Some use post-Romantic sonorities; others employ neo-Classical diatonicism; and still others incorporate . It is important to note that, even in the light of this evidence, the piano sonata is seldom associated with

22Blanche Selva, T.a Sonata i £tude de son evolution technique historiaue et expressive en vue del'interpreta­ tion et de l'audition (Paris: Rouart, Lerolle et Cie., 1913) * P» " : ^Demuth, v-ronfih Piano Music, p. 68. French music. This condition exists for two reasons. The first reason is concerned with the nature of the sonata. Traditionally the piano sonata has been considered a "work" rather than a "piece." The difference "being that a "work" is a serious composition that exposes the technical competence or incompetence of a composer, while a "piece" usually contains a less complicated organization and has a more immediate appeal to the listener. The piano sonata has come to be known as a non- programmatic composition in several movements displaying a unity of idea through both complex formal construction and thematic treatment. This serious nature of piano writing is more often associated with German composers than with composers of any other nationality. Rather, the French have gained a reputation of having piano music with gay and ephemeral qualities. This reputation was propagated by such composer-pianists as Saint-Saens and Franck, who in their careers as concert pianists wrote piano compositions with the primary purpose of displaying their own technical virtuosity. Franck, however, turned toward more serious composition after 184-0. In fact, it was Franck along with his spiritual followers, d'Indy, Dukas, and Roussel, who represented the serious or academic trend in France around the turn of the century. Chaminade, another composer-pianist, contributed to the frivolous 64 aura of French piano music with her many salon-style compositions. The public loved her music, not only because her concerts were easily digestible, but because her published pieces were within the technical limits of the amateur pianist. The poetic style of Faure and Deodat de Severac (1873-1921) also charmed the audiences of their time. The second reason for the lack of awareness of the French piano sonata is that few of them have ever been recorded or even performed in public. The Sonata in re-flat Minor (1900) by Paul Dukas (1865-1935) and the Sonata, Op. 63 (1907) of Vincent d'Indy (1851-1931)> which are praised by music critics today as masterpieces, were virtually unknown outside of France in the early part of this century. It is no surprise that in 1924 the English critic, Herbert Westerby, expressed a view of French piano music in his book, The History of Pianoforte Music, that had persisted through much of the nineteenth century and early twentieth century: To the lover of pianoforte music the French School is somewhat disappointing. No doubt the whole genius of the French people is dramatic, and the love of effect and theatrical pose leads their composers to give their best energies to the to the detriment of the less sensational.art. This tendency, however, is balanced to some extent by the innate national feeling for the artistic, so that, whether any inspiration is reserved for the humble pianoforte or not, what does appear is at least generally artistic in style. It 65

goes without saying that the French do not excel in the Sonata, and. it is difficult to mention any one French composer who has written universally acknowledged, successful examples of this form, unless we include the as coming under this head. On the other hand, the influence of the Opera makes them unequalled in the light Ballet forms and2in the elegant piquant style, allied thereto. Dukas* and d'Indy's piano sonatas were rarely performed during this time, even in France. 2 J•? They are seldom 2 performed today, but they have been recorded. & Both sonatas are large, serious compositions with complex formal constructions and post-Romantic sonorities. The three sonatas by Pierre 3oulez (1925- ) published in 1946, 19^9, and 1956 have also been recorded,2'' but academic discussions about these sonatas are more frequent than actual performances of them. The solo French piano compositions that are found in the repertoire of the concert hall pianists of today are

Herbert Westerby, The History of Pianoforte Music (London: Kegan Paul, Trench, Trubner, 1924), p. 272. ^Newman, The Sonata Since Beethoven, p. 53^- p ^ Dukas, "Sonata in E-flat Minor" in Dukas' Piano Sonata and Chausson's Quelaues Danses..Vladimir Pleshakov, pianist (Orion 6906); d'Indy, "Sonata, Op. 63" in Dukas' Variations on a theme bv Rarneau and D*Indv's Sonata xn K minor. Vladimir Pleshakov. pianist (Orion 7266). 27'Boulez, : Piano Sonata No. 1 and Pi arin Sonata No. ?; Trope. Constellation. Charles Rosen, pianist {Columbia 32161); Boulez."Sonata No. 2" in Pierre ~Ronl Rpr'Piarm Sonata No. ? ^.nd Variations Opus 27. Idil Biret, pianist (Finnadar SR 9004). 66 usually those compositions written between approximately i860 and 1925 by such composers as Franck, Saint-Saens (1835-1921), Faure (18^5-192*0, Chaminade, Debussy (1862- 1918), Ravel (1875-1937), and Poulenc (1899-1963). For the most part, the popular solo piano compositions by these composers bear descriptive titles, and are patterned after the style and form of the nineteenth-century character piece. Saint-Saens' Les Cloches du Soir ("The Evening Clocks"), Op. 85 of I889, Ravel's Jeux d'Sau ("The ; Fountains") of 1901, and Faure's five , thirteen barcarolles, and thirteen nocturnes are good examples. Debussy even has some descriptive titles that are actually complete sentences: Les Sons et les •parfums tourent dans l'air du soir ("The Sounds and Perfumes Whirl in the Evening Air") from the first book of Douze (1910) and La Neige Danse ("The Snow is Dancing") from the Children's Corner (1908). In addition to the piano pieces bearing pictorial titles some French piano works using such traditional keyboard titles as etude, suite, theme and variations, and sonatina have also become well-known. Among these are Saint-Saens twelve etudes, Op. 52 and Op. Ill (1877 and 1899,' respectively); Debussy's Douze gtudes (1916); Saint-Saens Suite. Op. 90 (1891); the Suite in -F-shflrT) Minor. Ot>-(1910)"by" (I869- I937); Poulenc's Suite Fran^aise (1935); Faure's Theme et 67 Variations. On. 73 (1897); twelve in Sonatines. On. 59 (1916) and Op. 87 (1924) by Charles Koechlin (1867- 1951); and six sonatinas by (1862-1938) published between the years 1923-1925• The French music after 1925 that has been popularized through concerts and recordings is primarily film, ballet, orchestral, and p Q small ensemble music. The twentieth-century piano sonatas in other countries appear to receive greater attention. Those of the Russian composer, Serge Prokofiev (1891-1953)» the American, (1874—19540 and (1910- ), and the Englishman, (1905- ) are recognized both, as concert and teaching pieces. The performer of these sonatas must possess some skill and sophistication.

An Overview of the French Piano Sonata: 1951-1975

Twenty-two French piano sonatas are known to have been composed and published between 1951 and 1975. The compositional style of these works may be divided into three categories: neo-classic, serial, and independent. These three styles represent the principal compositional trends in French music after the Second World War. Neo-classicism is a conservative style representative of the more typically

Royal S'." Brown, "French Music Since Debussy and Ravel," High Fidelity Magazine (September, 1973), px>. 50 65. 68

French tradition. , on the other hand, constitutes the more progressive compositional trend in Franca since 1945. "Independent" compositional styles are those that do not profess allegiance to any single "school" of compositional practice. The majority of the composers of these sonatas were horn around 1925, and received their early training at the Paris Conservatory. Among the more conservative teachers at the Conservatory were ,. Simone-7-Ple- Caussade, Tonny Aubin, Jean Rivier, and Darius Milhaud. Many of their students' compositions have a neo-classic style. The composers of the more traditional or neo-classic sonatas are Casadesus, Gallois-Montbrun, Francaix, Boutry, Chailley, Casterede, and Rivier. Robert Marcel Casadesus was born in Paris in 1899 and has had a most successful career as a concert pianist. Although he was not well-known as a composer he did compose a number of works for solo piano as well as for piano with orchestra. His first", two piano sonatas date from 1947, the third from 1943, and his fourth from 1957. The fourth sonata is a four-movement work with a tonal plan of i-I- vi-I. The forms used in the individual movements are respectively, sonatina, scherzo and trio, two-part binary, and sonata-allegro. Among the stylistic traits of this sonata are in the third movement, frequent use of motivic sequencing, and a predominantly diatonic language. Raymond Gallois-Montbrun was "born in Saigon in 19l8» studied at the Paris Conservatory, and won the grand in 19^4. He started his career as a violinist, but later turned to composition. He was named the director of the Conservatory of Versailles in 1957. and of the Paris Conservatory in 1962. His compositional output contains several , symphonic works, and concertos. His sole piano sonata dates from 1958. Only the first movement, marked Allegro. has been published- It employs the traditional sonata form. In his writing: fair piano he exploits the various registers of the piano. The movement t is in C major but frequently uses the inflections of the Lydian and Mixolydian modes, namely the raised fourth or the lowered seventh in an otherwise major scale. Gallois- Montbrun gives great importance to the melodic , F-sharp to C, in the construction of this movement. He also has frequent meter changes. Jean Francaix, born in 1912, was a composition student of Nadia Boulanger. His works are always tonal, and his piano music is frequently of a sly and humorous nature. He composed a four-movement sonata during i960. The four movements are subtitled: Prelude, Elegie, Scherzo, and Toccata. The tonal plan is I-iv-vi-I. 70

Roger Boutry, born in Paris in 1932, was a student at the Paris Conservatory with Nadia Boulanger, Tony Aubin, and as his teachers. In addition to composition, Boutry had a career as a pianist, His piano sonata, the Sonate-Scherzo (1962) is one large movement with a compound binary form of ABACDC and a coda. Lyrical sections are contrasted "by toccata-like sections. Jacques Chailley, born in Paris in 1910 has had a successful career as a composer and musicologist. His Sonata Breve of 1965 is a three-movement work. The tempo scheme is fast-slow-fast, and the form of the respective movements is sonata-allegro, simple ternary, and rondo. The second movement has the most complex rhythmic notation. Although the last two movements are in G major, the first movement employs the key of D major. The tonal scheme within the first movement is also unusual. The second theme uses the key of B major in both the exposition and the recapitulation. Chailley uses a considerable amount of chromatic stepwise motion. The basic motive of the first movement's first theme consists of three descending chromatic half steps. The motive is found later during the second episode of the last movement. The mixture of modal and chromatic elements, the polychords, and especially the syncopated rhythms in the last movement remind one of Milhaud's Rag-Caprices. Jacques Casterede, "born in 1926, studied with Tony Aubin at the Paris Conservatory, and has become a quite prolific composer. His Sonate (1967) is, to the author's knowledge, the only post-1950 French piano sonata in one movement other than 's. The entire piece is in sonata form, but in many aspects it differs from the "textbook" sonata form. The development section which would usually follow the second theme section is absent. Instead Casterede follows each theme with its own development section. The coda section at the end of the piece is a little more than twice the length of the recapitulation. Both themes and their transition material are presented in a developmental and reminiscent fashion during the coda. The second theme of this sonata-allegro form, contrary to its usual classification as a "subor­ dinate" theme is the principal theme of the work. It has a longer development section, and receives more attention in the coda. The tonality of the sonata is D major. The first theme employs the tonic key, and its development section begins a half-step lower in B-flat major. The relationship between individual pitches within a melody reveals the tendencies of the leading tone and lowered supertonic. This relationship is also found between the tonal levels of the formal sections. The first theme is restated in the tonic key in the recapitulation, but the second theme presents the dominant minor key- The scoring 72 of this sonata is consistent with his other piano music. He concentrates on a sparse two-part contrapuntal texture much like Milhaud's second piano sonata of 1950. The coda is the only extensive homophonic section, and it is characterized by open fifths, fourths, and octaves. Casterede frequently employs a fluid bass comprising different irregular subdivisions of the beat. Chords in and melodic octave displacements are also found in this sonata. Jean Rivier, bom' in 1896, began his study at the Paris Conservatory in 1922 with Fle-Caussade. He helped found the Triton Society, which was a "school" of young conservative French composers. He was the group chairman from 1936 to 1940. After 19^7 he occasionally took over Milhaud's classes at the Conservatory, and became a full professor in composition there in 1962. His piano sonata of 1970 is to the author's knowledge the only twentieth- century French piano sonata in five movements. The repective movements have the tempo markings, "Moderato - Vivo — Adagio - Allegretto - Fresto" and are subtitled, "Fluide - Incisif - Concentre - Souple - Violent." The first and fourth movements are in sonatina form, while the second is in rounded binary, the third in simple ternary, and the fifth in.rondo form. Rivier used a most interesting tonal plan in this sonata. The of the 73 respective movements are C-sharp minor, F major, B-flat minor, F-sharp major, and C-sharp minor. The tonal scheme consists of an alteration of major and minor modes with an intervallic pattern of an ascending diminished and perfect fourth followed by a descending diminished and perfect fourth. The sonata has a profuse and effective use of biniodality, polychords, and . The neo-classical compositions we have just discussed are representive of a strong tradition in twentieth-century France. This tradition "began with the influence that Stravinsky's music had on the young composers while he was in Faris during the first two decades of this century. A new school of thought, which challenged this tradition, was established by the 19^0's. The birth of this "new school" took place in 1936 when Yves Baudier, Daniel-Lesur, Andre Jolivet, and joined together as a revolutionary group under the name of Jeune France. Their intent was to rehumanize French music by using ancient and non-European modes and rhythms. The spirit of this new movement had been anticipated by the music of Maurice Emmanuel, in for example his Sonatine IV en divers modes Hindous of 1920. Exemplary compositions of Jeune France . are Jolivet's Cinq Danses rituelles (1939) and Messiaen's Quatuor pour la fin du tenrbs" "(1941). Messiaen's influence on young French composers was greatly increased in 19^2 when appointed him professor of harmony, 7b analysis, and rhythm at the Paris Conservatory. Jolivet also became a professor at the Conservatory, but not until 1966. The revolutionary trend, which had begun in the small circle of Jeune France, had, by 19^5, spread and enveloped many young French composers. These composers turned their backs on the neo-classic tradition in search of a new musical language. Messiaen/s music offered a new direction, and so did that of Rene Leibowitz. Leibowitz, a French composer of Polish origin, had moved to Paris in 1925. He was a devoted Schoenberg admirer, and had worked with Webern. His influence on young composers became more immediate in 19^5 when he became a professor of dodeca- phonicism at the Paris Conservatory. Leibowitz also wrote a piano sonata, "Sonata for Piano, Op. 1" that was composed between 1938 and 1939» but it was never published. The momentum of the movement against neo-classicism found its expression in 19^5. Stravinsky's Jeu de Cartes and Norwegian Sketches, which were performed in the third concert of a series to celebrate the end of the war, were greeted by hisses and shouts from Messiaen's students in the audience. 297 The most out-spoken student was Pierre Boulez who proposed that serialism was the new direction for French music.

29 - - Peter S. Hansen, An Introduction to Twentieth- Century Music. 2nd ed. (Boston: Allyn and Bacon, 1967). p. 361. • 75 In 1946, many young French composers attended the International Summer Course for New Music in , Germany. By this time Messiaen was also experimenting with serialism, and his serial composition Quatre fltudes de rvthme for piano was presented at this festival. 30 Among Messiaen*s students who attended were Pierre Boulez and . The young French serialists were especially interested in Webern's music. They eventually admired him more than Schoenberg "because the latter composer appeared old- fashioned with his use of themes, melody and texture, and academic forms. Webern revealed a new direction with his abolishment of melody as the governing force of pitch, duration, timbre, attacks, and dynamics. Webern's sparse scores and pointillism became an ideal. In 1952, Boulez published his book, Schoenberg is Dead, and the new "post-serial" or "post-Webern" school was established. Pierre Boulez, Jean Barraque, Gilbert Amy, , Michel Philippot, and are all French post-serial composers who wrote piano sonatas. The sonatas by 3oulez

30J . Dictionnaire de la musiaue contemnoraine (Paris: Libraire Larousse, 1970), p. 152. and Amy appear to be the most radical in concept. Boulez has written three piano sonatas. The first .two date from 19^+6 and 19^9, respectively. His third piano sonata was begun in 1955» and completed in 1958. Only two movements, however, "Trope" and "Constellation" were published in 1956. The five movements are subtitled "Trope," "Constellation," "Antiphonie," "Strophe," and "Sequence." In this sonata, Boulez turned away from the "total control" technique displayed in his Structures for two of 1952. The notes, octave pitches, durations, rhythms, and dynamics were predetermined in Structures by the use of rows. The third piano sonata moves toward the opposite extreme to total freedom. The movements and the sections within the movements are not written in one prescribed order. The performer is free to arrange the succession of events, but Boulez does present the performer with a limited set of possibilities. The two possible paths in "Constellation" are differentiated by color. Gilbert Amy also displays neo-dadaistic tendencies in his piano sonata of 1961. The three movements are subtitled "Sequences," "Mutations," and "Interferences." The sonata offers a study in the possible extremes of freedom in the traditional "notes on a staff" notation. The second and third movements are of particular interest for aleatory elements. The second movement, "Mutations," - 77 is notated on four large cards that are fifty-three centimeters tall and forty centimeters wide with music on both sides. . The six possible interpretations or "circuits" are identified by six different colors: black, red, blue, green, violet, and sepia. Amy states in the preface to this work that the distribution of notes on the bracketed systems are aleatory. A metronomic marking is indicated for each system on a page. They range from equals 52 on the bottom of the page, moving through consistently faster markings up the page to «h equals 208 at the top. Amy even includes fractions in his markings, for example, J"1 equals 86.5. Upon tracing the six possible interpretations of this movement, one concludes that "Mutations" is a most descriptive subtitle for these interpretations are related to one another. Four different colors are used in the third movement to represent "groups of structures whose succession is conditioned by a number of rules." Amy explains : Each large group of structures may comprise (but not always;: one preparation sequence, one development sequence and one conclusion sequence. Their junction can be made, either directly (linearwise), or bx-, interference of the different colour.zonesP Throughout the "rise and fall" periods of various twentieth-century French schools of compositional thought,

^Gilbert Amy, Sonate pour Piano (Paris: Heugel, 1961), preface...... certain composers have refused to identify themselves with any one particular style. They have chosen instead an independent or more personal style, which often consisted of an integration of the current practices. Marcel

Mihalovici, Antoine Tisne, and Claude Ballif are

"independent" composers who have written piano sonatas since 1951* The most recent work is Ballif's Cinauieme

Sonate pour piano of 1975- This is Ballif's fifth solo instrumental sonata, but his only piano sonata.

Ballif, born in Paris in 192^, studied with Aubin and Messiaen at the Paris Conservatory, and with Blancher and Rufer in . He has been a lecturer at the French institutes"in Berlin and Hamburg, a professor of analysis and music history at the ficole normale de musique in Paris, and professor of pedagogy at the Conservatory. His doctoral thesis was concerned with a metatonal scale of

eleven notes as a proposed tonal and polymodal solution to the problem of atonality. His piano sonata is in five movements. The tempo pattern in fast-fast-slow-slow-fast.

The characteristic melodic and harmonic interval in this work is the minor second and its inversion. The predominant style elements are pointillism, frequent meter changes, and thematic metamorphosis. 79

Summary

The material in this chapter has introduced the reader to the history of the term, "sonata," as a title and as a genre of piano compositions in Western music and more specifically in French music. This term, which had been used in titles of compositions since the sixteenth century to designate instrumental writing, acquired a more limited meaning "between approximately 1?60 and 1820 as composers used the term for a multi-movement instrumental composition with a serious and non-programmatic content. The origin of the piano sonata has been shown to be at least as early as 1732 when those of the Italian composer, Lodovico Giustini were written. However, the majority of the piano sonatas that have become part of our standard concert and teaching repertoire are by German composers who lived during the Classical and Romantic eras. The three-movement piano sonata was typical of such Classical composers as Haydn, Mozart, and Clementi. Beethoven and Schubert introduced a four-movement plan that was adopted for the most part by Mendelssohn, Chopin, Schumann, and Brahms. A survey of the tempo arid formal plans in the three-movement sonatas revealed that the most typical tempo scheme was fast-slow-fast while the more common formal plan was sonata-allegro—song form—rondo. The key relationship of the middle movement is either tonically or directly related. With the exception of the dominant key, the middle movement key usually has a dark relationship to the tonic key. The four-movement piano sonata appears to be merely an extension of the three- movement plan. A fast dance movement, usually the minuet and trio or the scherzo and trio, is inserted between the second and third movements of the three-movement sonata. Indirect and doubly .indirect key relationships are introduced in the four-movement sonata. Dark key relation­ ships are still more frequent, but the bright key schemes of I-III-I-I and I-VI-I-I were also common. A historical survey of French music shows that the piano sonata flourished from approximately 1780 to 1820, declined in popularity from about 1820 to 1900, and found renewed interest among composers after 1900. Most French piano sonatas, however, are unknown to the general public since these works are seldom performed or recorded. An analysis of selected French, piano sonatas from 1900 to 1915 is presented in the following chapter. The sonatas from that period represent the reawakened interest among French composers in what had become an academic genre. CHAPTER THREE

SONATASi 1900 TO 1915

The first fifteen years of the twentieth century produced only five published sonatas by French composers: Paul Dukas' Sonate en mi bemol mineur (1900), Theodore Lack's Sonata in C (1904) and Sonate Pastorale. Op. 253 (1906), Jean Hure's Premiere Sonate (1907), and Vincent d'Indy's Sonate en mi. 0t>. 63 (1907). Since there are so few French piano sonatas composed between 1900 and 1915, this chapter contains an analysis of all the above-mention­ ed sonatas with the exception of Lack's Sonata in C (1904). Lack's Sonate Pastorale. On. 2 53 (I906) is analyzed instead, because it is the only known twentieth-century French piano sonata that is programmatic. The four works that are analyzed differ in length, formal construction, and tonal language. The diversity is due partly to the fact that French musical circles were divided into various factions.

Historical Setting

Two principal music schools were thriving in France by the turn of the century: the Paris Conservatoire and the Schola Cantorum. The Paris Conservatoire, which was 81 82 founded at the time of the 1789 Revolution, had for over a century produced composers who excelled in opera. Saint-Saens, Franck, and Faure are among the composition teachers who taught- at the Conservatoire in the last half of the nineteenth century. Both Lack and d'Indy received their musical training at the Paris Conservatoire. It is uncertain whether Hure was a student at this school, but he did study composition with Faure. Although much of Dukas' compositional technique was acquired through independent study, he, too, attended the Paris Conservatoire in the 1880's. In. 1871, at the end of the Franco-Prussian War, Saint-Saens, Faure, Franck, and Romaine Bussine (I83O-I899) founded the Societe Nationale de Musique. The purpose of this association was nationalistic at the outset. Its function was to promote new French music. The creation of this group led to the establishment of the Schola Cantorum in I896 by d'Indy and Charles Bordes (I863-1909), both students of Franck. The school aimed at restoring dignity to French music by emphasizing the study of academic instrumental forms more than opera and ballet. This school's attitude toward composition instruction was chiefly promoted by the followers of Franck. The rather narrow compositional techniques taught at the Paris Conservatoire were expanded by the Schola Cantorum through historical research in music. Students at the Schola Cantorum were 83 well-trained in plainchant, early polyphony, and the contrapuntal styles of Palestrina and Bach. The Paris Conservatoire took on a similar approach to the study of music when Faure served as its director from 1905 to 1920.

• It was the Schola Cantorum's renaissance of academic forms, however, that first encouraged the new era in French piano sonata writing. The sonata Toy Paul Dukas, an ardent admirer of Franck, was published only four years after the founding of the Schola Cantorum. In 1909, Ravel founded the Societe Musicale Independente. Faure was the first president of the association. These "independent" composers "believed, that it was time for a new direction in French music, that the music of Franck was dated, and that the compositional techniques of the Franck "school" were oppressively rigid. Jean Hure was one of these independent composers. His first piano sonata, however, predates the actual founding of this society by two years, "but this sonata does avoid the highly chromatic language, frequent modulations, and large developmental forms so characteristic of Franck and d'Indy. At the "beginning of the 1914 War, "both the Societe Nationale de Musique and the Societe Musicale Independente "became united "by their common nationalistic goal to promote the music of French composers. M

Paul Dukas' Sonate en mi bemol mineur (1900)

Paul Dukas was "born in Paris on October 1, 1865, and died there on May 17, 1935.1 As a child he showed an interest in piano, solfeggio, and composition, but received no formal training until he was seventeen years of age. At this time, he enrolled in the Paris Conservatoire, and studied music for six years. Among his teachers were Mathias for piano, Dubois for harmony, and Guiraud for composition. During his fourth year at the Conservatoire, he won first prizes in and fugue. After 1888 Dukas* formal training was interrupted by military service. However, he continued to study music by analyzing published scores of the masters. Among his better-known works are the concert , Polveucte (I892), ma.ior (1897), the tone poem, L'Apprenti Sorcier (1897), his only opera, Ariane et Barbe- m.enfl (1907), and the "dance poem," La Peri (1910). Edward Lockspeiser maintained that Dukas' music incorporates Germanic elements:

Biographical information about Dukas is taken from David Ewen, Composers Since 1900: A Biographical and Critical Guide (New York: H. W. Wilson, 1969), pp. 172-173. Looking at Dukas's art as a whole, one is left with the impression that his main inspirations came from Beethoven. Probably his music is interesting to us today chiefly because it shows the hidden though binding chain between the musical civilizations of Prance and Germany. Dukas, however, composed few works after 1910. Instead, he devoted more time to teaching. He was professor of orchestration at the Paris Conservatoire from 1900 to 1910 and of composition from 1927 until his death. The Sonate en mi bemol mineur was written between I899 and 1900, and published by Durand in 1901. It was dedicated to Saint-Saens, but this composer never acknow­ ledged receiving the work.-' The piece was first performed by Edouard Risler at the on May 10, 1901# and H, was rather well accepted. Debussy praised its tonal organization and control of expression. However, he criticized Pierre Lalo's review, which had appeared in Le Temps. May 23, 1901. Debussy claimed that Lalo's comparison of Dukas with Beethoven was not actually flattering since the late Beethoven sonatas were conceived

2Ibid.. p. 173. -'cortot, La Musique francaise de Piano. Vol. 1, PP. 234-235. : H, Newman, The Sonata Since Beethoven, p. 53^. 86 more for an orchestra than for the piano.^ Lalo's comparison may be justified though, since many parts of the Dukas* sonata do suggest orchestral textures. One such example of unidiomatic piano writing is found in . the opening measures of the coda in the first movement (Ex. 1). The first chord in Example 1 is impossible to

Dans un mouvt. plus elargi J=56 Meas. 228 229 2?o £ =*P^= T

HR&-~ WW ;§ 1$ e:

Ex. 1 Dukas' Sonate en mi bemol mineur, First Movement, Meas. 228-230. (Copyright Theodore Presser Co. Used by permission.) play on the piano without arpeggiating part of it. Unless a pianist has extraordinarily large hands, the harmonic interval of a major is impossible. The

-'Lawrence Gilman (ed.), Monsieur Croche, The Dilet- tante Hater (New York: Lear, 1948). An Englisn trans- lation of Debussy's articles written in 1901-1914, collected and abridged by the author, and first published in collected form in 1921. The quotation is cited in Edward Lock~ . speiser's Debussy; His Life and Mind (New York: ' Macmillan, 1962), Vol. 2, p. 282. 87 diminished eleventh on the third "beat of the third measure is possible, "but only for those with exceptionally large hands. The pianist, Blanche Selva, who was a champion of the Franck "school," made the following criticism of the sonata in her 1913 "book, La Sonate: Dukas has deployed the resources of the piano magnificently well here; were it not for having exhausted them he can be reproached with•having exceeded them. The fault of this pianistic realization is that of "being too nearly related to an admirable orchestral reduction for piano. Selva, however, does agree with Debussy's praise of the control of expression displayed in the sonata: This perfect self-control is always found with Dukas. His ideas will become more personal in those that follow (from a melodic and harmonic point of view) than in this work of quasi- youth, but the greatest outbursts of color, movement, and strength will always be magni­ ficently directed by him. And it is this which makes his art truly masterful and noble.

Selva, La Sonate. p. 244: "Dukas y a deploye magnifiquement bien des ressources du piano; sans les avoir epuisees on peut lui reprocher de les avoir depassees. Le tort de cette realisation pianistique est d'etre trop proche parente d'une admirable reduction d'orchestre au piano." ''ibid., p. 2^-8: "Cette parfaite maitrise de soi se retrouve toujours chez Dukas. Ses idees deviendront, par la suite, plus personelles (au point de vue melodique et harmonique), que dans cette oeuvre de quasi-jeunesse, mais toujours les plus grands dechainements de couleur, de mouvement et de force seront chez lui magnifiquement ordonnes. Et c'est ce qui fait son art vraiment puissant et noble." 88 Table 12 on page 89 is sxi analysis of the Sonate en mi "bemol mineur "by Paul Dukas. The first movement is in sonata-allegro form. The exposition (meas. 1-64) begins with the first theme in the top voice in the key of E-flat minor (meas. 1-12). The theme is stated in the subdominant key of A-flat minor in measures 13-24. The transition (meas. 25-40) to the second theme section (meas. 41-55) exposes the second theme in the bass (meas. 33-40). The key used here is G-flat major, the subdominant of G-flat major, which is the key of the second theme. The closing theme is stated in the top voice of measures 56-64, and it is based on the first theme motive. The development section (meas. 65-161) begins with the material of the first theme in the submediant key of C-flat major, which continues to modulate toward the dominant key of (meas. 94). The first theme material then moves toward the dominant key of D major (meas. 108). The second theme with a triplet accompaniment enters in measure 131 in the key of B-flat major, the dominant key of this movement's tonality. It moves in measure 141 to , where the second theme is sounded in the bottom voice and imitated by the top voice a measure later and an octave higher. The interval of imitation changes to the ninth above in measure 145. Dukas modulates from E major back to E-flat minor through a chromatic alteration of the dominant harmony in E major (Ex. 2). 89

Table 12 Quka3' Sonate en ml hgmol minaur. Analysis of Forra and.'Tonality.

Hvt Form Key ft He* Ml Meas HH I. Exp 1st Th i (Ebm) 0 0 1-12 12 Moderement 1st Th iv 1 ID 13-24 • 2 vite trans bVI 1 ID 25-40 16 2nd Th bill 1 0 41-56 16 CI Th bill 1 0 57-64 8 Dev 1st Th bVI-bii-YII 1-N2-H2 1D-5D-A 65-130 66 2nd Th V-bll 2-N1 4B-2D 131-I61 31 Rec 1st Th i 0 0 162-173 12 1st Th iv 1 ID 174-185 12 . tran3 v 1 IB 186-206 21 2nd Th I 0 3B 207-227 21 Coda 2nd Th bii-bXX-i K2-N1-0 5D-2D-0 228-236 9 1st Th i 0 0 237-242 6 2nd Th bii-i N2-0 5D-0 243-247 5

IX. Exp 1st Th I (AbM) 0 0 1-36 36 Calme, un 2nd Th V 2 2D 37-71 35 peu lent Dev 1st Th bVII 2 2D 72-90 19 2nd Th VI 2 3B 91-109 19 1st Th VII N1 5B 110-117 8 Rec. 1st Th I 0 0 118-154 37 2nd Th I 0 0 155-160 6 Alternation I 0 0 161-181 21 of 1st and 2nd Th'3

III. Scherzo i (Bm) 0 0- 1-187 187 Yivement Trio i-ii 0-2 0-2B I88-336 249 Soherso i. 0 0 337-546 210 Coda i 0 0 547-565 19

IV. Tres lent/ Intro 1 (Ebm) 0 0 1-14 14 Aniiae Exp 1st Th i 0 0 15-31 17 trans i-bVX 0-1 0-1D 32-78 47 2nd Th bVI 1 ID 79-153 80 CI Th bVI 1 ID 159-182 24 Dev I Alternation bVII 1 IB 183-295 113 of Th's Rec 1st Th i 0 0 296-312 17 trans i-I 0-0 0-3B 2nd Th I 0 3B MIL % CI Th i 0 0 420-428 9 Dev II Alternation i 0 0 429-509 81 of Til's 90 Moderement vite J = 9k

160

VM7

Ex. 2 Dukas* Sonate en mi bemol mineur. First Movement, Meas. 159-160. (Copyright Theodore Presser Co. Used "by permission.)

The recapitulation (meas. 162-227) begins with the first theme in the tonic key of E-flat minor. Just as in the exposition the first theme is stated in A-flat minor (meas. 17^-185). The transition (meas. 186-206) leads to the second theme in the key of E-flat major (meas. 207-227), instead of the tonic key of E-flat minor. This way Dukas was able to maintain the "minor-major" mode relationship of the first and second themes. Modal interchange of the major and minor tonic chords (E-flat major and E-flat minor) characterizes the second theme in the recapitulation (E:c. 3, p. 9i). The pitches, G-natural and G-flat, produce the modal interchange, and these are circled in Example 3 where the interchange takes place. The coda restates part of the second and* first themes, respectively. 91

Modereraent vite J = 9^ Reprenez le mouvt. peu a peu

Meas 207 208

Ex. 3 Dukas' Sonate en mi bemol mineur. First Movement, Modal Interchange, Meas. 207-209. (Copyright Theodore Presser Co. Used "by permission.)

\ 92

It ends with the second theme motive in E minor, immediately followed by three E-flat minor chords. Sonata-allegro form is also used for the slow second movement. The tonality of the movement is A-flat major, the subdominant major of E-flat minor. Several occurrences of the first theme of the exposition (meas. 1-71) precede the entrance of the second theme in E-flat minor (meas. 37). The development section (meas. 72-117) begins in G-flat major, the relative major key of the sonata's principal tonality. In this section the first and second themes are presented alternately. Both themes return in the tonic key of A-flat major in the recapitulation (meas. 118-181). A meter change occurs at the beginning of the recapitulation: 3/k becomes 9/8 with l'istesso tempo. The style of piano writing in the recapitulation contrasts with that of the exposition. A chordal texture embodies the first theme in the expo­ sition, but the recapitulation incorporates a polyphonic texture lacing the first theme with a l6th-note figuration in the top voice. The third movement consists of a scherzo and trio in B minor, the enharmonic equivalent of the submediant minor. This enharmonic spelling is probably used because the key of B minor is easier to read than C-flat minor. Measures 1-10 expose the scherzo's theme in the top voice. Toccata style characterizes the scherzo. This style is then 93 contrasted by a three-voice fugue in the trio (meas. 212- 336). Structural similarities exist between the fugue subject of the trio and the first theme from the first movement. A dominant pedal in B minor is heard in measures 337-362 as the scherzo returns. The movement ends with a coda (meas. 5^7-5^5)f which alternates the motives from the scherzo and trio. Sonata-allegro form is found in the fourth movement. The slow introduction is a fantasia-like section containing material that is motivically related to the first theme of the movement. Measures 1-2 of the introduction (Ex.

Tres lent JN=^8

n Meas. 1~ Motive 2 ' ft—fi* A—* A

T l^r- • 1 . U I 1 'J U u, 1 ^ ^ 1 V , V ^ t t-?TL!' f T

Ex. b Dukas' Sonate en mi bemol mineur, Fourth Movement, Introductory Motive, Meas. 1-2. (Copyright Theodore Presser Co. Used by permission.) presents four notes in the top voice that assume structural importance in the first theme (Ex. 5» P« 9^ ) of the 94

Anime . J = 146 Meas. lj£. Motive 18 "1 1 n. L L -gi ^/—"v "1 / . , , *

eb:

Ex. 5 Dukas' Sonate en mi bemol mineur. Fourth Movement, First theme, Meas. 17-18. (Copyright Theodore Presser Go. Used by permission.)

exposition (meas. 15-78). E-flat major is the key of the first theme and the principal tonality of the entire sonata. B major, the raised dominant major, is the key of the second theme (meas. 79-158), which is actually a theme group. Again the key of the raised dominant here and as the principal tonality of the third movement is the enhar­ monic equivalent of the submediant, C-flat. It is probably used because it is easier to read. The introductory motive pervades the development section (meas. 183-295). which begins in D-flat major. Ascending by half steps from B-flat (meas. 234) to E-flat (meas. 264-)» the introductory motive forms a "dominant to tonic" relationship that is followed by a transition to the recapitulation (meas. 296-4-19) with the first theme in E-flat minor and the second theme in E-flat major. A second development (meas. 429-509) in the tonic key follows the 95 recapitulation. Dukas' sonata appears to have been patterned after the Romantic piano sonata. It is a four-movement work with three of the four movements employing sonata-allegro form. The sonata-allegro form of the fourth movement is actually in five sections: fantasia-introduction, exposition, first development, recapitulation, and second development. A much less expanded sonata-allegro form is found in the second movement. The third movement is a scherzo and trio in the form of a toccata and three-voice fugue, respec­ tively. Motivic development plays an important part in the first and fourth movements. The themes in the expositions of these movements often contain motivic sequence-. The presence of sequences in the first themes of "both movements is shown in Examples 6 and 7 on pp. 96-97. Cyclic technique is approadched in the trio of the third movement. The three-note motive is E-flat, G-flat, F in the first theme of the first movement (Ex. 6). At the "beginning of the third movement's trio section this motive is transposed to B minor (Ex. 8, p. 97) with a lowered second scale degree, such that the interval succession is now: up a minor third—down a . The tonal scheme of the sonata is E-flat minor, A-flat major, C-flat minor (enharmonic), and E-flat minor or i-IV-"bvi-i. The corresponding key relationship plan of 96

Moderement vite J =9^

Meas. 1 i eb: 5 f~ Motive 6 —JJ~7 Sequence 8 —i 1.1

Extension 12 -fff v XL. v^i'nfz. riWfz crzsc <•

EX. 6 Dukas' Sonate en mi bemol mineur. First Movement, First Theme, Meas. 1-11. (Copyright Theodore Presser Co. Used by permission.) 97

Anime . J =1^6 |— Sequence Meas. fgg Motive n 28 hU', i = i =fcz eb: P'S -f Sequence_aJ~ Mansion " ib 4 31 Me "3

Ex. 7 Dukas' Sonate en mi "bemol mineur, Fourth Movement, First theme, Meas. 26-31. (Copyright Theodore Presser Co. Used by permission.)

Vivement, avec^legerete J=82 En cedant peu a peu

Meas. 188 189 190 "191

Ex. 8 Dukas* Sonate en mi bemol mineur, Third Movement, Meas. 188-191. (Copyright Theodore Presser Co. Used by permission.) 98 the sonata is 0-2-2-0 with a darkness/brightness succession of 0-2B-4D-0. The lowered supertonic major and minor keys are only used in the first movement. Occuring within the development section and coda, the lowered supertonic minor key produces an indirect Neapolitan relationship with a darkness degree of $D, while the lowered supertonic major key causes a direct Neapolitan relationship with a darkness degree of 2D. The darkness degrees of 5L and 2D in the first movement are only served by these two keys. The supertonic key is also important in the third movement where it occurs in the trio section of the scherzo and trio form. Here, it is the only other key "besides the tonic and has an indirect relationship with a brightness degree of 2B. The mediant key only occurs in the first movement during the second theme section of the exposition. It is the relative major key with a direct relationship and a neutral darkness/brightness relationship. The subdominant is another key that is unique to the first movement. It occurs during the second statement of the first theme in both the exposition and recapitulation. Its key relation­ ship is direct with a darkness degree of ID. The dominant key was used in the recapitulation section of the first movement during the transition to the second theme. Here it has a direct relationship with a brightness degree of IB. The dominant major key that occurs in this movement has an indirect relationship with a brightness degree of 4-B. Dukas placed this key at the beginning of the second theme in the development and preceded it with a darkness/brightness succession of 1D-5D-A. The use of the dominant minor key in the second movement coincides with the second theme of the exposition and produces an indirect relationship with a darkness degree of 2D. The submediant key plays an important part in the first and fourth movements. It is the key at the beginning of the development section in the first move­ ment and during the second theme of the exposition in the . fourth movement. In both circumstances the relationship is direct with a darkness degree of ID. The submediant major key in the second movement gives the second theme in the development section an indirect relationship with a 3B brightness degree. An interesting key relationship occurs within the second and fourth movements. Both development sections begin in the major subtonic key. In the second movement the development key is G-flat major and in the fourth movement the key at the beginning of the development section is D-flat major. When the subtonic major key occurs in the second movement its key relationship is indirect with a darkness degree of 2D. However, when bVII occurs in the fourth movement the key relationship is direct and the darkness degree is only ID. . 100

The leading-tone minor key does not occur in this sonata. The major key of the leading-tone appears in the first and second movements. In the first movement it occurs at the end of the first theme in the development where it has an indirect Neapolitan relationship that resolves by harmonic principles to V. It serves as a substitute for bii, the key that immediately preceded it and also had an indirect Neapolitan relationship. The darkness/brightness relationship of VII in the first movement is ambiguous, whereas in the second movement it has a brightness degree of 5B. There, it serves as the key for the second statement of the first theme in the develop­ ment section. Its key relationship is N1 and resolves to I. The tonal language of this sonata is similar to Franck's; it is highly chromatic with frequent modulations and chromatic sequences. Vladimir Pleshakov claimed that certain parts of the sonata foreshadow : He writes in the style of extended , studiously avoiding all traces of German . Rarely does he approach atonality. When he does (as in the slow middle section of the third movementj his music becomes prophetic of expressionism. The piano writing in the Dukas sonata is similar to Brahms' piano writing with its full chords, octaves, thirds, and sixths. Like Brahms, Dukas demands great strength and endurance from the performer.

^Vladimir Pleshakov, jacket notes, Dukas' Piano Sonata (Orion 6906). 101

Theodore Lack's Sonate Pastorale. OP. 2 53 (1906)

Theodore Lack was born in.Quimper, Finisterre on September 3, 1846. At the early age of 10 he was appointed at his village church. Four years later he entered the Paris Conservatory, where he studied piano with Mar— „ o montel, harmony with Bazin, and theory with Lefebure-Wely. Lack remained in Paris after graduating from the Conserva­ toire at 18 years of age, and assumed the position of piano instructor at this institution for 57 years (1864-1921) until his death on November 25, 1921. Being a pianist and composer we find that Lack wrote many pieces for solo piano: Tarentelle. Bolero, fitudes elegantes. Valse esnag- nole. Scenes enfantines. Squverur fl'Alsac?. PplQTiaise d? concert are a few. He composed only two sonatas for solo piano: Sonata in C (1904) and the Sonate Pastorale. On. 2 5^ (1906). Both piano sonatas are excellent pieces for the beginning piano student. They are short diatonic works with thin textures and simple, but interesting, rhythmic patterns. The Sonate Pastorale is of particular interest because it is the only known twentieth-century French

^Biographical information on Lack is drawn from Baker's Biographical Dictionary of Musicians. 5th ed. with 1971 supplement, rev. (New York: G. Schirmer, 1971)» p. 894. 102 piano sonata with programmatic content. There is, however, a programmatic sonatina, which is approximately the same length as Lack's sonata, "by , namely the 191? Sonatine Bureaucratique ("Bureaucratic Sonatina").10 Programmatic piano sonatas are nothing new, nor is the use of a descriptive qualifier such as "pastorale" in the sonata title peculiar to the-twentieth century or to France. The adjective, "grande," was used by Alkan in the nineteenth century for his programmatic piano sonata, Grande Sonate. On. 3? also known as "The Four Ages" (see discussion of this sonata on pp. 6o-6l)« Newman peints out that the word, "grande," was used too frequently and in too many ways to have any definite meaning.11 He says that "by 1830 the title, "Grande sonata," was considered old-fashioned. Commenting about the "Grande sonata" and other descriptive titles, Newman stated: ...in 1861 Henri Herz's addition of 'di bravura' to the same title CGrande sonataU was regarded as new to the 'Classic tradition.' 'Sonate brillante' had been used at least a few times... Numerous other, more expressive qualifiers also occur in the Romantic sonata titles, such as 'dramatique,' *sentimentale,* ...'agreable,* 'pastorale,' or 'caracteristique.'

10Erik Satie, Sonatine Bureaucratique (Paris: L. .Philippo, 1917). -

•^"Newman, T^p Sima-hn •Pcxa-fchmror., p. 28.

12Ibid.. p. 29. 103

The four movements of Lack's Sonate Pastorale are entitled, respectively: Allegretto, Andante, Scherzo, and Finale. The four-movement tempo scheme of fast-slow-fast- fast is in the tradition of the Romantic sonata. Table 13 on page 10^ outlines the form and keys used in each movement. The first movement is in variation form. The second movement is in simple ternary form. The scherzo and trio form is used in the third movement. The two-part structure of both the scherzo and trio' is not as typical of the Classical scherzo and trio which is usually a three- part structure.The form of the final movement is sonatina form. The typical phrase length in all four move­ ments of the sonata is four measures. Five- and six-measure phrases are found only occasionally. The key scheme of this sonata is relatively simple: I-IV-I-I. This was a common tonal plan for the four- movement piano sonatas of the late Classical period. The key relationship and darkness/brightness relationship plans are 0-1-0-0 and 0-1D-0-0, respectively. Within the move­ ments one finds that the direct key relationship is more common than the indirect, and that the doubly indirect key relationship only occurs once, and that is in the trio section of the third movement. The key of the subtonic

13-Teon Stem, Structure and Style; The Study and Analysis of Musical Forms (Evanston, Illinois: Summy Birchard, 1962), p. 83. • • _ • Table 13 lack's Sonate Pastorale. Op. 2ST. Analysis of Form and Tonality,

Mvt Form Key K D/B Mo as Lth I. A (aa) I (CM) 0 0 1-8, 9-16 8, 8 Allegretto Al (ala2) I 0 0 17-21*, 25-32 8. 8 A2 (aa3a4) I-bVII-IV 0-2-1 0-2D-1D 33-1*0, 41-66, <*7-52 8, 6. 6 codetta I 0 0 53-57 5

II. A (aa) I (CM)-iii 0-1 0-1B l-i*, 5-8 l*. 4 Andante B (bb) iii-II 1-2 1B-2B 9-12. 13-16 •*. 4 A (aa) I-bill 0-2 0-3D 17-20, 21-21* 4, 4 codetta (al) I 0 0 25-26, 27-28, 29- 30 2, 2, 2

III.. A (aal) I (GM) 0 0 1-8, 9-16 8, 8 Scherzo II :B (baal)ill I 0 0 17-24, 25-32, 33-40 8, 8, 6 C (cc) I 0 0 1*1-1*8, 49-56 8, 8 a ID (del)!u bvil-I 3-0 5D-0 57-64, 65-72 8, 8 A (aal) I 0 0 73-80, 81-88 8, 8 B (baal) I 0 0 89-96, 97-1C4, 105-112 8, 6, 8

IV. A (all :ala2a sll) I (GM)-lii-ll-I 0-1-1-0 •0-1B-1D-0 1-3, 9-12, 13-16, 17-20 8, 4, 4, 4 Finale B (babbl) i-I-i-1 0-0-0-0 3D-0-3D-3D 21-28, 29-32, 33-36, 37-40 8, 4, 4, 4 codetta (a3) 1 0 0 41-49 9

H & 105 minor serves this doubly indirect relationship, and its darkness degree, 5D, is the most extreme degree in the entire sonata. All four movements of this sonata approach the return of the tonic key through a dark key. In the first movement the darkness/brightness succession toward the tonic key is 2D-1D-0; in the second movement, 3D-0; in the third movement, 5D-0. and in the fourth movement, .3D- 3D-0. The key succession of tonic—mediant—supertonic— tonic occurs in both the second and fourth movements. The key progression of I-bill occurs near the end of the second movement. The relationship of tonic to mediant is not only found in the use of keys, but also in harmonic progressions (Ex. 9, p. 106). The modal flavor of the subtonic key is employed in both the first and third movements. The tonic to subtonic relationship is also found in harmonic successions (Ex. 10, p. 107)» Modal inflection of melodic pitches is also utilized. Measures 25 and 26 in the final movement (Ex. 11, p. 108 ) contain an accented subtonic scale degree that is raised to the leading-tone function in measures 37 and 38. Each of the four movements has a programmatic description under the title. The four movements in this sonata become scenes in a pastoral play, and the form, melodic material, expression markings, and tempo of each movement support the program. For example, Lack's 106

Allegretto Meas.1 2 3 4

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M? IIIM 6 5

Ex. 9 Lack's Sonate Pastorale. Op. 2 53, First Movement, Meas. 1-8. (Copyright Alphonse Leduc, Faris. Used by permission.) 107

Allegretto

Meas. 33 35 36

M

G: IM 37 38 39 40 RR^ =F cvesc.

VM7/bVII bVIIM

Ex. 10 Lack's Sonate Pastorale. OP. 2 53. First Movement, Meas. 33-40. (Copyright Alphonse Leduc, Paris. Used "by permission.) 108

Allegro giocoso

Meas. 25 26

Allegro giocoso 37 38

Pl bo Ice Pa|

g«

Ex. 11 Lack's Sonate Pastorale. ON. 2 53. Fourth Movement, Meas. 25-26 and 37-38. (Copyright"Alphonse Leduc, Paris. Used by permission.) 109 description of the first movement is "with a summer's mora, the shepherds in the plain make their sweet song heard."'1'^ The simple tune of the first movement, which is repeated and varied, might "be suitable for an imaginary chorus of shepherds. Lack even marked "echo" for the repetition of the first phrase, as if the shepherds' song were reverberating through nearby mountains. "Afternoon, the hot sun, the siesta... Soft duet of the cuckoo and quail interrupted by thunder" is the setting for the second movement. The "soft duet of the cuckoo and quail" can easily be set to a slow cantabile movement. The contrasting sound of the thunder is found in the B section of the simple ternary form. Examples 12 on page 110 and 13 on page 111 show how Lack tried to depict the cuckoo, the quail, and "the thunder, respectively. The scene for the third movement is as follows: "After the storm, the shepherds and shepherdesses gather together on the village square for the village dance of the evening."1^ Lack further described the movement by denoting the scherzo as "The Shepherds* Party" (Ex. 1^, p. 112)» and "the trio as

"^"Par une belle matinee d'ete, les bergers dans la plaine font entendre leurs douces chansons." "'"-'"Midi, soleil brulant, la sieste... Tendre duo du coucou et de la caille interrompu par l'orage!"

"^"Apres 1 forage, sur la place du village, berger3 et bergeres se reunissent pour le bal».champetre du soir." 110

Andante Mormorando e misterioso Meas. 1 2 3 La. Cat'lfe » I * * j hji» V PP El /.e Coucou

Ex. 12 Lack's Sonate Pastorale. On. 253. Second Movement, Meas. 1-4.

(Copyright Alphonse Leduc, Parisf Used "by permission.)

"The Arrival of the Shepherdesses" (Ex. 15, p. 113). The staccato articulation of the scherzo and the legato of the trio fit the form and the program. "The night, the shepherds and shepherdesses dance the bourree "by starlight to the joyous sounds of the bagpipe" tells the story of the final movement.1'' Lack marked the first theme of this sonatina form as the "bourree" (Ex. 16, p. 114). The additional indications of forte and a, battuta add to the masculine qualities sometimes associated with first themes. In contrast, the second theme (Ex. 17, p. n^) suggests feminine characteristics. It is titled "Pastourelle" ("The Shepherd Girl"), and the markings piano and dolce ("soft" and "sweet") are used.

17'"Le soir, a% la clarte des etoiles, les bergers et les bergeres dansent la bourree aux sons joyeux de la musette." Ill

Allegretto

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Ex. 13 Lack's Sonate Pastorale. OP. 253. Second Movement, Meas. 9-12. (Copyright Alphonse Leduc, Paris. Used by permission.) 112

Allegro vivace La Reunion des Bergers

Meas

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Ex. 1*J- Lack's Sonate Pastorale. OP. 25?. Third Movement, Meas. 1-8. (Copyright Alphonse Leduc, Paris. Used by permission.) 113

Allegro^vivace L'Arrivee des Bergeres Meas. 4-1

P,

45 46 47 48 % rt- J. 3 A A

Ex. 15 Lack's Sonate Pastorale. OP. 253. Third Movement, Meas. 41-48. (Copyright Alphonse Leduc, Paris. Used "by permission.) 114 Allegro giocoso Bourree

Meas.1 2-3 ^ rt^T , ] .3-- jj, •— lXj lL —r Lu LU k ^» " f- kctlful^S JF* hi o. - - H 4- = 2 bU-c -fjl-- bre G:

Ex. 16 Lack's Sonate Pastorale. Op. 253. Fourth Movement, First Theme, Meas. 1-4.

Allegro giocoso Pastourelle

Meas. 21

p I bolce j

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Ex. 17 Lack's Sonate Pastorale. OP. 253. Fourth Movement, Second Theme, Meas. 21-24-. (Copyright Alphonse Leduc, Paris. Used by permission.) 115

Lack's program and key scheme are similar to Beethoven's Symphony No. 6 in F Major, Op. 68 ("The Pastoral"). The subtitles for Beethoven's five movements are respectively "Cheerful impressions on arriving in.the country; "By the "brook;" "Peasants merrymaking;" "The Storm;" and "The Shepherds Hymn." Beethoven's key scheme is I-IV-I-i-I. It is possible that Lack may have also had the great tradition of the French clavecinists in mind when he wrote this sonata. The imitation of sounds from nature and the depiction of pastoral scenes are found in the keyboard works of F. Couperin, Rameau, and Daquin. Francois Couperin (1668-1733) titled one of his works les Bergeries ("Pastoral Scenes"). Jean-Philippe Rameau (1683-176^) imitated the sound of a hen in La Poule. Louis Claude Daquin also imitated the cuckoo in his Le Coucou.• Perhaps, in 1906 Lack believed that the academic form of the sonata could be simple, dignified, and typically French if he wrote in the spirit of the French clavecinists.

Jean Hure's Premiere Sonate (1907)

Jean Hure was born in Gien in 1877 and died in Paris in 1930. He was one of Faure's composition students. Active as a pianist, organist, and composer, he also wrote theoretical works on such topics as Rameau, St. Augustine, 116 . 18 the piano', the organ, and . Hure composed two sonatas for solo piano, the first of which is also designated for the chromatic harp. His first sonata dates from 1907 when he was thirty years of age; the second is from 1916. A "brief comparative description of Hure's two piano sonatas is pertinent to the investigation at this point. His compositional style, as evidenced in the 1907 sonata, had changed by 1916. Although1'both sonatas are in one movement, their tonal language, degree of complexity, and length are different. - A neo-Franckian language employing frequent modulations characterizes the second sonata. Example 18 displays the

Plus vite

Meas. 38 39 4-0 ->-UJ

Ex. 18 Hure's Deuxieme Sonate, Meas. 38-^0. (Copyright Editions Salabert, Paris. Used by permission.)

"I ft Rostand, Dictionnaire.... p. 96. 117 piano style in this sonata. Parallel sixths and octaves along with a tremelo resemble a page from Brahms* piano music. Although both sonatas are in sonata-allegro form, the formal sections of the second sonata are more clearly defined. For example, the second theme in the second sonata is a 136-measure section in three-four meter. In contrast, the first theme is always cast in a four-four meter. The first sonata has for the most part a thinner texture than the second, often consisting of mere doubling of a single voice at the octave. Table 1^ on page 118 outlines the form and key re­ lationships in Hure's 1907 sonata. The sonata consists of a sonata-allegro form with a proportionally large coda. Phrase lengths are not always evenly divisible by two. The first theme for example is a seven-measure phrase (Ex. 19, p. 119). However, the second theme is always an eight- measure phrase structure (Ex. 20, p. 120). The length of the short formal structures in this sonata is sometimes determined by the extension or elision of phrases. For example, the length of the first theme (Ex. 19) and second theme motive (Ex. 21, p. 121) near the beginning of the sonata (meas. 13-21) are reduced from nine measures to seven in the closing theme section (Ex. 22, p. i2l)« This was accomplished by omitting the last two measures of the first theme.- 118

Table 14 Hurl's rromtere Sonata. Analysis of Form and Tonality.

Form Hex K R?J, D/B Mean Mil Exp 1st Th i (Fm) 0 0 1-7 7 link 1 0 0 8-12 5 2nd Th motive i 0 0 13-14 2 1st Th i 0 0 15-21 7 link i 0 0 22 1 1st Th v 1 IB 23-26 4 trans i 0 0 27-32 6 2nd Tli bill 1 0 33-40 8 2nd Th bll HI 2D 41-48 8 ext bVII 1 IB 49-58 10 CI Th blll-i 1-0 0-0 59-76 18 Dov c-xt of CI Th biii 2 3D 77-82 6 2nd Th biii 2 3D 83-90 8 tran3 biii-blll 2-1 3D-0 91-95 5 1st Th bill 1 0 96-9O 3 trnn3 i 0 • 0 99-102 4 2nd Th motive 1 0 0 103-106 4 trans bll HI 2D 107-112 6 1st Th ii 2 2B 113-118 6 2nd Th motive ii 2 2B 119-120 2 trans V 1 IB 121-128 8 2nd Th iii-i 2-0 4B-0 129-143 15 P.oc 1st Th i 0 0 144-150 7 link i 0 0 151-155 5 2nd Th motive i 0 0 156-157 2 1st Th i 0 0 158-164 7 link i 0 0 165 1 1st Th V 1 IB IG6-I69 4 trans i 0 0 170-175 6 2nd Th I 0 3B 176-183 8 2nd Th bVII 1 IB 104-191 8 oxt V 2 4B 192-201 10 CI Th i-iv 0-1 0-1D 202-226 25 trans iv-YI-I l-3-o 1D-A-3B 227-242 16 Coda I 0 3B 243-285 43 119

Allegro Meas. 15 16 17 18 & I i if rrf r

'• L ' f ! 19 21 22 f £

e±c T^r f i

Ex. 19 Hure's Premiere Sonate. First Theme, Meas. 15-21. (Copyright Editions Salabert, Paris. Used by permission.) 120

Allegro

Meas. 33 3^ 35 36 jA -4

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Ex. 20 Hure's Premiere Sonate. Second Theme, Meas. 33-^0• (Copyright Editions Salabert, Paris. Used by permission.) 121 Allegro

Meas. 13 14 15

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Ex. 21 Hure's Premiere Sonate. Meas. 13-15. (Copyright Editions Salabert, Paris. Used by permission.)

Allegro Meas. 59 60 61 62 =l=j —* ?—1 1 J b4— PP CtrfiSC . b r-Y 'ill ~r # ^ Ab i 63 6k 65

' * h,m H m "LJ C-i ,.p^——A.. fl a j rr

Ex. 22 Hure's Premiere Sonate. Meas. 59-65• (Copyright Editions Salabert, Paris. Used by permission.) 122 The- first and second themes are related by their first three notes. A retrograde version of the first three notes of the first theme (Ex. 19) occurs at the beginning of the second theme (Ex. 20). The retrograde consists of the pitch succession, C, B-flat, and F in half-note values. The melodic structure of the second theme is anticipated early in the sonata (Ex. 21). Example 23

Second Theme Motive Meas. 13 14 15 & &L M&lodio Reduction of Second Theme Motive

Second Theme, Meas. 33-^0 y>|y i(j) '(jj- F ic Reduction of Second Theme

Ex. 23 Hure's Premiere Sonate. Melodic Reduction of Meas. 13-15 and Meas. 33-4-0. (Copyright Editions Salabert, Paris. Used by permission.) 123 shows the' relationship "between this motivic anticipation and the second theme through melodic reduction. The notes in the second theme motive (meas. 13-15) and the second theme (meas. 33-^0) that are abstracted for the melodic reductions are circled in Example 23. The sequential order of the last two notes in the melodic reduction of the second theme motive is reversed in the melodic reduction of the second theme. A new theme (Ex. 2k), which serves as transitional material in the development section, is an outgrowth of the first theme's three-note motive. A melodic reduction of this new theme is displayed in the bottom staves of

Allegro Sempre appassionato

Meas. 99 100 101 102 103 % f £ £ $ .1 cress. W,CJLV k f :

f: , 'I.lelodic^-Reduc tion W- V).iq- „ 3= Motive k.K 1» ^

Ex. Zk Hure's Premiere Sonate. Meas. 99-103. (Copyright Editions Salabert, Paris. Used by permission.) 12b

Example 2K. A further reduction reveals the important three-note motive. The entire exposition is, "brought "back in the recapitulation with the same relative lengths "between the formal sections. The closing theme in the recapitulation, however, has a seven-measure extension. This occurrence of the closing theme is followed by a double-period transition preparing for the coda. It is unusual to have a coda with its own introduction. It is also unusual to have a coda that does not follow a strong close in the tonic key. Although this coda is not thematically related to the main part of the sonata, it is considered to be a coda and not a second movement for several reas.ons. First, it is too short. There are only forty-three measures at a tempo marking of vivace nossibile. This makes its duration less than half that of any one of the principal formal sections: exposition, development, or recapitulation. Second, it is in the tonic major key without any clearly defined contrasting key. The key scheme within Hure's one-movement sonata is i-blll-biii-i-I v/ith a key relationship succession of 0-1-2-0-0 and a darkness/brightness relationship plan of O-O-3D-O-3B. These keys are abstracted from the beginning of the following formal sections: exposition, second theme of the exposition, development, recapitulation, and second theme of the recapitulation. The key of the second theme 125 of the recapitulation is the same as the final key of the sonata. Hure used the direct key relationship in thirteen instances, the indirect relationship on seven occasions, and the doubly indirect relationship only once in the transition to the coda. The Neapolitan key relationship is only found in its direct form as bll. This occurs twice. First in the second-statement of the second theme of the exposition, and later during the transition to the first theme in the development. The greatest amount of darkness/brightness contrast occurs in the development where the key of biii is 3D, bll is 2D, ii is 2B, v is IB, and iii is 4-B. The brightness degree of *J-B is heard again near the end of the recapi­ tulation with the major dominant key. The fact that the sonata uses approximately twice as many bright keys as dark keys and the existence of a large coda in the tonic major key with a brightness degree of 3B further support this experience of tonal tension. Hure's tonal language in this sonata frequently employs modal relationships. The modal quality of the first theme is a result of the natural form of the minor mode. Modal key relations are found in the use of the subtonic and the lowered supertonic keys. The last statement of the second theme in the development section employs the A (Ex. 25, p. 126)* primary 126

Allegro Un poco rit.

Meas. 129 130 131 132 ftg" £ f ._Pr« U- ppp n =&*= 3s A Dorians T 133 13^ 135 136 te g £ E£ f- FfT ft , A A A P Lhb J HE M

Ex. 25 Hure's Premiere Sonate. Meas. 129-136. (Copyright Editions Salabert, Paris. Used by permission.) 127 key of the development section is the mediant and the minor mediant. The relationship of tonic to mediant is also found in the exposition between the keys of the first and second themes. Here, the second theme is in the relative major. The "minor to major" relation between these two themes is retained in the recapitulation when the second theme is stated in the parallel mode of the tonic key. The key scheme within the second theme section of the exposition is blll-bll-bVII, the tonic notes being A-flat, G-flat, and E-flat. The intervallic structure between these keynotes is a descending pattern of a major second followed by a minor third. The same intervallic structure comprises the key scheme of the second theme section of the recapitulation: I-bVII-V with the tonic notes of F, E-flat, and C. This results from a transposition of the key scheme in the second theme section of the exposition down a minor third in the recapitulation. The coda consists of a large virtuosic section in the tonic major key. The major tonic has the same effect as the "" found in the final chord of many Renaissance and Baroque pieces. The brilliance of the major mode is enhanced by the fast tempo and toccata-like texture. 128

Vincent d'Indy's Sonate en mi. 0t>. 63 (1907)

Paul Marie Theodore Vincent d'Indy was "born in Paris on March 27, 1851 and died there on December 1, 1931» He was a composer, pianist, organist, theorist, teacher, and author. His musical studies began with piano lessons from his paternal grandmother, Madame Theodore d'Indy, and then later with Marmontel. His reputation as an outstanding piano student came to the attention of Louis Diemer who arranged for d'Indy to study harmony tinder Albert Lavignac. By the age of sixteen d'Indy was determined to become a composer, and he intently studied the Traite d'instrumenta­ tion of . Around I871 d'Indy made the aquaintance of such famous French composers as Franck, Saint-Saens, Massenet, Bizet, and Alex de Castillon by attending the rehearsals of the conductor, Jules Pasdeloup. He then joined the Societe Nationale de Musique which had been founded in I871 to promote the performance of French music. In 1872 his friend Henri Duparc, convinced him to submit to Franck some of the compositions he had written for the Societe. Upon examination Franck claimed that d'Indy had originality, but lacked skill. It v/as at this time that d'Indy began to study counterpoint, fugue, and composition with Franck and also organ at the Paris Conser­ vatory. 129

In 1876 he was strongly influenced by the music of Wagner when he attended a production of the "Ring" at the new Bayreuth opera house. Leon Vallas, the most famous of d'Indy's biographers, made the following comment concerning the impact of this experiences From that moment he dreamt of "becoming the leader of a French music-drama conforming to the principles and the example of Wagner. His friends confirmed him beforehand in his belief in success and did all they could to encourage him, and this intense, absolute and; be it said, excessive Wagnerism was to have an influence on his work which in a greater or lesser degree may be traced in the whole of his musical output. y As time passed d'Indy's artistic doctrines became quite fix­ ed. After hearing Wagner's, music,• he no longer cared for the type of written by Meyerbeer, Saint-Saens, or Massenet. Although he always admired Berlioz's music, he contended that the tv/o great composers in the history of French music were Rameau and Cesar Franck. His other composer idols were the German composers, Bach, Beethoven, and Wagner. He believed that the good compositional principles of these great composers could all be found in the music and teachings of Franck. D'Indy emulated Franck's chromatic harmony, frequent modulations, technical skill in the development and cyclical treatment of themes,

^Leon Vallas, "Vincent d'Indy," in Grove's Diction­ ary of Music and Musicians. 5th ed., edited by Eric Blom, 10 vols. (New York: St. Martin's Press, 195^;, Vol. k, . p. k68. 130 and preoccupation with academic forms. He proceeded to form and preach a new musical religion, so to speak, which oa Vallas called "Franckism." D'Indy became the director of the Societe Nationale de Musique under Franck's chair­ manship, and until long after Franck's death in 1890 d'Indy's Franckism influenced many young composers through the branches of the Societe not only in France, but also abroad. His influence was further strengthened when he assumed the directorship of the Schola Cantorum in 19(&. By the early 1900*s Debussy was rivalling d'Indy's influence on young composers. The premiere performance of Debussy's opera, Peleas et Melisande. at the Opera-Comique on April 3°i 1902 was compared by critics and students with the new opera by d'Indy, L'Stranger, which was performed on January 7» 1903• Vallas described the result of this comparison to be a further polarization of Debussy's and d'Indy's followers! 'Pelleas' and 'L'Stranger' stood for two entirely incompatible artistic, dramatic and musical tendencies. The new Debussyists, already a little inclined to censure d'Indyism, were soon to condemn it vehemently, while the d'Indyists of the Schola Cantorum persuasion equally vigourously defended the art of their preference and objected to the proclaimed by Debussy, or rather affirmed by the Debussyists on that master's behalf. All the big works written by d'Indy from that time on seemed like admirable justification of his teachings at the Schola Cantorum.

20Ibid.l p. ^69. 21Ibid., p. 4-71. 131 D'Indy's Sonate en mi. Op. 63 for piano is one such v/ork v/ritten in 1907, about four years after the Debussy and d'Indy camps had formed. This composition was highly criticized by the Debussyists since, as Vallas claimed, it was "a rather too systematic composition which more rigidly than any other applied the principles of the great pp Schola Cantorum teacher." Among those who criticized the piano sonata was one of d'Indy's own students, Deodat de Severac, who made the comment that "the cyclic theme generally appeared as a true matter of a rational mechanism of which the plastic effect is as cerebral as possible." 23J Debussy, himself, commented that the sonata was too intellectuals It contrives•, constructs, and invents themes which wish to express ideas; it develops and modifies them at the discovery of other themes which represent other ideas. It is metaphysics, not music.

22Ibid. 2^Cortot, La Musiaue francaise de •piano.'vol. 3» P» 1^7: "Le theme cyclique apparait generalement comme un veritable sujet de mecanique rationnelle dont 1'effect plastique est aussi cerebral que possible." oh.Ibid. : "On combine, on construit, on imagine des themes, qui veulent exprimer des idees, on les developpe, on les modifie a^la rencontre d'autre themes qui represen-: tent d'autres idees. On fait de la metaphysique, on ne fait pas de la musique." 132

The sonata was dedicated to the pianist and friend, Blanche Selva, who praised its construction. The sonata received few public performances at the time it was written, and it is seldom performed today. Perhaps this is due to the fact that the technical mastery of the sonata is "beyond the capability of many pianists. It was recorded by Vladimir Pleshakov in 1972. Pleshakov praised the work with the following statement: "It is not the martinet or the intolerant puritan, but rather the sensitive and robust musician that comes through in the piano Sonata which d'Indy wrote in I907."25

Table 15 on page 133 shows an analysis of the form and tonalities within each of the three movements of this sonata. The first movement is not in the typical sonata- allegro form, but it consists instead of a theme and four variations with a large introduction section and a return of the theme section. The second movement is a complex scherzo and trio form with two trios and a large coda . section. The third movement is the most extended form based on the sonata-allegro model with a large introduction section and a second development section. D'Indy has omitted the slow movement usually found in the four- movement sonata plan.

2%ladimir Pleshakov, jacket notes from D'Indv's sonata in K minor (Orion 7266, C1972). . . Table 15 D'Indy'c Sonato en mi. On. 63. Analysis ol' Form and Tonality..

Form Kev K.Rel E/2 Intro i (Era) 0 0 Th i 0 0 II Var I i 0 0 32 Var II i 0 0 Var III I 0 3B 11 Var IV biii-blll 2-1 3D-0 Th I 0 3B A

Scherzo I (CM) 0 0 27 Trio I bVI 2 to 5^ Sclicrzo I 0 0 17 Trio II iv-IV 2-1 to-lD 5 Scherzo I 0 0 262 Coda (Trio I) bVI 2 to 16 (Scherzo) I 0 0 6

Intro i (Era) 0 0 j»8 Exp 1st Th I 0 3B 27 trans bii H2 5D 11 2nd Th Ill-iii-bii-III 3-2-112-3 A-'H)-5B-A wt Dov I 1st Th bVI3 1 IB 17 trana biii 2 3D 13 2nd Th VI 3 A 8 1st Th II 3 5B 15 X Th bvi 2 to 23 Roc 1st Th I 0 3B 25 trans I 0 3B p 2nd Th bill 1 0 Dev II 1st Th i 0 0 M X Th I 0 3B 19 1st Th I 0 3B 14 and X Th combined 2nd Th I 0 3B 6 13^

The' sonata incorporates three cyclical motives which

M d'Indy identifies as "x. y» and z." Both the "x and "y" motives occur in all three movements, and are first exposed in the introduction to the first movement. The "x" motive is abstracted in Example 26 from the first two

Modere (J =80)

Meas. 1 2 :

1,1 • ^j ~ 1 e s

Ex. 26 D'Indy's Sonate en mi. Op. 63. First Movement, "x" Motive, Meas. 1-2. (Copyright Theodore Presser Co. Used by permission.) measures of the sonata. This motive is the source for the first movement's theme (Ex. 27, p. 135). In the second trio of the second movement the "x" motive is given a new interpretation (Ex. 28, p. 135). This motive is found again in the introduction to the third movement where the first three measures are identical with the opening measures of the first movement. The "x" motive plays a much more important part in this last movement. It becomes a full theme ("X" theme) at the end of the first develop­ ment section (Ex. 29, p. 136 ). This theme in the key of 135

Modere (J=80) Thema

Meas. 3K 35 36 37 r ttv H m e: f S)'w*p|cmeM-f-

Ex. 27 D'Indy's Sonate en mi. Op. 63. First Movement, Meas. 3^-37• (Copyright Theodore Presser Co. Used by permission.)

Tres anime («l =18^)

Meas. 116 117 r~ "x" Motive ~| f¥=^= , i ii • > • ' —^ 17 ST r > — U ' v ' L-i * 1 V— C:

Ex. 28 D'Indy's Sonate en mi. Op. 63. Second Movement, Meas. 116-117. (Copyright Theodore Presser Co. Used by permission.) 136

Modere (J=72) Thema Meas. 183 18^ . 185

Ifl rff m fn. £ 3 p, ^ m«v^oe jlj v j v j ^ p=i

c : 186 187 pn /p to- t i M-~ 'LJ !

Ex. 29 D'Indy's Sonate en mi. Op. 63. Third Movement, "X" Theme, Meas. 183-187. • (Copyright Theodore Presser Co. Used "by permission.) 137

C minor is presented in the voice indicated as being played maraue. In the second development section the "x" motive constantly interrupts the development of the first theme (see meas. 295~297f 304—306, and 312-321). The full "X" theme enters at the end of the second development section in the key of the tonic major (meas. 322-34-0) and combines with the first theme at the end of the movement (meas. 3^1~350). Example 30 displays the second cyclical motive, the

Modere (J-80) Meas. 7 8 9

b:

Ex. 30 D'Indy's Sonate en mi. Op. 63. First Movement, "y" Motive, Meas. 7-9• (Copyright Theodore Presser Co. Used by permission.)

"y" motive, in its original form. This motive is found in the first movement at the end of both theme sections (meas. 64-67 and 271-274-) and at the end of the first three variations (see meas. 96-98> 128-132, and 164—170). The theme of the scherzo in the second movement is derived from the "y" motive (Ex. 31» P. 138). Three themes are presented in the second theme section of the third movement 138

Tres anime (J =18*0 Meas. 2 p"y" Motive "i, M- A DB -D<- .

Gi

Ex. 31 D'Indy's Sonate en mi. Op. 6*3. Second Movement, Scherzo Theme, Meas. 2-3. (Copyright Theodore Presser Co. Used by permission.)

(Ex. 32, p. 139). All of these are related to the "y" motive. The first theme in the second theme section is heard again at the end of the sonata (meas. 355-357). The "y" motive may also be the source of the transitional passages in this last movement (Ex. 33» P- 139)• Example 3^ on page 1^0 shows the third cyclical motive or "z" motive as it is first stated in the fourth variation of the first movement. The only other statement of the "z" motive is in the first trio of the second movement (Ex. 35, p. l^o). The use of these cyclical motives strengthens the unity of the various movements in this sonata. D'Indy also showed a concern for the balance of form in his sonata. In the first movement the theme section returns at the end of the movement to balance its presence at the beginning of the movement. This arch concept is also found in the 139

Modere (j =72)

Meas. 87 88 89 r "y" MQ.tiy_e_J3L £3= m At: p e-t e Xpveskri Meas. 90 91 92 93 f-"y" Motive £ s= ea ^ivviiv\. ?? Meas. 107 108 109 110 fy" Motive •-] r klu <• 1 - 7t~vf *~H iw-f" ti€v\ soo+enu CLI'MT f:

Ex. 32 D*Indy's Sonate en mi. On. 63. Third Movement, Meas. 67-89# 93-96, and 107-110. (Copyright Theodore Presser Co. Used by permission.)

Un peu plus anime (J-80) y" Motive Meas.

Ex. 33 D'Indy's Sonate en mi. Op. 63. Third Movement, Meas. 76. (Copyright Theodore Presser Co. Used "by permission.) 140

Moderement anime (J»100)

Meas 175 176 ^3. i4\a /i'c e+ soo+e^J

Ex. 34 D'Indy's Sonate en mi. 0t>. 63., First Movement, "x" Motive, Meas. 175-176. (Copyright Theodore Presser Co. Used by permission.)

Un peu moins vite (J=l68) Espressif

Meas. 28 29 If z" Motive

Eb:

Ex. 35 D'Indy's Sonate en mi. OP. 63. Second Movement, Meas. 28-29. (Copyright Theodore Presser Co. Used by permission.) second movement where the formal pattern, scherzo—trio I— scherzo is found on "both sides of the second trio. In the third movement the is not present, but the exposition and first development are balanced by the recapitulation and second development. The concept of an arch is also inherent in the of the three movements, "Modere," "Tres anime," and "Modere," and in the existence of large introductory sections thematically preparing the outer movements. The tonal organization of the sonata also adds a strong cohesive force. The key scheme of I-bIII-I is found at the end of both the first and last movements. A similar key succession of i-blll-i, or E minor—G major—E minor, outlines the principal tonalities of the three movements. The key of G major is the relative major of E minor. The use of the relative major for the middle movement is typical of many of the piano sonatas in our standard reper­ toire. The key relationship plan of the movements in d'Indy's sonata is 0-1-0 with no darkness/brightness contrast. The substitution of parallel modes is common in the sonata. The key succession of i-I occurs in the first and third movements, biii-blll in the first movement, III-iii in the third movement, and iv-IV in the second movement. These substitutions of parallel modes always cause a darkness/ brightness succession of A-^B. The key succession of ]A2

Xu-iii produces the key relationship succession of 3-2, while both biii-blll and iv-IV produce 2-1. The first movement has the fewest darkness/brightness contrasts. Bright keys are more common in this movement. The second movement uses dark keys exclusively with a pronounced use of 4D. It is in the third movement that the greatest amount of darkness/brightness contrast occurs. The tonal tension plan of this movement includes the dark extreme of 5D and the bright extreme of 5B. The relaxation or tension of these keys is enhanced by the darkness/ brightness succession in the exposition of this movement:

3B-5D-A-*KB-5D-A. The succession of 5B-^D-3B occurs from the end of the development to the beginning of the recapitula-. tion. A symmetrical pattern is found in the tonal structure of the second movement. The keynotes of these tonalities are shown in Example 36. Here, we see the arch concept again. The brackets in the example reveal the progression I-bVI-I on both sides of the minor-major subdominant.

H5 : £2 Q. 2 2—U G: I bVI I iv IV I bVI I • i 1 . l I • '

Ex. 36 D'Indy's Sonate en mi. Op. 63. Second Movement, Tonal Structure. 1^3

Summary

Four French piano sonatas were chosen as representa­ tive of the period 1900 to 1915: Paul Dukas' Sonate en mi bemol mineur (1900), Theodore Lack's Sonate Pastorale. Op. 2 53 (1906), Jean Hure's Premiere Sonate (1907)> and Vincent d'Indy's Sonate en mi. Op. 63 (1907). Table 16 displays the formal scheme in these sonatas.

Table 16 Summary of Form in the Sonatas from I9OO-1915.

Connosgr ESy.t II Mvt XII Mvt IV (date J Dukas (1900) Sonata-allegro Sonata-allegro Scherzo and -allegro lack (1906) Variation Form Song Forra Scherzo and Trio Sonatina Kurc (1907) Sonata-allegro d'Indy (1907) Th and Var's Scherzo and Trio Sonata-allegro

Dulcas showed a preference for the sonata-allegro form in his sonata. The first, second, and fourth movements of this four-movement sonata are in this form. The last move­ ment is the most extended form comprising the following five parts: fantasia-like introduction, exposition, first development, recapitulation, and second development. The third movement is a scherzo and trio with the textures of a toccata for the scherzo and a three-voice fugue for the trio. Sequencing of thematic fragments was Dukas* principal developmental device, but there is also one instance of cyclical theme relations in the trio of the third movement. 3JM-

Lack's piano sonata was chosen for analysis because it is.the only known twentieth-century French piano sonata that is programmatic. The pastoral story that is associated with the sonata is compatible with the individual forms of the four movements. The variation form of the first move­ ment represents the reiteration of the shepherds' song. A simple ternary form in the second movement effectively allows the duet of the cuckoo and quail to be interrupted by thunder in the middle section. Gaiety at a shepherds' party constitutes the scherzo in the third movement, while the cantabile trio section illustrates the arrival of shepherdesses. The first theme of the sonatina form in the fourth movement is characterized by a strong beat, which suggests the dancing of the bourree. In contrast the lyrical style and piano marking of the second theme is supposed to characterize a shepherd girl. The piano sonata by Hure is a one-movement work in sonata-allegro form with a large coda section. By stating the first theme and a motive from which the second theme is constructed, the opening measures of the sonata function as a brief introduction to the exposition. The first and second theme? are related by their first three notes, the latter using the retrograde of the former. A new theme is introduced in the development section, which also uses this three-note motive. The coda has little thematic signifi*- ' cance, and is simply a toccata-like fanfare in the major 345 mode of the principal tonality. It is preceded by its own introduction, and it does not follow a closed in the tonic key. D'Indy's sonata is a three-movement sonata. Unlike the three-movement sonatas of Mozart and Haydn, d'Indy's sonata lacks a slow movement. The first movement is a theme and variation form; the second is a scherzo and trio; and the third is in sonata-allegro form. All of these forms are different from their typical Classical counterparts. The theme section of the first movement returns after the last variation. A large introduction section precedes the first theme section. The scherzo and trio form has two different trios and a coda section: Scherzo—Trio I— Scherzo—Trio II—Scherzo—Coda. Part of the first trio is contained in the coda. This is followed "by a partial rendition of the scherzo, which rounds-out the form. The third movement sonata-allegro form contains a large intro­ duction and a second development section. D'Indy employed three cyclical motives in this sonata, tv/o of which are presented in the first movement's intro­ duction. These tv/o form the "basis of some of the themes found in all three movements. One of the motives is developed into a full theme in the last movement. This theme occurs near the end of that movement where the most climactic passage of the entire sonata occurs. Ik6

Table 17 Summary of Tonal Organization in the Sonatas fron 1900-1915

Composer Kov Scheme K Kol (date)

EukasJlgOO) i-rv-tvi-i 0-2-2-0 0-2B-(tD-0 I-IV-I-I 0-1-0-0 0-1D-0-0 Hure (1907) l/x 0/0 0/3B d'Indy (1907) i-blll-i 0-1-0 0-0-0

Table 17 shows the key scheme of the movements in these four sonatas. Dukas* key scheme is similar to • . Beethoven's I-vi-IV-I in his Sonata in E-flat Ma.ior. Op. 27. No. 1. Beethoven's sonata, however, has a key relationship succession of 0-1-1-0 and a darkness/brightness plan of 0-0-1D-0. About the only similarity in the key relationship and darkness/brightness relationship is the use of a dark key in the third movement of both sonatas. The concept of tonic—subdominant—submediant key succession also occurs at the beginning of the first movement as i-iv-bVI. The subdominant key is unique to the first movement. It occurs during the second statement of the first theme in both the exposition and recapitulation. Its key relationship is direct with a darkness degree of ID. The submediant key plays an important part in the first and fourth movements. It is the key at the beginning of the development section in the first movement, and occurs during the second theme of the exposition in the fourth movement. In both circumstances the relationship is direct with a darkness degree of ID. The "minor to major" mode relationship found between the first and fourth movements is retained in their recapitulation sections. Both the second and fourth movements show a choice of the subtonic major key at the beginning of the development section. Lack's key scheme for the sonata is I-IV-I-I, a scheme which is identical with Beethoven's Sonata in C Ma.ior. Op,. 52 ("The Waldstein Sonata") and was typical in the four- movement piano sonatas of the late-Classical period. Within the movements we find the second and fourth movements use the key succession of tonic—mediant—supertonic-tonic. The key of the lowered leading-tone is important in the first and third movements. In the third movement the minor subtonic key serves a doubly indirect relationship, and its darkness degree, 5D» is the most extreme degree in the entire sonata. Hure's one-movement piano sonata begins in F minor and ends in F major. The key relationship between the first and second themes in the exposition is tonic minor and relative major. For tonal unity the major tonic key is used for the second theme in the recapitulation, thereby preserving the "minor to major" mode relationship of the two themes. The development section begins and ends with the parallel minor of the relative major. In both the exposition and recapitulation the first theme is originally 1^8 stated in- the tonic minor key and then in the minor key of the dominant. The key succession in the second theme section of the exposition is transposed down a minor third in the recapitulation. D'Indy's key scheme for the three movements is a traditional relationship of tonic minor—relative major— tonic minor. The same relationship is found at the end of the first and last movements. Substitutions of parallel modes is common. Such key successions as i-I, biii-blll, III-iii, and iv-IV are found. The greatest amount of darkness/brightness contrast is found in the last movement with such successions as 3B-5D-A-^B-5D-A and 5B-to-3B at the beginning of the exposition and the end of the develop­ ment, respectively. A key scheme with an arch design of I-bVI-I followed by iv-IV with a return to I-bVI-I is found within the second movement. Table 18 on page 1^9 is a comparative display of the frequencies of the intra-movement key relationships and darkness/brightness relationships in these four sonatas. The information in this table is dravm from the chapter tables that presented analyses of form and tonality in French piano sonatas from I9OO-I915. The figures listed tinder the heading, "No. of Keys," do not represent the number of different keys alone, but also include the reoccurence and immediate repetition of keys when such occasions coincide with the beginning of new formal sections Cable 13 Fresucncioa of Intra-covesent Key Relationship and Dar2ncss/2ri5htr.ccs Relationships in the Sonatas iron 1900-I915.

Coirfosgr Forw iiH No. of V»va JLB22- , 2Z2 , (5ate> 35 553D2D ID 0 A 3 33 *8' 53 z Dufcas (1500) Scnata-allccro 2'>7 20 6 9 3 2 4 £ l l 11 laci ) Variation Fom 57 6 K 1 Kara (1907) Scnaia-ailecro 255 KL 20 13 3 2 2 21 5 2 3 d'lndy (19C7) Th ar.d Yar's 282 8 6 1 1 5 2

IX Mtas (1500) Sor.ata-allccro 151 I* 13 4 lack (190S) Seng Fom 30 3 2 2 3 2 1 i-lniy (1907) Schcrso and ?rio 205 1 3 1 *

III Eukas (19C0) Scherzo and Trio 555 5 4 1 4 lack (1905) Sehcrzo And "rio 112 7 6 1 £ d'lndy (1907) Sonata-allegro 360 19 3 2 5 «• 2 11 3 3 1 5 11

IV D-jiss (1900) Sonata-allegro 509 13 9 ft lack <19C£) Sosatir.a * 9 7 2

£ VO 150 in the sonatas. Consequently, since sonata-allegro form has a greater number of formal sections than most other forms, Table 18 displays a greater number of keys in those movements having sonata-allegro form. The tonic relationship is the most common key relationship in every sonata, except for the first movement of Dulcas' piano sonata, in which the direct relationship is more frequent. The direct relationship is also very common in Hure's sonata and in the last movement of Dukas' sonata. There are more indirect than direct relationships in the second movement of Dukas' sonata and in the second and third movements of d'Indy's sonata. The doubly indirect relationship is rarely used. It is found once in Hure's sonata and in the third movement of Lack's sonata. However, d'Indy's third movement has more doubly indirect relation­ ships with four present than the two existing direct relationships. The unconnected key relationship does not occur in these sonatas. The darkness/brightness display in Table 18 shows that the neutral D/B relationship of keys is the most common with the exception of d'Indy's second movement where there is an equal number of 4d relationships, and d'Indy's third movement where 3B is most common. The accumulative number of dark and bright degrees in each movement may be calculated by multiplying the number of occurrences of a key by the number of dark or bright 151 degrees in that key. For example, three occurrences of a key with a dark degree of 5D would result in an accumulative value of 15 dark degrees. If one were to assign "D" to those movements in which the accumulative number of dark degrees outweighed the bright degrees, and "B" to those movements in which the opposite were true, then the movement sequence in Dukas* sonata v/ould be designated as D-B-B-B. Lack's sonata would be D-B-D-D, and d'Indy's sonata would be B-D-B. Both Dukas and d'Indy have a bright relationship dominating their final movements. These two sonatas are also the only two works to use ambiguous D/B relationships and the extreme relationships of 5D and 5B with the exception of one 5^ key in the third movement of Lack's sonata. Some other similarities exist between the piano sonatas by Dukas and d'Indy, perhaps because they were both disciples of Franck. Both sonatas use a tonal language that is similar to Franck's. These two sonatas are considerably larger than those of Lack and Hure. A large introductory section precedes the sonata-allegro form in their final movements. The development section in d'Indy's sonata-allegro form and in the sonata-allegro form of Dukas' second and fourth movements begin in the key of the lowered supertonic. The second theme section in the final movement of both sonatas contains a group of three themes. Both sonatas display cyclical technique and a 152 highly chromatic tonal language. Other than their brevity, the only significant commonality between the sonatas by Lack and Hure is their neo-modal character. Lack's sonata is Neo-Baroque, while Hure's is Neo-Romantic. The following chapter discusses the piano sonatas from 1916-1930. A- greater number of French piano sonatas were composed during that period. Their trend shows a turning away from the four-movement piano sonata and traditional thematic development techniques. CHAPTER FOUR

SONATAS: 1916 TO 1930

This chapter discusses the stylistic period of the French piano sonata from 1916 to 1930. Eight French piano sonatas are knov/n to have been composed and published during 1916-1930 (see "Appendix and Title Index" on pages ^03-4-0^). For the most part, the piano sonatas of this period have a Neo-Classic language and length incorporating little from the Franck "school" of compositional technique. The following four piano sonatas have been chosen for analysis in this chapter: Darius Milhaud's Sonate * (1916), Pierre de Breville's Sonate en re bemol (1923)$ Yves de la Casiniere's Sonate en si mineur (1926), and Henri Sauguet's Sonate en re ma.ieur (1926). These particular sonatas have been chosen, since each contributes a slightly different view of the piano sonata. Milhaud's sonata uses folk-like melodies, dissonant sonorities unprecedented in the French piano sonata, and displays a preoccupation with novel formal structures. Breville's sonata is an excellent example of the one-movement piano sonata of this period. It represents the existence of an older tonal language, that of Debussy's idiom, during

153 15^

1916-193°* Casiniere is not a well-known composer, but the scale materials in his sonata foreshadow those in Damase's piano sonata (19^3)* Sauguet's sonata represents, more than any other French piano sonata of this period, the realization of Satie's aesthetics in a piano sonata.

Historical Setting

Non-musical events in France during the years 1916- 1930 did affect the musical life of the country. The most important of these were the First World War (1914—1918) and the economic collapse after the 1929 stock market crash. The First World V/ar was immediately followed by a renewed interest in nationalistic music in France, while the decade of economic depression following the "crash" of 1929 found publishers less willing to accept new music. Milhaud's sonata was written during the war years, in a brief period between the end of his musical schooling and his involvement in the war as the secretary to the French minister of from 1917-1918. Although many French composers and artists were engaged in the First World V/ar, some new and experimental ideas in the arts were born during these years. Such terms as "dadaism," "," and "expressionism," were coined in the

years 1916-1917.1 French composers such as Koechlin and

^"Hansen. An Introduction to Twentieth Century Music. P. 153- 155

Milhaud were beginning to apply a neo-classic style in their compositions. Neo-classicism in Russia during the war is evidenced by Prokofiev's Classical Symphony of 1917. Picasso, who spent a great deal of time in France, entered 2 what art critics call his "Classical Period" in 1915. By the beginning of the First WorId War, Debussy's music had become more abstract in expression and austere in texture. During the war period he began to compose his first sonatas: Sonata for . and Harp of 1916 and the Sonata for Violin and Piano of 1917* After the First World War, French music was re­ vitalized by the nation's good economic condition and renewed interest in a nationalistic music. The French composer and author, , described the French musical activities following the war: During 1919-29 French musical life flourished in an extraordinary manner. The number of composers and virtuosos in Paris was quite large, and one could count on at least five or six concerts a day in the various theaters and concert halls. Publishers welcomed new music.J Some young composers gathered in groups not only for aesthetic reasons, but also for promotional strength. Erik Satie (1866-1925) had a strong influence on two of

2Ibid. 3 Henry Barraud, "France," trans. Royal S. Brov/n in Dictionary of Contemporary Music. John Vinton, ed. (New York: E. P. Dutton, 1971),. p. 250. 156 these groups, namely and L'ficole d'Arcueil. Satie had studied counterpoint at the Schola Cantorum from 1905 to 1908, and may have "been aware of the polarization of the Debussyists and d'Indyists around 1907. The Schola Cantorum teacher, Vincent d'Indy, sought a new French music based on the musical aesthetics of Wagner. Although Debussy as a mature composer had rejected the aesthetics of Wagner, his impressionistic language was actually an outgrowth of Wagner's language. Lockspeiser made the following statement concerning Debussy's language as an extension of Wagner's vague sense of tonality: ...the work of Debussy, as we see it today, achieved no more, harmonically, than was expected from any successor or Wagner. It broke down the rigidity of the tonal order a little more effectively, but the principles of tonality were not relinquished. Erik Satie offered a third alternative. Since the three Gvmnopedies for piano of 1888 his music stressed simplicity and the avoidance of the seriousness and complexity found in Wagner's music. Satie's aesthetics were codified in Cocteau's Le Coa et 1'Arleguin of 1918, and these principles served as an ideal to the post- impressionistic generation of composers writing immediately after the First World War.

LL Lockspeiser, Debussy. Vol. 2, p. 230. 157

The group of six composers, which came to be called Les Six in 1920, originally named themselves Les Nouveaux Jeune ("The New Youth"). The members were (1888- ), (1892-1955)» Germaine Taille- ferre (I892- )., Georges Auric (I899- ), (1899-1963)» and Darius Milhaud (1892-197*0 • The music of these six composers represented a reaction against the refined impressionistic writing of Debussy and Ravel. The first piano sonata by Milhaud was composed four years before the group was named Les Six. However, dates the association of these six composers as a coterie back to the year 1916, the same year in which Milhaud wrote his first piano sonata.-^ In 1916, Milhaud was already writing in a post-impressionistic style. The influence of Stravinsky's music, of his friends, Charles Koechlin (1867-1950) and Erik Satie, and the results of his own experiments in polytonality are evidenced in this sonata. A similar coterie, L'ficole d'Arcueil was formed in I923. Henri Sauguet (1901- ), Henri Cliquet-Pleyel (189*1— ), Roger Desormiere (i898-1963), and (1906- ) were members of this group. The name, L'flcole d'Arcueil ("The School of Arcueil") was derived from the suburb where their leader, Erik Satie, lived. Sauguet's

< Jean Cocteau, jacket notes for the recording, Le groupe des Six, trans. Sherry Mangan (Angel 35117/35118, C1953). 158 piano sonata of I926 shows the strong influence of Satie's writing style with its simple diatonic sonorities and repetition of sections without development. Pierre de Breville and Yves de la Casiniere were not associated with any group. Breville*s sonata reveals a tonal language that borrows characteristics from Franck and Debussy. His piano style is a mixture of Faure and Ravel. Casiniere's sonata is more modem than Breville's. His counterpoint, sonorities, and austere textures resemble those of Koechlin and Milhaud.

Darius Milhaud's Sonate (1916)

Darius Milhaud (1892-197^) composed and published his first piano sonata in 1916. He was not internationally known as a composer at this time. It was not until 1920 that Milhaud became known to the general public as a composer with a modern style. His fame spread in 1920 as a result of an article by in "Comoedia" of A • January 16, 1920 in which the author grouped Milhaud with five other young French composers and named them "Les Six." Milhaud had associated himself with the other five composers in 1916, and they soon called themselves "The New Youth."

^"Darius Milhaud," Baker's Biographical Dictionary of Musicians. 5"th ed.,.rev. Nicolas Slonimsky (New York: G. Schirmer, 1958), p. 1090. / 159

All six composers were trying each in their own way to develop a new sound in French music, but they did not use the same tonal language in doing so. Milhaud's language is primarily diatonic, "but he is able to create bold dissonances through the use of polychords and polytonality. Milhaud's modernistic tendencies date back to his days as a student at the Paris Conservatory, which he had entered in I909. There he studied harmony with , counterpoint with Andre Gedalge, fugue with Charles- Marie Widor, orchestration with Paul Dukas, and composition with Vincent d'Indy. Among his friends were the modernistic composer Erik Satie and the nationalistic poets Jean Cocteau and Paul Claudel. During this time Milhaud became a good friend and admirer of Charles Koechlin, a fellow pupil of Gedalge: "I loved his music, his harmonic experiments, and the marvellous range of his mind."''' There are similar compositional techniques in the works of these two com;-* 1 posers. In both Milhaud's Sonate (1916) and Koechlin's Pavsages et marines. Op. 63 (1916) for piano passages of parallel fourths and fifths and the superposition of these • intervals are found. Both compositions contain bitonal passages and use melodies reminiscent of either medieval

7 'Darius Milhaud, Notes without Music, ed. Rolloe H. Myers, trans. Donald Evans (London: Dennis Dobson, 1952), P- ^9. . . . 160 songs or folk songs. In 1906, when Koechlin was 39 years old he began a period of sonata writing that lasted until 1929. He wrote eleven sonatas during this period, none of which, however, is for solo piano. The first of these sonatas, the . OP. 53 (1906-1915) was dedicated to Milhaud. This sonata, like Koechlin's Favsages and Milhaud's Sonate of 1916, also contains bitonal passages. Both Milhaud and Koechlin admired the music of . In his autobiography Milhaud described a conversation with Koechlin about Stravinsky's music that took place at Milhaud's home in 191*)-: We talked together about music discussing the Sacre du Printemps which we hailed with such enthusiasm at its first performance a year before. We not only admired its violent rhythms, its harmonic discords and polytonality, all of which had been foreshadowed in Fetroushka but, on quite a different plane, the novelty of the work. In 1915» after having analyzed certain polytonal passages in the music of , Koechlin, and Stravinsky, Milhaud embarked upon a systematic study of polytonality: I set to work to examine every possible combination of tv/o keys superimposed and to study the effect of inverting them. I tried every imaginable permutation by varying the mode of the tonalities making up these chords. Then I did the same thing for three keys.y Polychords and polytonality permeate many of Milhaud's works, especially those that immediately followed this 1915

8Ibid.. p. 50. 9Ibid.. p. 105, 161 experiment: piano sonata (1916), the opera, Les Choephores (1919), and the five little symphonies for small orchestra (1917-1922). Milhaud composed a large number of works, but we only find two solo piano sonatas (1916 and 19^-9) and a sonatina for solo piano (1956). He also composed eight sonatas for other instruments. Two of these sonatas precede his first solo piano sonata: a sonata for violin (1911) and a sonata for piano and two (191*1-).

Table 19 on page 16Z is an analysis of the first movement of Milhaud's Sonate (1916). The form of this movement borrows characteristics which are common to the sonata-allegro and rondo forms. The movement is in three main sections. The first section (meas. 1-59) follows the sonata-allegro exposition plan of two themes in related keys. The first theme (meas. 1-39) is in the tonic key of C major, and the second theme (meas. *1-0-59) is in .

D major, the supertonic major key. At this point in sonata-allegro form one would expect the closing theme to follow the second theme and then the beginning of a development section. Milhaud, however, omits the closing theme and places a codetta at the end of the second main section (Ex. 37, p. 163) in a bitonal passage. The second section (meas. 60-134-) suggests the sonata- rondo form. This section begins with the development of the first theme in C-sharp major (meas. 60-63), "but the key Table 19 Kilhaud's So^nte, First Movement, Analysis of Fora and Tonality.

Pom Kev K..n

t-1 163

Decide. 168= J Meas. 107 108 , tilfTvn n ), m T — - . PPF T ^3 C#:

Ex. 37 Milhaud's Sonate. First Movement Codetta Theme, Meas. 107-108. (Copyright Editions Salabert, Paris. Used by permission.) shifts to C major, the tonic key (meas. 6^-69), and then to the submediant major key of A major (meas. 73~79)» This appearance of the first theme in the tonic key and the omission of the second theme in the development section point to the rondo conception. The existence of rondo form is further supported by the entrance of a third theme (meas. 80-JL06) in the foreign key of F-sharp in the Lydian mode in a two-part fugata passage (Ex-. 38, p. 164). The sonata-rondo form thus far is ABAC. The second main section ends (meas. 107-134-) with a codetta followed by a variant

of the first theme (Ex. 39, p. 165), both of which are in the tonic key of C major. It is here that the second return of the A section occurs in the rondo form. The subdominant pedal (Ex. 39)» however, suggests the anticipation of a recapitulation in sonata-allegro form. 161*

Decide 168 = J Measu 80 81 82 . 83

rr« <= 1 *r"> -W ]f re?, V-h4V*vw j

F~r Lydian: &* 85 86 - 00 i-t» V ,1 ! 1i 1 • ') ] Ji J *dS i 11 "T1 ^ •• I ' 1 "! 1 ^' lli)I1 -fi: * 7T' r—;.11 J •! 1 TT7-|^ .4t -ji Jlf Un Mt 1 1 J— ^^^1 ' B Lydian:

Ex. 38 Milhaud's Sonate. First Movement, Third Theme, Ideas. 80-87. (Copyright Editions Salabert, Paris. Used by permission.) 165 Animez Meas. 118 119 ±- .. ^—y -t-—r 7- ft -r~ f *T- *p- I-Cl-J—LJ 1—1 1— -^r-i i i J— J J J J: C: IV Pedal

Abstraction of First Theme Motive r^—r, 1

Ex. 39 Milhaud's Sonate. First Movement, First Theme Variant, Meas. 118-119. (Copyright Editions Salabert, Paris. Used by permission.)

Note the bimetric setting. The third main section (meas. 135-24-4-) is similar to the recapitulation of a sonata-allegro movement in that all. three themes that have been previously stated are here restated, but the key scheme and order of theme appearance are atypical. In the third section the three themes appear in reverse order. The third theme (meas. 135-1540 begins in the subtonic key of B-flat major and modulates to B major in measure 139 and then to F-sharp major in measure 14-2. The codetta theme creates bitonality at the fifth above (F major over B-flat major) in measures 135-138 and at the fifth below (B major over E major) in measures 139-14-2. In measures 146-152 the interval of bitonality 166

compresses to a major second (B major over

Animez Meas. 142 143 5i=± iU- rrc *= 4W- ^ & Ttf , -iJ-

F#: 144 14,5 . _,—| =s= ft"' J^O 'yjj | ±n w^OT -O 4 J, = F//: ** **"1? G#: F#:

Ex. 40 Milhaud's Sonate. First Movement, Meas. 142-145. (Copyright Editions Salabert, Paris. Used by permission.) 168

Mo ins vif

Ex. Milhaud's Sonate. First Movement, Meas. 208. (Copyright Editions Salabert, Paris. Used by permission.) 169 and codetta theme. The key scheme abstracted from the beginnings of the large sections in the sonata-rondo form of this movement is I-bII-IV over bVII-IV ending with I in the coda. This scheme produces a key relationship succession of 0-N1-1 v over 2-1-0 with a darkness/brightness sequence of 0-5D-1D over 2D-1D-0. The two occurrences of an unconnected key relationship and ambiguous darkness/brightness quality are in the use of the key, #IV, during the third theme of the development and coda. The only other statement of the third theme is at the beginning of the recapitulation where three successive bitonal combinations are heard. Table 20 on page 171 provides an analysis of the second movement. This movement is also in sonata-allegro form, but it was conceived on a smaller scale than the first movement. The exposition contains a first theme in G major (meas. 1-29), a transition to the second theme (meas. JO-62), and a second theme (meas. 63-102} in E-flat minor, the lowered submediant minor. The development section begins in C-sharp minor. This key forms a tritone relationship with the key found at the beginning of the exposition. The succession of keys that leads from the key at the beginning of this movement to the key at the beginning of the development section consists of a series of descending whole steps when only the keys 170 of the theme entries are sketched* G major (meas. l)» P major (meas. 26), E-flat minor (meas. 63), and C-sharp major (meas. 103). This succession of keys has a key ; relationship sequence of 0-2-3-0, which shows a gradual move toward the unconnected key of #IV through the indirect and doubly indirect keys of bVII and bvi, respectively. The darkness/brightness succession of these keys is 0-2D-A-A. The succession of keys from the beginning of the development to the end of the movement consists of a series of augmented unisons and mediant relationships (Ex. 42, p. 17l)« C-sharp major (meas. 103)» C major (meas. 108), A major (meas. 139)» A-flat major (meas. 166), F major (meas. 184), and G major (meas. 205). Again, only the keys of the theme entries are being considered in this abstraction. The key relationship succession of these keys is U-1-2-N1-2-0 with a darkness/ brightness sequence of A-1D-2B-5D-2D-0. The key scheme of this movement is I-bvi-#IV-II-I with a key relationship succession of 0-3-U-2-0 and a darkness/brightness sequence of 0-A-A-2B-0. Milhaud used the unconnected key relationship of #1V to characterize the development section where it occurs three times. The same key occurs once in the exposition and twice in the recapitulation. In each occurrence the darkness/ brightness quality is ambiguous. The key of bvi is the 171

Table 20 Hilhnud'3 Senate. Sccond Movement, Analysis of Form and Tonality.

Form Key K Rel as Mea3 £421 Exp 1st Th 1 (GH)-VXI 0-H1 0-5B 1-17 linlc IV 1 ID 18-25 1?8 1st Th bVII 2 2D 26-29 H tran3 bVII-bvi 2-3 2D-A 30-62 2nd Th bvi 3 A 63-70 3! linlc 2-2-U 3B-2D-A 71-35 16 2nd Th bvi 3 A 87-92 6 trsxis V-#IV 1-U 1B-A 93-102 10 Dev 1st Th M U A 103-107 2nd Th IV 1 ID 103-115 I 1st Th W u A 116-120 2nd Th IV 1 ID 121-126 I trari3 ii 1 ID 127-133 12 Reo 1st Th 2-Ml 23-5D 135-155 17 linlc IX 2 23 156-167 12 1st Th bII-V-#IV • Hl-l-U 53-1B-A 163-163 16 1st Th bVII-V-#IV 2-1-U 2D-1B-A 18^-20$ 21 Coda 1st and I 0 0 205-218 14 2nd Th's confined

J,A1 ^m3 jAl J,m3 fM2

Ex. 4-2 Milhaud's Sonate. Second Movement, Outline of Tonal Succession, Meas. 103-218. 172 other key in this movement that has an ambiguous darkness/ brightness quality. It occurs three times in the exposition. Milhaud used three recurring key pairs in this movements V-#IV, #IV-IV, and II-bII. The key succession of V-#IV has a key relationship of 1-U and a D/B succession of 1B-A. This pair occurs in the transition to the development (meas. 93-102) and during the second and third statements of the first theme in the recapitulation. The key succession of #IV-IV has a key relationship of U-l and a d/b succession of A-1d. This key pattern occurs twice in succession in the beginning of the development section (meas. 103-126). The beginning of the recapitula­ tion contains two successive occurrences of II-bII, which has a key relationship sequence of 2-N1 and a D/B succession of 2B-5D. The two themes in this movement are characterized by contrasting meter settings. The first theme is in compound duple meter, while the second theme is in simple duple meter (Exs. 43 and 44, p. 173). Both themes are alternately given equal attention in the development section. The recapitulation (meas. 139-204) contains a further development of the first theme and its linking material with only a brief statement of the second theme 173

Modere

Meas

m p

Ex. 4-3 Milhaud's Sonate. Second Movement, First Theme, Meas. 1-8. (Copyright Editions Salabert, Paris. Used fey permission.)

Ex. Milhaud's jSonate. Second Movement, Second Theme, Meas. 63-70. in the coda (meas. 205-218). Milhaud used less complex development devices in this second movement than in the first. The most interesting thematic treatment is found in measures 184— 204- of the recapitulation where the first motive of the first theme is augmented and played simultaneously with a doubly-augmented version of the first theme's second motive, while the link material is sounded in the bass clef part (Ex. kS, p. 175). Augmentation and the superposition of three motives was also found in the recapitulation of the first movement. Here, instead of enhancing the complexity with bitonality, Milhaud has employed a bimetric setting. Table 21 on page 176 is an analysis of the last movement. The capital letters represent large sections of the form. The small letters are used to identify the various themes. Upon examination, the large letters ABCD reveal a "through-composed" form with a coda at the end. Some of the themes are not restricted to one section of music. The "a" theme occurs in all five major divisions of the form with the exception of section C. The "al" theme is heard in the A and D sections and the coda. The "c" theme is found in sections C, D, and the coda, while the "d" theme only occurs in section D. The "b" theme is also restricted to its own section of music. Although the "through-composed" principle of composition was applied 175

Assez vif 138= J*

Meas. 184 185 A. b-d-' 1 I L_ 3 11 t~ U 3 £ I HH F: M • *• I87 186 ^ -J- -E-

:3=^: -I—* T. 3, Iff

Ex. 45 Milhaud's Sonate. Second Movement, Meas. 184-187. (Copyright Editions Salabert, Paris. Used "by permission.) 176 to this last movement, we find that the reoccurrence of the "a" theme in the tonic or raised tonic key indicates that the rondo form was also being conceived in this last movement.

Table 21 Kilhaud's Sonate. Third Movcraent( Analysis of Form and Tonality.

Form kat ' F Hp* SZi Ho S3 M A a I (CM) 0 0 1-8 8 al I 0 0 9-15 7 a I 0 0 16-23 8 al I-I over bVI 0-0 over 0-0 over 4D 24-27 4 B b • i over bVI 0 over 2 3D over 4D 2G-36 b iv-i 2-0 4D-33 1 a i 0 30 IPX 4 b bvii 3 5D 49-50 2 a bll-i Nl-0 5D-3D 51-57 7 C c i 0 3D 53-65 8 cl i-I 0-0 3D-0 66-73 8 D d I 0 0 74-75 2 a I 0 0 76-79 4 d I 0 0 80-81 2 al bll-bvi Kl-3 5D-A 82-91 10 d bvi 3 A 92-95 4 d and c bll-blll Hl-2 5D-3D 96-104 9 combined d and c I 0 0 105-113 9 combined a and ol I 0 0 114-115 2 combined d I 0 0 116-126 11 a 1 0 0 127 1 Coda al bXI HI 50 128-137 10 c bXI-I Nl-0 5D-1 138-144 7 a I . 0 0 145-152 8 • al 1 0 0 153-165 13

Upon further examination we find that the "a," "al," and "b" themes are related by a common four-note motive, and that the "c" and "d" themes are created through an extension of a previous theme fragment. This technique of thematic unity is frequently called "thematic metamor­ phosis." Here is how Milhaud has used this device. 177

Example k6 on page 178 is a motivic analysis of the themes in this third movement. The pitches of the four-note motives are circled in the themes and abstracted to the right of each theme. The first staff displays the "a" theme in measures 1-4-. The intervallic structure of this four-note motive consists of a descending perfect fourth, followed by an ascending major second, and concluding with a descending major third. The retrograde of this interval:- lie succession is found in the four-note motive of the "al" theme (see the second staff of Ex. 4-6). The original statement of the "b" theme in measures 28-29 is shown in the third staff. An important variant of the "b" theme occurs in measures of the B section, and it is shown on the fourth staff immediately below the "b" theme. The four-note motive is more easily seen in the variant of the "b" theme. The four-note motive here is altered from its original version (see the motive on the first staff of Ex. ^6). The major second is in the opposite direction and the major third is now a minor third. The "c" theme grows out of the "b" theme variant. The "c" theme contains two overlapping four-note motives. The first motive is the same as that of the "b" theme and "b" variant. The second motive, which is circled and abstracted on the fifth staff, is identical in structure with its original four-note motive (see the first staff). 178

"a" Theme (Rythme 3M=J) Meas. 1 2 '3

% 0. f I Vh TM2 H13 "al" Theme (Rythme 144--J ) Mea3 10 11 " * Cs & ^ 3 ^ M2 "b" Therae (Mouvt. du debut 2M-J) M Measj 28 29 30

?! P |I.I2 im3 'b" Variant (I.louvt. du debut 1M*J) Meas ^3 ify .

• •

: JP4 JM2 Jm3 "e" Theme (Mouvt. du debut 144*J) Meas.'" ,58 59 * . "f-

Ci ft -t*es ' ipif TM2AM3 "cl" Theme (Mouvt. du debut lW-J) Meas. 66

J,P4 Tm2 J,m3 "d" Theme (Mouvt. du debut J) Meas. 74

1,P4 ^m3 "d" Theme (Mouvt. du debut 3M=J) Meas. 96

#' Uj*) 5r' LY ^(-+•) ^P4 W* t M2 ^M3 IP

Ex. 6 Milhaud's Sonate, iWotivic Analysis of Themes. (Copyright Editions Salabert, Paris, Used by permission.) 179

An analysis of the two remaining themes, the "cl" and "d" themes are shown on the sixth, seventh, and eighth staves. Two "d" themes are displayed. Upon close examination, the "d" themes are found to be mere rhythmic alterations of the "cl" theme. Only the first measure of theme is given in Example ^6. The four-note motive of the "cl" theme and the "d" theme in measure 7^ have identical intervallic structures. The intervallic structure of the "d" theme in measure 96 recaptures the structure of the original motive. The use of "thematic metamorphosis" as a compositional device in this last movement defines the form as a variation type. All of the themes in this movement are "based on a similar four-note motive. Although the "a" and "b" themes have little in common other than their motives, we find that the "c" and "d" themes evolve from fragments in previous theme sections. Each of the five sections in this last movement begins in some form of the tonic key. The key structure as a cue to form reveals the A and B sections as separate parts of the form with A beginning and ending in the tonic major key and B in the tonic minor. Example 4-7 on page 180 is a notated version of the key structure in each of the five sections. The lower staff in Example 4-7 is a condensa­ tion of the various tonalities through the omission of repeated keys. The intervallic structure of this succession 180

A B CD Coda q |f m||M u » bj if" h"!j"" "ji""" ft" rj h" ""'v'li'r' •* C':I i iv i i bll i i I - - bll bll I bII--I ! bvii i bvi bill

12 3 /f 5 6 7 8 9 10 11 12 13 O , .1 ,| . k r 1 . „ | X tP4- 41.12 tm3 U1TA1 ^ tP** tM2 ^ m3 t A1 U1

Ex. 4-7 Milhaud's Sonate. Third Movement, Tonal Organization.

of keys is indicated below the bottom staff• The first six intervals of the succession are related to the last six by inversion when keys are spelled enharmonically. The interval sizes in the first half are exactly the opposite of the second half. Milhaud has picked the seventh key of C-sharp major as the midpoint in his key structure. This seventh key completes the intervallic pattern of the first half and begins the inversion of the second half. It is probably not mere chance that this seventh key begins in the middle of the movement, that is in measure 82 of a 165-measure movement. The importance of the lowered supertonic major key spelled enharmonically as the raised tonic major is re-emphasized in the coda with the 181 concluding key succession of bll-I. The key relationship succession of the first seven :v keys is 0-2-0-3-N1-0-N1 with a darkness/brightness succession of 0-4-D-3D-5D-5D-3D-5D. The last seven keys have a key relationship succession of N1-3-N1-2-0-N1-0 and a d/b succession of 5d-A-5d-3D-0-5d-0. All key relationships are used in both successions with the exception of the unconnected relationship. The d/b degrees range from 3D to 5D and include the neutral degree of the tonic key. Other important stylistic elements in this last movement are the use of parallel perfect fourths and fifths, subdominant and submediant pedals, bimetric settings, bichordal sonorities, and . The submediant pedal in is used in the accompaniment of the "b" theme (meas. 28-34-). The emphasis on the submediant of • C minor is also found in the accompaniment of the "c" theme (Ex. 4-8), which consists of parallel fourths and fifths.

Mouvt. du debut 14-4-= J "c" Theme Meas. 58 59 b • . £ ' r * ! / !•> — ;> - -{-•f j-rec sec.

j 11 i m b * 4r ~*Z -T- f C :

Ex. 48 Milhaud's Sonate. Third Movement, Meas. 58-59. (Copyright Editions Salabert, Paris. Used by permission.) 182

The coda "begins with a subdominant pedal in C-sharp minor. The simultaneous sounding of two melodies in two different keys in measure 26-27 (Ex. 49) leads to simultaneous chords

Rythme 144 = J' Meas. 26 27 (I J£- L -V •r Li—^ brr Ab: V

Ex. 49 Milhaud's Sonate. Third Movement, Meas. 26-27. (Copyright Editions Salabert, Paris. Used by permission.) of different keys in measures 45-48, 119-126, and 128-134 (Ex. 50, p. 183) to cite a few instances. This same concept of superposition is applied to meters in the "a" theme (Ex. 51» P. 184). Although Milhaud only indicated duple meter for this passage, the upper staff is in compound duple meter (6/8), while the lower staff is in simple duple meter (2/4). These first eight measures of the last movement are also an excellent example of Milhaud's pandiatonicism in this movement. Most of the chords in this passage have no harmonic function. This technique is also found in the "d" theme in measures 74-75 and 80-81. 183

Mouvt. 144 = J

Ivleas. 128" 129

J—rn—******—»—R- —I—*—i '* O*—. , I—*-*- 1 ki L—t=i fc±±=J 1 I „L-i LJ i y L_U £ S* # 0—P *—*- '

*ryr i' i r r r? r r r r r G# 9

Meas. 130 131 $ -Srr -rt-g—> , 4 > y bfc=Jf * 11 »—5—?I 1 I 1» L»—y ' # f f 0 0 TT > '—1» *gjr_ j*.j»

132 133 13^ --..x* »H-

*»- 1 J=S n jr,/ •#—#- ifrf * ; < 'a'uJj F Hi I' i* ? j* f- rf i-i- i^iyFE

Ex. 50 Milhaud's Sonate. Third Movement, Meas. 128-13**. (Copyright Editions Salabert, Paris. Used by permission.) 184

Rythme 144 = J»

Meas. 1 2

1? y ft *T f ' m rrr-, ;^rTT tTTT), 9 r * Li 1 £ ^ ^ .* .i i J J «* i i \ ?: t ^ ® (P -+•' -rH C i IM VM 6 7 8 f. -f-' *r-* .• v m iT1, | ^ t -i i rrJi , ' CjH 7T- f j • J i J—• j -fr- -T- IM VM

Ex. 51 Milhaud's Sonate. Third Movement, "a" Theme, Meas. 1-8. > (Copyright Editions Salabert, Paris. Used by permission.) 185

Pierre de Breville's Sonate en re bemol (1923)

Pierre Onfroy de Breville was bom in Bar-le-Duc on February 21, 1861 and died in Paris on September 2k, 19^9* He originally intended to follow a diplomatic career, but after having studied harmony with Theodore Dubois at the Paris Conservatory he settled on a career in music. He later studied with Cesar Franck, and for the rest of his life remained a faithful admirer. In addition to his composing, Breville taught counterpoint at the Schola Cantorum, directed a chamber music class at the Paris Conservatory between 191^ and 1918, was a music critic for the de France (1935-1938)# and was an active committee member of the Societe Nationale de Musioue. He later became the president of this society and contributed articles to the Revue internationals de Musiaue. QQuryj,$r Musicale. and Revue Blanche. Breville was a prolific composer. In the song category alone he composed about a hundred works. Among his larger compositions are a mass, some motets, an overture to Maeterlinck's La Princesse Maleine entitled

"^The main source for Breville's biographical information is Maria Pereyra, "Pierre de Breville," in Grove's Dictionary of Music and Musicians. Vol. 1, P. 930. 186

La Nuit de decembre. and an opera, firos vainqueur. Norman Demuth considers Breville to be "essentially a piano *11 A composer." The Portraits de maitres. Stamboul, Prelude et fugue. Fantasie. S

•^Demuth, French Piano Music, p. 52. 187

Tnblo 22 Breville's Sonat.e an re beinol. • Analysis of Form and Tonality.

Tor'.iio Esaa ll£Li£ bzs Moaa I/th J =135 Asnc7. vite Intro 1 (Dbm) 0 0 1-29 29 a 1 0 3B 30-41 12 b I 0 3B 42-49 8 a bll-I 111-0 2D-3D 50-59 10 b I 0 3B 60-67 8 I.'.oina vite b 1 0 0 68-77 10 c bii 112 5D 78-79 2 b Ill-i 3-0 A-0 00-92 X c bill 2 3D 93-100 1 J =135 lcr Mouvt. a I 0 3B 101-108 8 b I 0 3B 109-114 6 a I 0 3B 115-120 6 b blll-I 1-0 0-3B 121-128 8 codotta I 0 3B 129-147 19 j =90 Arisen animo 0 I-bVII-iv-VII 0-1-1-N2 3B-1B-1D-A 148-222 75 (developmental) -vi-I-vi -2-0-2 -3B-3B-3B Tres lent Intro iv 1 ID 223-231 9 J =60 !'".oin3 lont d iv 1 ID 232-236 5 Tree calinc d bii-I-bvii 112-0-2 5D-3B-2Z) 237-255 19 Vite tran3 bvii-i 2-0 2D-0 256-266 11 d i-vi-I 0-2-0 0-3E-33 267-238 22 r lu.T lont, un pou 0 I-iv 0-1 3B-1D 239-297 9 J-70 'Iroa lont e iv-i 1-0 1D-0 293-307 10 d"315 Yrco ngito Intro i 0 0 308-335 28 a A-I 0-0 0-3B 336-358 23 f I 0 3B 359-366 0 tran3 i 0 0 367-3o8 22 d bv5-VII-jii-vi' 2-!!2-2-2 4D-A-4B-3B 389-422 34 (developniontel) -iv-bVI -1-1 -lJ)-li) 0 IU-i 3-0 A-0 423-443 21 (dcvoloDmontal-) d Il-i 3-0 5B-0 4^4-459 16 (developmental) a bii H2 5D 460-472 13 c bvi-vi 2-2 4';)-3B 473-497 25 c vi-iii-iv 2-2-1 3B-M-1D 493-530 33 codetta i 0 0 531-553 23 a i-lii 0-2 0-4B 55^-573 23 riuo lent, un peu f I 0 33 579-59'* 16 Pres Lent, f 1 0 0 595-604 10 Tres calmo Vito f i 0 0 605-621 17 Coda i 0 0 ' 622-646 25 188 was first' presented in the keys of the lowered supertonic minor and the leading-tone major, which are respectively a half step above and below the tonic key of D-flat minor. The leading-tone key is also found in this development section of the "c" theme. Just as the "b" theme had presented the mediant key above the tonic, the relative minor key, or the mediant key below the parallel mode of the tonic, is heard in this development. The subdominant key anticipates the key of the next major section of music. The following section (meas. 223-307) presents a new introduction and two new themes, "d" and "e." This section is characterized by a slower tempo. The fast tempo returns with "Tres agite" which contains another Introduction section, a return of the "a" theme, and the presentation of a sixth theme, the "f" theme. A transition based on the "f" theme leads to a development section of the "d" and "e" themes. The remaining music (meas. ^60-6^6) divides into two sections. The first consisting of an acc and codetta and the second of an afff and Coda. At no time in this sonata is the key of the dominant, A-flat major or of A-flat minor, heard. Instead Breville's keys are usually thirds or seconds apart.

Table 23 on page I89 shows a further abstraction of the form and tonalities in this sonata. The result is a movement in six sections following a sonata-allegro design. Some of the keys in this reduction are written in their 189 enharmonic equivalent, for example, #vii is equivalent to i, //VII to I, #iii to iv, and #v to bvi. The form consists of two expositions, two developments, and two recapitula­ tions. The first exposition is longer than the second and contains three themes. It is unusual for an exposition in that the first theme and second theme concept is replaced by a ternary structure of abab—bcbc—abab with a key scheme of I-i-I.

Tabic 23 Breville's Senate on re bgmnl, Further Reduction of Form and Tonality.

Teapo Form Key K.R.GJ, 2ZS Moas Ith Fast Exp X Intro i (Dbn)-I-i-I 0-0-0-0 0-3D-0-33 abab/bebe/abab 1-1U7 1^7 codetta Dev I c I-uVTI-iv-VII 0-1-1-N2 3B-1B-1D-A 1^8-222 75 -vi-I-vi -2-0-2 -3B-3B-3B Slow Ezp II Intro iv-i-I do 1-0-0 1D-0-3B 223-307 85 -iv-i -1-0 -1D-0 Fast Dev II Intro i-I-bvi-bVI afdod 0-0-2-1 0-3B-4D-1D 303-'>59 152 Roc I ac codotta bii-bvi-vi-iil M2-2-2-2 5D-!tD-3B-'l3 W0-553 9'-i -iv-i -1-0 -1D-0 Roc II af coda i-iii-I-i 0-2-0-0 0-'fB-33-0 5fr-6!i6 93

The key scheme that is created by abstracting the key at the beginning of each of the six large formal sections is i-I-iv-i-bii-i. This scheme has a key relationship succession of 0-0-1-0-N2-0 and a D/B succession of 0-3B- 1D-0-5D-0. The succession of the parallel mode of the tonic to the tonic key is of major importance in this sonata. It occurs frequently and the succession is found at the 190 very end of the sonata which ends in the tonic key. The D/B succession in this sequence is 3B-0. Only the third theme is developed in the first development section. The second exposition only contains two themes. Its correspond­ ing third theme is not presented until the second develop­ ment. The second development is approximately twice the duration of the first development. It contains the "a" theme from the first exposition, a new "f" theme, and the two themes from the second exposition. The first recapitulation with the second exposition. It should be noted that with the exception of the "a" theme only the third themes of the expositions are found in their respective recapitulations. The form in this sonata is similar in procedure to the Piano Sonata in B Minor by Franz Liszt, which is also in one movement. Both sonatas were based on the sonata- allegro design. Liszt, however, only had one exposition, development, and recapitulation. Breville used six themes; Liszt used five. The impression of a three-movement sonata plan is shaped by the tempo scheme of fast-slow- fast in both sonatas. The "slow movement" of Liszt's sonata consisted of a development section. In. Breville's sonata we find a second exposition in the subdominant key, a typical key for a slow middle movement. Carrying the three-movement idea further in Breville's sonata, each of the three movements begins with a different introductory 191 section. Breville's language was not as progressive as that of Milhaud's in his first sonata. Breville does not use pandiatonicisra, parallel fourths, and polychordal sonorities. Unlike Theodore Lack's sonata, Breville*s language is chromatic, "but his chromaticism is closer to Debussy than to his teacher, Cesar Franck. Breville's sonata has passages using the pentatonic scale (Ex. 52)

Assez vite (J=135) Meas. 66 67 V LIB—A, — [ f> f T . ., . rrr | ~"1 } T~ f' ==—I 1 ° ' ' 11 ;• -r Db: IlmJ

|1> , L- - ) ; 1 R --yC>~4>-0 ^ ' L 1 Pentatonic scale Db: IIm7

Ex. 52 Breville's Sonate en re bemol. Pentatonic Scale, Meas. 66-67. (Copyright Editions Salabert, Paris. Used by permission.) and the whole-tone scale (Ex. 53» P« 192)• In this sonata the pentatonic scale usually resulted from the use of an added fourth in a minor (Ex. 52) and the whole-tone scale from the filling-in of the intervals between the members of an (Ex. 53 )• 192

Mo ins vite

Meas. 71 •aA I IT

-sUS jgpg \N r=F c/r:

1 Augmented triad

-TQ- ll Whole-tone scale

Ex. 53 Brevilie's Sonate en re "bemolt V/hole-tone Scale,.Meas. 71.

(Copyright Editions Salabert, Paris. Used "by permission.) 193

Example 5k on page 19^ shows another passage in the Breville sonata that uses an augmented triad. The passage has a very similar melody and piano style to a section from Debussy's Ballade of 1890 (Ex. 55. P* 195).12 Breville frequently leaves harmonies unresolved. In measures 121-126 the V harmony in F-flat major (meas. 121- 123) simply shifts to the V harmony in D-flat major (meas. 12*1—126) the parallel mode of the tonic key. This dominant never resolves to the tonic root-position chord, but moves instead to the tonic six-four chord in measures 1^0-1^3. The harmonic regression is then in D-flat majors VM-ir

12Claude Debussy, Ballade for piano (Paris: E. Fremont, T903) as contained in ; Piano Music (1888-1905). 2nd ed., revised by Beveridge Webster (New York: Dover, 1972), pp. 5*1-61. 19^

Plus lent, un peu Meas. 95

*= T IXJE "7" -

e s Ira bVIM 3 > ^ T- J C -rr-. -V A ^ ^^-4 —j—1—* * —J 1—F 1 &-= ±=y uu =-Ifi£== C: IM 97 4

poco^'fv-f2.' gffi3c"s0-

EE bVIA 6

Ex. 5^ Brlville's Sonate en re bemol,. Meas. 95-97. (Copyright Editions Salabert, Paris. Used by permission.) 195

Molto Calmato Mea3. 63

pflA c

• a

E: IM 6k

2Lr - &- r * -it A m7

Ex. 55 Debussy's Ballade for piano, Meas. 63-6^. (Copyright Dover Publications, Inc. Used by permission.) 196

Assez vite (,Ul25)

Meas. 1 2

Ex. 56 Breville *s Sonate en re bemol. Modal interchange, Meas. 1-2. (Copyright Editions Salabert, Paris. Used by permission.)

D-flat, are used with equal importance throughout the sonata, such that Breville probably decided to from naming the mode in the title of the sonata. Thus, we have Sonate en re bemol instead of Sonate en re bemol ma.ieur or Sonate en re bemol mineur. It will be remembered that d'Indy also left the mode designation of the title of his sonate mi. OP. 63. Both Breville and d•Indy were students of Cesar Franck. D'Indy's modal scheme is closer to Franck * s principles in that the Sonate en mi begins in the minor tonic and ends in the major tonic.

Yves de la Casiniere's Sonate en si mineur (192.6)

Yves de la Casiniere was born in , France on February 1, 1897.1^ He has led a multi-faceted career as

•^Biographical information is taken from Fred. E. Goldbeck, "Yves de la Casiniere," Grove's Dictionary of Music and Musicians, Vol. PP. ^-5. 197

an organist, composer, printer, and lithographer, As a youth his. ability at organ playing pointed to a promising career in performing, but in 1918 during the First World War he lost his right arm. He soon decided to become a composer. Casiniere proceeded to study counterpoint and fugue with Caussade and composition with Max d'Ollone and Nadia Boulanger. In 1925 he received the first award of the second Prix de Rome. The Sonate en si mineur from 1926 was written during an early part of Casiniere's composing career, and during a time when he was intensely involved in studying, the art of composition. Few of his compositions before his piano sonata are well-known to the public. Among his compositions after 1926 are Symphony (1930), two string quartets (1930 and 19^3)» and other chamber works and vocal music. In 1930 Casiniere became active as a printer and lithographer of music in addition to his work as a composer and teacher. The Sonate en si mineur is' :a three-movement work with the first two movements in sonata-allegro form and the last movement in song form. The tempo pattern of the three movements is "Allegro moderato e deciso" - "Andante" - "Vivace" which is in the tradition of the tempo succession of the Classical three-movement sonata. The key scheme between the movements is i-bV-i. This key relationship is also found within the individual movements. The interval 198 of a diminished fifth is not only applied to key relation­ ships, but also to the relationship between chord roots in succession (Ex. 57) and in superposition (Ex, 58). The

Souple 116 Meas.

IIM bVIM Roots: Bb Pb

Ex. 57 Casiniere's Sonate en si mineur, First Movement, Meas. 30. (Copyright Editions Salabert, Paris. Used by permission.)

Mouvt. du debut J=112

Meas. 55 fci £ -O-o- 1=1

U P

bVIM II(M)

Ex. 58 Casiniere's Sonate en si mineur, First Movement, Meas, 55. (Copyright Editions Salabert, Paris, Used by permission.) 199

lowered fifth scale degree creates a diminished fifth with the tonic degree in the second theme of the first movement (Ex. 59). The scale here consists of the ascending form of the melodic minor scale with a lowered fifth.

Souple J1 = 116

Meas. 31 32 33

% rr

Scale Material i

Ex. 59 Casiniere's Sonate en si mineur. First Movement, Second Theme, Meas. 31-33. (Copyright Editions Salabert, Paris, Used by permission.)

The tonal language and pianistic style of this sonata are similar to that in Milhaud's Sonate (1916) with the use of open fifths, bitonality, bichordal sonorities, bimetric settings, and extensive passages in two-voice texture. Casiniere also achieved a modern effect with the use of the meter, ten-eight, and the unusual scale for the second theme of the first movement (Ex. 59)# Table 2k on page 200 is an analysis of the form and tonalities in the first movement. The movement was written 200 in an unusual version of the sonata-allegro form. It contains two themes which are heard in succession and then in superposition in the exposition, development, and recapitulation. The first theme is shown in the bottom staff of Example 60 on page 201. When the first theme is compared with the second theme (Ex, 59) we find that Casiniere has adopted the characteristics which typify the principal and subordinate themes of sonata-allegro form. The first theme is fast, loud, and angular in contour, while the second theme is slower, softer, and more conjunct in motion. However, these dynamic differences are not retained when the themes are superposed.

Table 24 Casiniere'o Sonate en si rcineur. First Movement. Analysis of Form and Tonality.

Fona E.ReA BZa Meaa Exp 1st Th i (Bm) o 0 1-17 17 1st Th i 0 0 18-29 12 2nd Th vi-bvii 2-2 3B-2D 30-46 2nd Th vi 2 3B '*7-50 'I 1st and 2nd vi 2 3B 51-54 4. Th's combined Dev 1st Th bili 2 3D 55-65 11 2nd Th biii 2 3D 66-71 6 1st and 2nd i 0 0 72-76 Th's combined 5 Roc 1st Th i 0 0 77-93 22 2nd Th I 0 33 99-103, 5 1st r.nd 2nd 1 0 0 104-106 Th's combined 3 Coda 1st Th i 0 o o 107-110 4 1st Th i 0 8 O 111-113 1st Th I 0 119-125 2nd Th I 0 « 126-131 I 201

Allegro moderato e deciso

Meas. 1 jlJ* l £, J ff

Si.- -JR. b: ~O'

T- ' ' '' • a i r i 1 J' _i i ^ ^-R L-e^ Z v v

* )| 'se^pve -Pf e jHarco&az^ n• - - » e3 I 1 8

* > rH—= —j—3 . •!. i,—rjf t i• h i v- i" 1 o- r__ L , ^

Ex. 60 Casiniere's Sonate en si mineur, First Movement, First Theme, Meas, 1-8, (Copyright Editions Salabert, Paris. Used by permission.) 202

The key relationship between the first and second themes in the exposition, however, is not typical of sonata-allegro form. Generally, when the first theme is in a minor key, the second theme is either in the relative major or the dominant minor. Casiniere chose the key of G-sharp minor, which is the minor key on the raised sixth scale degree of B minor. Perhaps Casiniere had thought of the relative major, which is a major key a minor third above the tonic, and chose a minor key a minor third below the tonic. The typical key of the relative major is found in the second theme statement of the development section. Here, it is preceded by the first theme in the parallel minor key of D minor. The "minor to major" relationship of the two themes in the development section is of the parallel keys instead of the relative keys. This parallel relationship is found again in the recapitulation, where the first theme is sounded in the tonic minor and the second theme in the tonic major key. The movement ends with a coda in the tonic major key, a technique which was typical of Franck's minor-key compositions. Example 61 on page 203 shows a further reduction of the tonal organization in this first movement. The tonic key of B minor is left at the beginning of the movement by moving to a key a minor third below. At the end of the movement the tonic key is approached from a key a minor third above. 203

" n- n =

4- m3 Tm2 |m2 Td5 4m3

Ex, 6l Casiniere's Sonate en si mineur. First Movement, Reduction of Tonal Organization,

The principal keys in the middle of the movement are G-sharp minor, D minor, and D major. The two different tonic notes are a tritone apart. The tritone relationship between two prominent keys within a movement was also lit typical of Milhaud's compositions around the early 1920*s, The Roman numeral expression for the key scheme notated in Example 61 is i-vi-bvii-vi-biii-blll-i, Its key relationship succession is 0-2-2-2-2-1-0, Notice the prominent use of the indirect relationship. Its D/B succession is 0-3B-2D-3B-3D-0-0. Table 25 on page 205 is an analysis of the form and tonality in the second movement. The movement is in

"^Virginia Kniesner, "A Study of the Compositional Techniques and Tonal Organization in Darius Milhaud's Six Little Symphonies," unpublished Master's thesis, Ohio State University, 1973• 20^ sonata-aliegro form. It has two principal themes and also incorporates the first theme from the first movement. The theme from the first movement is combined with the second theme in the exposition (Ex. 62, p. 205) and with the first theme in the development section (Ex. 63i p. 206). The first theme in this movement is built on the same unusual scale as the first movement's second theme, that is the ascending melodic minor scale with a lowered fifth degree. The second and third appearances of the first theme in the development section are connected by one measure of a bichordal sonority, which is first found at the end of the first theme in the first movement (Ex. 6k-, p. 206). The bichordal passages are at the interval of a diminished fifth in both movements. The key of the second movement, F major, is also a diminished fifth above the key of the first movement, B minor. The key succession in this second movement consists of keynotes a major or minor second apart with the exception of the last succession of minor dominant down a fifth to tonic major. A very remote key relationship was chosen for the second theme of the exposition. This theme is in the lowered supertonic major key, which is a half step above the principal tonality of this movement. In the development section the second theme is in the leading-tone major key, a half step below the principal tonality. This key then 205

Tabic 25 Casiniere's Senate en si mi.nriiirr Second Movement* Analysis or For/a and Tonality,

22123 ESS K Rol p/B Meas Lth Exp JSt S!1 I (FM) 0 0 1-10 10 2nd Th 1 0 0 11-13 3 2nd Th and bll HI 5D 14-17 h Mvt I's 1st Th combined 1st Th bii H2 A 18-22 5 ' Dev 1st Th VII Kl 53 23-2-6 if 2nd Th VII HI 5B 27-29 3 lot Th and bvii-bVI 3-2 5D-^D 30-35 6 Mvt I's 1st Th combined link v 2 2D 36 1 1st Th v 2 2D 37-te 6 IS5 * 00 ^3-52 10 2nd Th I 0.0 53-57 5 1st Th I 0 0 5S-6O 3

Andante J = 80 Meas. ]A 15 Ffe i ¥ ^wfl si- r tor ¥

177 &"0~• Gb; "1"

Ex, 62 Casiniere's Sonate en si mineur, Second Movement, Meas. 14--15, (Copyright Editions Salabert, Paris, Used by permission,) 206

Andante J =80 Meas

Ex. 63 Casiniere's Sonate en si mineur. Second Movement, Meas. 30-31. (Copyright Editions Salabert, Paris. Used by permission.)

Mvt.. I Meas. 1^

frtp=s= . t\* 1 P 1 |,g 1 f\ R^= - v — 1 'Y'.-Sv y; ^ ^ - 1L- -e:' b: VM

Mvt. II Meas. 36

(J1 Y 01 K =

TT' CS I

Ex, 6^ Casiniere's Sonate en si mineur. First Movement, Meas. 1^ and Second Movement, Meas. 36, (Copyright Editions Salabert, Paris. Usee by permission.) 207 progressed down by seconds to the lowered submediant major key which is followed by the dominant minor key that anticipates the return of the principal tonality. Bitonality is incorporated throughout this movement. Example 65 on page 208 displays the tonic notes of' the bitonal combinations. All of the keynotes are related to the principal tonality of the movement by Roman numerals. The interval between the keynotes of each bitonal combination is indicated above the staff. These intervals have been reduced to simple intervals for ease of comparison. The penultimate interval in the development section is the only instance where bitonality does not occur, Casiniere has used many different intervallic relationships, the most important of which appears to be the tritone. All three major sections of the form end in bitonality at the interval of a tritone. Again, the diminished fifth which is found at the end of the exposition and recapitulation is an important pitch relationship in this sonata. Table 26 on page 209 is an outline of the form and tonality in the final movement. The movement is in song form with an additional section of A in abbreviated form and a coda. There are three themes in this movement, and just as in the first two movements the themes are not only heard in succession, but also in superposition. None of the themes in this third movement are new to the sonata. The 208

Exposition A1 m7 m3 P5 d 5

—ft" V& F: bii bvii bvi V

F: MI bii

Development P4 ra6 m'7 M6 PI Ak <1 M ^ . -e- ~a— •E- b in v vi v bVI bll

VII bvii bVI

Recapitulatic>n A1 P5 A1 ra7 d5 rf Tij i»__ JJ -f -er- —fi - — o-e- bii V bii bvii bV e « I

Ex. 65 Casiniere's Sonate en si mineur. Second Movement, Analysis of Bitonality, 209 first themes of the first and second movements reappear in this last movement. The theme which is identified as "Main Th." is a metric transformation of the second theme from the second movement (Ex, 66, p. 210). A further metrical variation of this theme is found at the beginning of the B section (meas, 3^-^3)i where the theme is set in two-four meter over a rhythmically activated pedal in six-eight meter. Except for the change in meter, we find that measures in the third movement are identical with measures 11-1^ of the second movement.

Ta"ble 26 Cacinierc'c Sonatc en si. minsnr. Third Movement# Analysis of Form and Tonality.

Form i< EZS Hess hSh A Main Th i (3n)-bII 0-II1 0-2D 1-12 12 Main Th 1-bVI 0-1 0-1D 13-?M 12 trr.ns bVI i ID 25-30 6 B Main Th var bV u A 31-k?. 12 Main Th var and V-VII 2-N2 '13-A 4-3-itS 6 Mvt I's 1st Th coribinod •trans Vll-i t'2-0 A-0 ff9_59 11 Kvt II'c lnt Th i 0 0 60-70 11 Mvt I'D 1st Th i 0 0 71-77 7 A Main Th i-bll o-i;i 0-2D 76-39 12 Main Th i-bVI-V 0-1-2 0-n>-

The key scheme of this movement begins with a departure from the principal tonality to the lowered supertonic major key. This progression is identical to the 210

Mvt. II (Andante J-80) Meas. 11 12 4 J ^ V> J m -W' eb:

t\-r 4f

Mvt. Ill (Vivace J.=104) Meas.1 2 =N JL y=3E: J- i f? VTl-f

r . "fv

#S : t t r i =s=

Ex. 66 Casiniere's Sonate en si mineur, Second Movement, Meas. 11-14 and Third Movement, Meas, 1-ty. 211 first succession of keys in the second movement. The third key is the submediant, The raised submediant minor was the second key in the first movement. Example 67 shows the

A B A A1 Coda I 1 Wr, \\ 50 ^—e3 O GO lo °

3=

Icrar 1^3" -®- ~h Tonic Triad

Ex, 67 Casiniere's Sonate en si mineur. Third Movement, Further Reduction of Tonal Organization, keynotes in the different sections of this last movement. Notice the progression of i-bV-i-I that is formed by the first keynote of each section. The key scheme between the three movements of this sonata is also i-bV-i. Ending the sonata in the parallel major key of the principal tonality is a compositional technique characteristic of thv- Franck "school," Seven different keys are used in this movement. When the key of the lowered subdominant major (blV) is spelled enharmonically as III or D-sharp major the result is seven different keys with three of the keynotes being 212

members of the tonic major triad, B, D-sharp, and F-sharp, These are shown as whole notes in the bottom staff, of

Example 67. The remaining four keynotes are a half step away from the root and fifth of the tonic B major triad. The key schemes then of the first and second A sections are i-bll-i-bVI and i-bll-i-bVI-V-i, respectively. Their key relationship successions are 0-N1-0-1 and 0-N1-0-1-2-0 with D/B successions of 0-2D-0-1D and 0-2D-0-lD-^B-0. The key scheme of the B section is bV-V-VII-i, having, a key relationship and D/B succession of U-2-N2-0 and A-^B-A-0. Casiniere's only occurrence of an unconnected key relation­ ship is in this middle section with the use of the key, bV, The A sections show a use of dark keys, while the B section uses one bright key of ^f-B and two ambiguous keys,

Henri Sauguet • s Sonate en re ma.ieur (1926)

Henri Sauguet was born on May 18, 1901 in , • France.^ He claimed that he first became interested'in music while singing plain chants in church as a choirboy. He studied piano and organ at an early age, and when he became sixteen he started studying composition with Joseph Canteloube, Three years later, while still in Bordeaux, Sauguet formed the "Groupe de Trbis" which consisted of

1<5 Biographical information for Sauguet is taken from Ewen, Composers Since 1900. pp. ^91-^93« 213

himself, J. M. Lizotte, and Louis Ernie, The three composers found greater publicity for their works by billing themselves as the "Groupe de Trois," The following year, Sauguet was invited to Paris by Darius Milhaud, who was impressed with the quality of Sauguet*s music. Milhaud and Sauguet became friends and attended concerts together. Sauguet recalls that while in Paris during this time he heard a performance of Schoenberg's Lunaire, shich had a profound effect upon him. In 1922 Sauguet returned to Paris to study composition with Charles Koechlin. He soon met Erik Satie, and began attending "talk" sessions with Roger Desormiere, Max Jacob, and Henri Cliquet-Pleyel at Satie's home in Arcueil just outside of Paris, Here Sauguet was introduced to the more contemporary techniques in French music. During these years Sauguet could not devote his time solely to music, since his musical activities did not provide a sufficient income. This condition changed in 1927 with the success of his ballet, La Chatte. His popularity increased during the 1930's when he wrote a considerable amount of incidental music for plays and motion pictures. Later Sauguet was active as a music critic for L'Europe Nouvelle and Echo de Paris as well as other journals. He was also one of the people responsible for starting such literary magazines as the Revue Hebdomadaire, Candide. and Tout a Vous. 21b

Sauguet has been a prolific composer. He has written seven operas, thirteen ballets, many chamber, orchestral, choral, and vocal works. In addition to the Sonate en re ma.ieur (1926) we find among his works for piano the Trois Francaises (1923)» Trois Nouvelles Franchise (1925)> Romance en ut (1929)» Feuillets d' (1929)» Pieces poetiques (1933-3*0# I»e Bestiaire du petit Noe (1965- 66). The Sonate en re ma.ieur is one of the earlier works for piano. It was composed in 1926 when he was only twenty-five years old. At this time Sauguet had not yet become successful in music, but his personal style had already been formed. Through his association with Koechlin, Milhaud, and Satie, Sauguet had become familiar with modern styles in French music. Sauguet's piano sonata is void of the chromatic language found in the piano sonatas of Franck's disciples, Dukas and d'Indy. Although it lacks the dissonant polychords of Milhaud's piano sonata, the thematic material in both sonatas is predominantly diatonic and has a folk song quality (Ex. 68, p. 215). Sauguet's sonata is a parody of the typical piano sonata from the Classical period. The opening measures of the second movement are reminiscent of Mozart's slow movements (Ex, 69» p, 215). Even Sauguet's transitional passages are Mozartean with their succession of arpeggiated chords (Ex. 70, p, 216), 215 Un poco piu lento

Ex. 68 Sauguet's Sonate en re ma.ieur. Third Movement, Meas. 30-32. (Copyright Editions Salabert, Paris. Used by permission.)

Andante (espressivo) Meas. 1 4 1- $ id . .. . n P le

ri -r-i 1

Ex. 69 Sauguet's Sonate en re maieur, Second Movement, Meas. 1-4. (Copyright Editions Salabert, Paris.- Used by permission.) 216

Un poco piu lento

Meas. 39

n n if/*•Jp 4 l ifrffff-'-l \ ' r h-- j i a-1 = g-^e : 1 1 r £~* f —*A« « jJ • j -1-=M=H — '-1 J— J.! J. G: ^ k-2 liiijXiXi iiji f&szb-rt —1~ i j-y- -L ~ it ~ .—f— W ' rjl r--l 1 p J -—xj i lii As

Ex. 70 Sauguet's Sonate en re ma.ieur. Second Movement, Meas, 39-^2. (Copyright Editions Salabert, Paris, Used by permission,) 217

The thematic process of the sonata lacks continuity in the Classical sense. There are many thematic materials with little development of any single idea. We find different melodic fragments juxtaposed in a patchwork texture (Ex. 71, p. 218). Frequent changes in meter also contribute to this mosaic-like quality. Four different meters are used in the first five measures of the third movement alone. It was probably this "flighty" quality of Sauguet's music which led the critic, Jean Roy, to make the following comment in 1962» Persuaded by the Forains. Caprices de Marianne, and the Second Quatuor. all relatively recent works, I tried with some difficulty to penetrate the music which was composed by Sauguet between 1923 and 1930. Its apparent simplicity perplexed me: somewhere the path was blocked for me by inexplicable obstacles. ...I have realized above all that one should not read Sauguet's music as one would read prose, but instead by breathing the perfume and bouquet, as one would respire a poem.

Jean Roy, Presences contemporaines musique francaise (Paris: Nouvelles Editions Debresse, 1962), p, 288: "Conquis par les Forains, par les Caprices de Marianne, par le Second Quatuor. oeuvres relativement ^recentes, j'ai 6prouve moi-m6me quelque difficulte a penetrer "dans la musique que composait Sauguet entre 1923 et 193Q. Son apparente simplicite me deroutait: ailleurs c'etaient d1inexplicables difficultes qui me barraient la route, ...j'ai compris surtout qu'il ne fallait pas lire la musique de Sauguet comme on lit de la prose mais en respirer l'arome, le bouquet, comme on respire un poeme," 218

Allegro ma non troppo Meas. 21 22 it%v ••) rf I 7 Hf" 1 1 I i -J- J JJ i i i X ruff ^ n t c—•p i 1 ti 1 i=s —L_J L__ Li 1J

23 (\ ti

-ji- Tn *fT1 -n — 17" PT° 26

!• ^ * A 0 -fc.l&HK CJ. . A JL & mm -jn if ^ jlfc; Hi m 27 28

TT7 pr^n

?TlfTTT— •*- — * n =F

Ex, 71 Sauguet's Sonate en re ma.jeur. First Movement, Meas,21-28^

(Copyright Editions Salabert, Paris. Used by permission.) 219 In addition to juxtaposition, sequencing is an important thematic device in Sauguet's sonata, The technique of melodic sequencing was used for the formation and dissolu­ tion of themes rather than for modulation purposes (see especially meas. 35-37 of J:':e second movement and meas, *H- 48 of the third movement). Sauguet's language is similar to both Koechlin and Satie. Diatonic seventh chords are found on all degrees of the scale. His austere textures frequently resulted in incomplete and consequently equivocal identity of chords. Although he.used tonal principles in the resolution of his interpolated chromatic pitches, his diatonic pitches, much like Satie's, often ignore their natural scale tendencies. Many of Sauguet's stylistic traits are also heard in the music of his contemporary, Francis Poulenc, who was also a student of Koechlin and Satie. Royal S. Brown has main­ tained that Sauguet, more than any other composer, represented the aesthetics of Satie» Henri Sauguet...became- even more strongly than Poulenc the most important inheritor of the Satie tradition. Much of Sauguet's work has the subtle , the ambiguous harmonies, the threadbareness, the simplicity, and the refined popular elements found in Satie, whose music represents the epitome of that„ static quality peculiar to French music, '

^Royal S, Brown, "French Music," p. 59. 220

Table 27 on page 221 provides an analysis of the form and tonality in Sauguet's Sonate en re ma.jeur. The indivi­ dual movements are respectively in sonata-allegro form, song form, and sonata-allegro form, a Classical sequence of forms for a three-movement piano sonata. The "fast-slow- fast" tempo pattern also follows the Classical model. The sonata-allegro form in the first movement differs from that of the last movement. The first movement has introductory material which recurs throughout the movement. It is found in the last two measures (meas, 51-52) of the exposition; in the two measures (meas. 89-90) which precede the final statement of the third theme in the development section; and in the coda at the end of the recapitulation. Unlike, the. third movement, the first movement contains three themes. Three themes in a sonata-allegro form is more characteristic of the Romantic piano sonata than of the Classical. The introduction of the third theme in the development section of the form was also the common procedure. In Sauguet's sonata, however, the third theme does not appear in the recapitulation. The third movement has a sonata-allegro form on a smaller scale. There are only two themes and only the first theme appears in the brief recapitulation section. The form of the exposition is unusual for its interpolation of the first theme between the first and second statements of the second theme. The Sable 2? Sauguet's Senate an re sp.icur. Analysis of Form awl Tonality.

Pore Key K_Bsi 2^2 Kcas Lth I. Ex? Ir.tro X (CM) 0 ' 0 1-12 12 Allegro 1st Th I 0 0 13-20 8 zi2L r.on trans III 2 43 21-22 2 • troppo 2nd Th III-vi-1-bVII 2-1-0-2 43-0-0-2D 23-50 28 CI Th V 1 13 51-52 2 Dev 3rd Th V }, - „ 12 • -52-57 5 Alternation V-II-V-I 1-2-1-0 13-2B-13-0 5§-98 41 of 3rd Th with previous theses Hec 1st Th I 0 0 6 2nd Th I 0 0 105-108 4 coda X 0 .0 109-112 ^

A aala2 I (AbH)-V-IV-X 0-1-1-0 0-1B-1B-0 1-7, 8-15, 16-20 7, 8, trans iii 1 13 21-26 $ a3 III 2 43 27-34 e B "0 VI 2 33 35-33 4 • trar.s VXI-bll-iv-IV Kl-Kl-2-1 5E-5S-42-13 39-46 8 b IV-bvii-i-I 1-3-0-0 13-5D-33-0 47-54 8 A aa2 I 0 0 55-61, 62-69 7, 8

111. Exp 1st Th I (DM)-vi C-l 0-0 1-10 10 Presto trails vi-XV 1-1 0-13 11-15 6 cos "orio 2nd Th IV 1 13 17-22 . • 6 let Th vi-ii-bVII 1-1-2 0-1D-2D 23-29 7 Z::d Th bVH 2 2D 30-31 2 trans bVXI . 2 2D 32-frO 9 Dev 1st Th blll-b-bVII 2-2-2 33-23-23 41-48 8 trans bVII-v 2-2 23-23 49-56 8 2nd Th V 1 IB 57-50 4 1st Th ii-bVII-ii-I 1-2-1-0 1D-2D-1D-0 61-71 11 trar.s I 0 0 72-75 4 Reo 1st Th I 0 0 75-85 10 trans I 0 0 86-87 2 coda I 0 0 88-94 7

N> Hro 222 song form of the second movement has a first theme with three variants. Only the original version of the theme and its second variant reappear at the end of the movement. A transitional passage separates the second and third state­ ments of the "a" theme in the first A section and the first and second statements of the "b" theme in the middle section. We occasionally find an uneven number of measures in Sauguet's phrase structures, which is usually due to the extension or elision of thematic ideas. Sauguet used the same key relation between his three movements as did Casiniere in his sonata: tonic—lowered dominant major—tonic. The key structure within Sauguet's movements reveals the succession of keynotes mostly by major thirds. The "dominant to tonic" progression of key is also common. The tritone relation between the three movements is not found between the keys within individual movements. Both the second and third movements end with a key succession of a major second. The keys that appear at the beginning of the three large formal sections within each movement have the following schemes: I-V-Ij I-VI-I; and I-bII-I, respectively. Their key relationships are 0-1-0; 0-2-0; and 0-N1-0 with darkness/brightness relationships of 0-1B-0; 0-3B-0; and 0-5D-0, The use of the dominant key at the beginning of the development section in the first movement is more 223 characteristic of the "textbook" form than is the lowered mediant major in the last movement. The key of bill would be typical if the last movement were in a minor key. In the first and second movements the second theme is more modulatory than the first, but the opposite is true in the last movement. The mediant major key is used for the second theme in the first movement, and the subdominant key in the last movement. The "textbook" key for the second theme in both movements would be the dominant major. This key is not associated with the second theme until the development section of both movements. This misplacement of the "textbook" key relationship between the first and second themes of the exposition in sonata-allegro was also found in Casiniere's first movement where the second theme did not appear in the relative major until the development section, Sauguet used no unconnected key relationships and only one doubly indirect key relationship. This occurs near the end of the middle section in the second movement with the use of the key, bvii. The use of the Neapolitan key relationship is also restricted to the second movement where it occurs in the transition passage of the middle section with the key, VII (Nl) moving to bll (Nl), Sauguet used only one dark key in his first movement with the key of bVII (2D) found just before the closing theme of the exposition. Only one bright key is found in the third movement where V (IB) occurs during the second theme of the development section. Greater D/B contrast was incorporated in the middle movement. Here, Sauguet used all of the D/B degrees except for 2D, 2B, and A. The first half of this movement (meas, 1-^0) uses mostly bright keys, but after the key succession of Vll-bll (5B-5D) in the transition (meas. 39-^6) of the B section, dark keys become more prominent.

Summary

The French piano sonata between 1916 and 1930 has been studied in this chapter through an analysis of the following representative worksj Darius Milhaud's Sonate (1916), Pierre de Breville's Sonate en re bemol (1923)> Yves de la Casiniere's Sonate en si mineur (1926), and Henri Sauguet*s Sonate en re ma.ieur (1926). The overall trend in the tonal language of these sonatas is away from the Pranckian chromaticism of the Dukas and d'Indy sonatas toward an impressionistic and post-impressionistic language. The sonatas of Milhaud, Casiniere, and Sauguet reflect the attitude of experimentation in the arts which existed during the V/orld War I years (191^-1918) and the decade that followed. Milhaud's sonata marks a new era in the tonal language and form of the French piano sonata. His 225 intense interest in polychords during the summer of 1915 is manifested in his sonata. The succession of perfect fourths and fifths, the superposition of these intervals, pandiatonicism, and the use of melodies with a folk song quality are indicative of his association with Charles Koechlin and Erik Satie. Milhaud, however, achieved moments of greater dissonance in his pitch simultaneities than Koechlin or Satie, and yet at the same time his linear writing was primarily diatonic. We find a similar language in the Casiniere sonata. Sauguet's sonata.is the first representative French piano sonata with a truly Neo­ classical language. Void of superimposed tonalities and Franckian chromaticism, Sauguet's language is diatonic with frequent irregularities in the natural resolutions of scale degrees. The profuse use of unresolved seventh chords and the simplicity of his language are representative of Satie's musical aesthetics. Sauguet is not only Neo-Classical in his language, but also in his texture and formal proportions. The texture of his sonata is quite austere at times, and, unlike Lack's sonata, the length and key scheme of Sauguet's work approximate that of a Mozart piano sonata rather than of a Baroque sonata. He has turned his back on the extended form that the piano sonata began to acquire in the early Romantic period with the late sonatas of Schubert, Breville's language is not as modern as that of Milhaud, 226

Casiniere,' and Sauguet. He incorporated the pentatonic and whole-tone scales of Debussy along with modal interchange. Table 28 on page 22? presents a summary of the forms in these sonatas. The Milhaud, Casiniere, and Sauguet sonatas are each in three movements with a tempo pattern of fast-slow-fast. Although Breville's sonata is in one move­ ment, a three-movement concept is revealed through his key structure and tempo scheme. Sonata-allegro form was the most common form for the individual movements of these sonatas, Milhaud's first movement is in an unusual sonata- rondo form with a reverse order of theme appearance in the recapitulation. His second movement is in a small-scale sonata-allegro form, while his third movement follows the variation form that employs thematic metamorphosis, which S is a new technique in the French piano sonata, Casiniere's first two movements are in sonata-allegro form and his last movement is in song form. Although both Milhaud and Casiniere have the only two sonatas which superimpose thematic material, Casiniere used cyclical thematic treatment. His cyclicism differs from Franck's in that it is cumulative over the duration of the sonata. Not all of the cyclical themes appear in the opening movement. The first theme from the first movement is found in both the exposition and development of the second movement, and in the second and fourth sections of the form in the last movement. The first 227 theme of the second movement is heard again in the three middle sections of the last movement. There are no new themes in the last movement. The main theme of this movement is a metrical transformation of the second movement's second theme. The outer movements of Sauguet's sonata are in sonata-allegro form and the middle movement is in song form. Brevillfe's. one-movement sonata has a most complicated version of sonata-allegro form. There are two sonata-allegro forms existing simultaneously, each with their own exposition, development, and recapitulation. Each form has three themes so that there are a total of six . themes in the composition. The themes are kept in their separate sonata-allegro plan except in the second develop­ ment and recapitulation sections where the first theme from the first sonata-allegro form is heard, .The tempo pattern of fast-slow-fast,'which coincides with'the three sections containing introductory passages, creates the illusion of a three-movement sonata.

Table- 28 Summary of Form in the Sonatas from 1916-1930.

Composer Mvt I Mvt TT Mvt III (date)

Milhaud (1916) Sonata-rondo Sonata-allegro Variation Form Sroville (19X3) Sonata-allegro Cnsinierc (1926) Sonata-allegro Sonata-allegro Song Form Sauguct (1926) Sonata-allegro Song Form Sonata-allegro 228

A summary of the tonal organization in these sonatas is shown in Table 29 on page 229. The tonal scheme between the three movements of Milhaud's, Casiniere's, and Sauguet's sonatas is tonic—dominant—tonic, but the lowered dominant is used in the sonatas of Casiniere and Sauguet. According to Karl Eschman, the harmony a tritone away from the tonic harmony has come to be known as the "twentieth-century dominant" and may be found in much of Scriabin's music.18 The keys that coincide with Breville's fast-slow-fast tempo pattern are tonic—subdominant—tonic. In the first move­ ment of Milhaud's sonata the development section begins in the key of the lowered supertonic major, the recapitulation in the subtonic, and the coda in the subdominant. The key scheme of a tritone, #IV-I, is found at the end of the development and of the coda. The relationship between the first and second themes in the exposition is I-II. In the second movement the development begins in the raised subdominant, the recapitulation in the supertonic major, and the coda in the tonic. The key scheme of I-#IV which is created by the keys at the beginning of the exposition and development is found in reverse at the end of the recapitulation and beginning of the coda. The relationship

1 R Karl Eschman, Changing Forms in Modern Music. 2nd ed, (Bostoni E. C. Schirmer, 19^-5) > P. 161. 229 between the first and second themes of the exposition is I-bvi, The third movement of Milhaud's sonata contains thirteen keys with the intervallic pattern of the last six intervals being an inversion of the first six. The middle key of bll occurs at the middle of the movement, and the: final key succession is bll-I,

Table 29 Summary of Tonal Organization in the Sonatas from I916-I930.

Composer ' Kov Schema K Rel n/B (date)

Kilhaud (1916) I-V-I 0-1-0 0-13-0 Broville (1923) i 0 0 Casiniere (1926) i-bV-i/l O-U-O/O 0-A-0/3B Saucuct (1926) I-bY-I O-U-O O-A-0

Breville's sonata frequently shifts from the minor to the major mode of the principal tonality. Breville refrained from identifying the modality of his sonata in its title, Sonate en re bemol, however, the sonata begins and ends in D-flat minor spelled enharmonically as C-sharp minor at the end. The key of the subtonic minor appears early in the first development. The subtonic major key was also found at the beginning of Dukas' and d'Indy's develop­ ment sections, Breville never used the dominant key in his sonata. The first movement of Casiniere*s sonata .departs from the tonic key at the beginning by moving to a key a minor 230 third below, i-vi. At the end of the movement the tonic is approached from a key a minor third above, biii-i. The interval of a tritone is created by the two keys in the middle of the movement, vi-bii. The succession of keys in the second movement are by the interval of a second with the exception of the final progression of dominant minor to tonic major. This second movement contains Casiniere's most consistent use of bitonality. Bitonality at the tritone is only found three times, but it is strategically placed at the very end of the exposition, development, and recapitula­ tion. The first key in each of the five sections of Casiniere's third movement produce a progression of i-bV-i- I-I. Again the tritone i-bV-i became an important interval. The technique of beginning a sonata in minor and ending in major was also characteristic of the Franck "school," Three of the seven different tonalities in this last movement have keynotes which are members of the tonic major triad. The other four keynotes are a half step above and below the root and fifth of this tonic triad. The keys in Sauguet's sonata are. usually a major third or perfect fifth apart. The keys which appear at the three large formal sections in each movement form the following schemes: I-V-I; I-VI-Ij and 1-bIII-I; respectively. We find that Sauguet, like Casiniere, delayed the expected second theme key of the exposition until the development section. 231

Table 30 on page 232 displays the frequencies of intra-movement key relationships and .darkness/brightness relationships in these sonatas. The information in Table 30 is gathered from the analytical tables in this chapter. We find the tonic key relationship to be most common. However, the first and second movements of Milhaud's sonata, and the second and third movements of Sauguet's sonata are exceptions. In these four movements, the direct key relationship is the most common. Sauguet's third movement has an equal number of direct and indirect relationships. The doubly indirect relationship occurs with greater frequency in these sonatas than in the sonatas from 1900- 1915. This relationship, however, is absent in the first movement of Milhaud's, Casiniere's, and Sauguet's sonatas and in the third movement of Sauguet's sonata. The un­ connected key relationship, which is not found in the sonatas from 1900-1915» appears in the first and second movements of Milhaud's sonata, and in the third movement of Casiniere's sonata. With the exception of Breville's sonata, the most common darkness/brightness degree is 0. The brightness degree of 3B is more typical than 0 in Breville's sonata. Although Sauguet's most common darkness/brightness degree is 0, the dark degrees of ID and 2D occur v/ith almost equal frequency in his second and third movements, When the Table 20 Frequencies of Intra-aovesent Key Relationships and Darkness/Brightness Relationships in tho Sonatas froa 1916-1930.

Cowipoygr ?crft . of V>vs 0 1 2 3 - & 33 23 12 0 A 25 •rS Nilhaui (1916) Sonata-rondo 2-'^ 25 3 10 5 2 5 1 2 8 2 1 2 1 Srsville (1923) Sor.ata-allc5ro o*6 66 33 11 19 3 3 2 1 3 8 17 4* 1 23 3 Casir.icre (1925) Sor.ata-aliecro ijl 16 10 1 • 5 1 1 3 0 Sau^uat (1$26) Sonata-allegro 112 16 7 5 1 8 k 1 2

Milhcyd (1916) Scnata-allesro 213 23 2 10 7 3 6 2 4- 2 9 3 2 . 1 Casir.iSr* (1926) Sonata-allegro 60 13 5 3 4 1 2 1 2 5 1 Sa^ct (1926) Sens ?or= 69 16 5 7 3 1 2 1 1 3 4 2 1 1

Hiihaud (1916) Variation ?ora 165 3^ 22 5 3 5 3 7 15 2 Casiniera (1926) Sens Tors 152 2? 15 5 5 1 1 2 3 12 4 3 3 Sau^uat (1926) Sonata-allegro 9^ 2*r 6 9 9 1 8 5 9 1

ro VjJ ro 233 symbol "D" is assigned to movements that have a greater number of dark degrees in key relationships, and "B" is assigned to those movements in which the opposite is true, the following schemes result between the movements of these sonatast Milhaud's scheme is D-D-D; Casiniere's is B-D-B; and Sauguet's is B-D-D, The only commonality in the relative amount of dark and bright degrees in the three- movement sonatas is the use of more dark degrees than bright ones in their middle movements. The most extreme use of dark keys is found in Milhaud's third movement, where there are no bright keys, Breville's sonata, has the greatest ratio of bright keys with more than twice the number of accumulative bright degrees than dark degrees. The extreme degrees of 5D and 5B are used in all four sonatas. These extremes, however, are more often found in the middle movements. The ambiguous darkness/brightness degree was not used by Sauguet. However, it is found in Breville's sonata, in all three movements of Milhaud's sonata, and in the second and third movements of Casiniere's sonata. The following chapter discusses the French piano sonata during 1931-19^-0. Fewer French piano sonatas are known to have been composed during 1931-19^0 than during 1916-1930. The French piano sonatas from 1931-19^0 manifest a return to the large-scale concept of the Romantic piano sonata. CHAPTER FIVE-

SONATAS» 1931 TO 19^0

Five French piano sonatas are known to have been composed and published during 1931-19^-0 (see "Appendix and Title Index" on p. ^04). Tony Aubin's Sonate en si mineur (1931), Georges Auric's Sonate en fa ma.ieur (1932), and Emmanuel Bondeville's Sonate (1937) have been chosen as representative French piano sonatas for this period. The piano sonatas by Georges Migot (I891- ) were not chosen for analysis, because his tonal language is similar to Pierre de Breville's in his piano sonata (see pp. 191-196)* and his tonal and formal organizations offer few novel ideas at this point in the history of the French piano sonata. The overg.ll trend of these sonatas is toward less experi­ mentation with tonal language, a preoccupation with formal procedures, and a. return to the large-scale concept of the Romantic piano sonata.

Historical Setting

By the 1930's the shock of the musical languages of Les Six had worn off. The arrogant attitude propagated by Satie and his followers was dampened by the economic collapse 23^ 235 of 1929. 'Musical activities in France were threatened by the poor economic conditions. Were it not for the inter­ vention of the government, the two main opera companies, the and Opera-Comique would have dissolved during the 1930's due to financial problems. Henry Barraud described other effects that the sudden economic problems had on the musical life of France» The publishing houses became much more cautious. Audiences for the Sunday concerts thinned out. The power of the symphonic associations became concentrated in the hands of committees of instrumentalists, v/ho kept a wide- eye on the receipts and who ballced at the authority (and wider vision) of conductors when it came to setting up programs. The result was a lowering of the quality of the new works selected and a growing (and justifiable) suspicion on the part of audiences toward all new or unfamiliar music. During the 1920's the more sophisticated compositions by young composers were heard at the concerts of the Walter Straram Orchestra rather than at the Sunday concerts of the numerous symphonic associations. The concerts by the Straram Orchestra discontinued after 1933 with the death of its conductor. Great turmoil resulted over the question of what orchestra would play the works which were being composed. Two principal , namely the Orchestre Symphonique de Paris, which was founded by and in 1929, and the Orchestre

Hlenry Barraud, "France," p. 250, 236

Philharmonique, which was founded in 1935 by Charles Munch, assumed this responsibility. In 1935 Emmanuel Bondeville arranged for the French Radio to engage several large symphonic organizations from different cities of France, Musicians found that cooperation and communication among themselves were necessary for the survival of new music. An organization known as the Triton Society was formed in 1932 to provide an outlet for the performance of new chamber works. Although the organization was founded by the Frenchman, P, 0, Ferroud (1900-1936) the group was open to composers of any nationality, Many foreign composers who had taken residence in France were active in this organization. Among the members were Milhaud, Honegger, Poulenc, Bohuslav Martinu (1890-1959), Prokofiev, Ibert, Jean Rivier (1896- ), (1898-1962), Claude Delvincourt (1888-195*0, Henri Tomasi (1901-1971)1 Jean Francaix (1912- ), (1901- ), (190*1— ), Henry Ba'rraud (1900- ), and Emmanuel Bondeville (1898- ), The leaders in this society, Ferroud, Barraud, and Rivier, set a rather conser­ vative Neo-Classical example for the group in their own compositions. A more conservative attitude prevailed in France during the 1930's. Franck's chromaticism, Debussy's impressionistic language, the Schola Cantorum's linear approach to 237

composition, and Milhaud's polytonality had been assimilated into the language. The disintegration of the traditional tonal system still posed a problem, but the French remained more conservative than the Germans in their attempt at a solution. Barraud commented that: They were all aware of experimentation with quarter-tones and 12-tone procedures, but they believed these to be leading to an imgasse, and they avoided them in their own works.

Tony Aubin's Sonate en si mineur (1931)

Tony Aubin was born in Paris in 1907. 3 He studied composition with Paul Dukas and won the grand prix de Rome in 1930, the same year in which he began to compose his piano sonata. He later taught composition at the Paris Conservatory, and conducted the National Radio Orchestra, His teachings and compositions manifested the Franckian attitude of rigorous discipline in compositional technique. He became the new representative of academicism in French music pedagogy. Although academicism became, through k Debussy, an unpopular musical aesthetic in France, ..

^Henry Barraud, "France," p. 253. ^Biographical3 information is from Rostand, Diction.~ naire.... p, 15, k Claude Debussy, Monsieur Croche, anti-dilettante. (Paris, 1921), p, 21 as cited in William W. Austin, Music in the 20th Centuryt From Debussy through Stravinsky (New Yorki W. W. Norton, 1966), p. I2*, 238

Aubin proudly acknowledged his discipline in music as virtuous. His artistic aesthetics anticipated those of Picasso who once statedi would proceed towards its decline if it no longer existed as a strong academic art Cbecause3 art, like the fire of Prometheus, should be protected in order that it' serve against the established order, and freedom of expression is something which becomes known, not something which is given to you. Table 31 on page 239 is an analysis of the form and tonality in Aubin's Sonate en si mineur. Fast-slow-fast is the tempo scheme. The first two movements are in sonata-allegro form and the final movement is a toccata in rondo form. In the first movement the sonata-allegro form is more extended than in the second movement. The first movement begins with a slow motivic introduction which was also typical of the Romantic piano sonata. At the tempo marking of "Allegro" the first theme is introduced . The motive of the second theme is anticipated in the transition passage (meas. 41-52) which precedes this theme. The closing theme draws its thematic material from the slow introductory section. In the development section the two

Rostand, Dictionnaire.... p. 15* "L'art moderne s'acheminerait vers son declin s'il n'existait plus^d'art academique fort, [car3, l'art, comme le feu de Prometh^e, doit etre derobe pour que l'on s'en serve contre l'ordre ecabli, et la libre expression est quelque chose dont on se saisit, non quelque chose qu'on vous donne," 239

Table 31 Aubln'c Sonnto en nl mlnour. Analysis of I'orm and Tonality. r?yt Form Kcv P/B l'ca3 Mh Intro i (Bra) 0 0 1-18 10 Andante/ Exp 1st Th 1-bIII 0-1 0-0 19-42 24 Allegro trans II-bVII 3-1 5B-1B ^3-52 10 2nd Th VH-VI-i-v H2-3-0-1 A-A-0-1B 53-67 15 CI Th v-V 1-2 lB-'lB 6S-78 11 Dev 2nd Th V-iv-III-bIII-i 2-1-3-1-0 4B-l'J-A-0-0 79-105 27 Intro Tli i-VII 0-112 0-A 106-120 15 1st Th v-vi-I 1-2-0 1B-3B-3B 121-132 12 Jiec 1st Th i 0 0 133-136 4 2nd Th bill 1 0 137-154 18 1st Th i 0 0 155-159 5 coda i 0 0 160-166 7

II. Exp 1st Th I (EbM)-bVI-I-bVI 0-2-0-2 0-4D-0-4D 1-26 26 Lento trans bVI-I 2-0 4u-0 27-33 7 2nd Th bii H2 A 3^-52 19 i)ev 1st Th V-bVI-I-bII 1-2-0-111 1B-4D-0-5U 53-87 35 Reo 1st Th I-bVI 0-2 0-41) se-99 12 trans bVI-I 2-0 4l)-0 100-105 6 2nd Th I 0 0 106-112 7 coda I 0 0 113-110 6

III. A i (Bm)-II-bVI-l 0-3-1-0 0-5B-1D-0 1-36 36 Vif et B i-YH-V-bV 0-I12-2-U 0-A-4B-A 37-60 24 detache A iii-VII-IV 2-112-2 4B-A-2B 61-96 36 Andantino C iv-bvi-bii-i 1-2-N2-0 1D-4D-5D-0 97-150 54 -vii-bv-vii -N2-U-N2 -5n-A-5B -V-iv-bvi -2-1-2 -4B-1D-4D -bii-iii-IV -112-2-2 -5D-4P.-2B Vif et^ A i-I 0-0 0-3B 151-196 46 dotachc Coda I 0 33 197-243 47 2^0 main themes are presented in reverse order with the interpolation of the theme from the introduction. The first theme returns briefly after the second theme in the recapitulation, A coda follows which consists of the material from the transition in the exposition. The sonata-allegro form in the slow movement is abbreviated when compared with the first movement for there is no introduction to the exposition and also no closing theme section. Only the first theme is heard in the development section, and unlike the first movement, the first theme is only heard once in the recapitulation. The two main themes in this movement were given greater independence through their association with a particular meter. Two-eight meter is always used for the first theme, and three-eight for the second theme. Metric associations as a device in identifying individual themes was applied also in the last movement, which is in rondo form. The "A" theme is placed in fifteen- eight time, the "B" theme in six-four, and the "C" theme in four-four. This final movement has a form of ABACA with a large coda section. The tempo scheme of fast-slow-fast in the last movement divides the formal sections into three parts: ABA, C, A Coda. Ninety-six and ninety-three measures are found in the first and third parts, respec­ tively, while only fifty-four measures make up the slow 2^1

C section. The toccata-like texture of this last movement v/as also found in the coda at the end of Hure's Premiere Sonate (190?)» which was also in a minor key Taut the coda written in the tonic major key. Much later in Dutilleux's Sonate (19*1-8) we find a toccata-like section as the introduction to his last movement. The thematic treatment in this sonata reveals Aubin's disciplined compositional technique with its cyclicism, double , stretti, and ostinati. The theme from the introduction and the first theme of the exposition in the first movement provide the resources for the sonata's cyclical treatment. A four-note motive from the introductory theme (Ex. ?2) reoccurs in whole-tone form as an ostinato in

Andante

Meas. 1 4. /T\

? V>ev\ I T> -b-&- I I b: Motive

Ex. 72 Aubin's Sonate en si mineur, First Movement, Meas, 1-3, (Copyright Theodore Presser Co. Used by permission.) 2kZ the "A" sections of the third movement (Ex, 73).

Vif et detache

Meas. 1 . iL ur..c rrrr-; - \'n-V uii <",»- G \ P• 1 bi f ' 1 • |_^ Motive

Sx, 73 Aubin's Sonate en si mineur, Third Movement, Meas. 1, (Copyright Theodore Presser Co, Used by permission.)

The first theme of the first movement (Ex, 7^, p. 2^3) contains a five-note fragment from the same source. The four-note motive from the introductory theme is inverted and extended in the first theme through the insertion of an additional note between the third and fourth notes of the four-note motive. The first four notes of the five-note fragment in the first theme of the first movement are found in the first theme of the second movement (see meas. 3 in Ex. 75, p. 2*1-3). An inverted version of the introductory motive is also found in the first theme of the second movement (see meas,.5 in: Ex. 75). The cyclical motive from the introduction was the source for the themes of the "A," "B," and "C" sections of the last movement's rondo form (Ex, 76, p. 244), The 2*1-3

Allegro

Meas. 19

b: Altered L Motive J

Ex. 74 Aubin's Sonate en si mineur, First Movement, Meas. 19. (Copyright Theodore Presser Co. 'Used by permission.)

Lento Meas. 2 3 _i , nAltered Motive1

m n I—i ' l—i. Ebi 1 z •< I— 5 —1 6 I Inverted Motive I

Ex. 75 Aubin's Sonate en si mineur, Second Movement, Meas. 1-6. » (Copyright Theodore Presser Co. Used by permission.) zkh

A Section (Vif et detache) Meas. 3 3©= =&m JE

Motive Abstraction =F=F

B Section (Vif et detache) Meas. 35 f Motive ~1 36 w =F b':

C Section (Andantino) Meas. 98 99 100 . r Motive. 1 , \>f p-f~,..

St

Ex. 76 Aubin's Sonate en si mineur. Third Movement, Meas. 3, 35-36, and 98-100.

(Copyright Theodore Presser Co. Used by permission.) zks four-note motive in the theme of the "A" section is abstracted in the staff below in Example 76, A five-note version of this motive was incorporated in the theme of the "B" section. The theme of the "C" section has, except for the F-sharp, pitches which are identical with the motive in the third measure of the first theme of the second movement (Ex, 75» p. 2^3). Even the slow tempo of the second movement is associated with this "C'» theme, Double counterpoint at the octave is found in the last movement in measures 26-27 of measures 3-k and measures 127- 128 of measures 98-99. Streito is found in the first two movements: measures 79-85 of the first movement and measures 53-6^ in the second movement. The key scheme of this sonata is i-III-i with a key relationship sequence of 0-3-0 and a darkness/brightness succession of 0-A-0. The key scheme created by the first keys in the exposition, development, and recapitulation in the first two movements are i-V<-i and I-V-I, respectively. The key relationship succession for this is 0-2-0 and 0-1-0, respectively, while the D/B succession is O-^-B-O and 1-1B-0, The keys at the beginning of the formal sections in the last movement form the following scheme 1 i-i-iii-iv-i-I, The key relationship and D/B successions for this scheme are 0-0-2-1-0-0 and 0-0-^B-lD-0-3B, respectively. As in Casiniere's sonata, the scheme of the keynotes between the Zk6 three movements of the sonata are also found within the final movement, Aubin's first and last movements contain keys that move predominantly by seconds. Keynote movement by thirds is also common. Unlike the first movement, however, the third movement employs keynote movement by the interval of a tritone between the second and third keys of the first two "A" sections. The second movement is in E-flat major, and uses only five different keys: I, bll, bii, V, and bVI. This movemenx emphasizes the sonata's key scheme of i-III-i, that is, B-natural to E-flat to B-natural, In the second movement I-bVI involves the keynote pitches of S-flat to B-natural, The key relationships between the first and second themes of the exposition are i-VII in the first movement and I-bii in the second movement. The key of the relative major or dominant minor would be a more typical key for the second theme in the first movement, and we do find the second theme in the relative major in the recapitulation. The key succession of i-blll, that is, tonic minor to the relative major, also occurs in the first theme section of the exposition. Aubin used the Neapolitan key relationship frequently, especially in his last movement. With the exception of the key, bll, in the second movement, the Neapolitan key relationship is always indirect. The Neapolitan direct key in the second movement is the last key in the development section, and leads back to the tonic key at the beginning 247 of the recapitulation. The doubly indirect key relationship occurs three times in the first movement with the keys II, VI, and III and once in the third movement with II. With the exception of the key, VI, which moves to the tonic key, these doubly indirect keys move to keys with direct relationships. The unconnected key relationship is restricted to the last movement, and involves the keys of bV and bv, Aubin employed mostly bright keys in his first move­ ment, There is only one occurrence of a dark key, and that is ID in the second theme section near the beginning of the development. Except for 2B, he used all the possible degrees for bright keys, In the second movement there is only one bright key, IB, which is heard at the beginning of the development section. His dark keys in this movement are always to, except for 5D just before the return of the tonic key at the beginning of the recapitulation. The last movement mixes dark and bright keys including the extremes of 4D, 5D, ^B, and 5B. Ambiguous relationships are found in all three movements. The tonal language in this sonata can be described as a mixture of Dukas' frequent modulations and Debussy's chordal structures. The texture in Aubin's sonata is thinner than that of Dukas', but both sonatas use sequencing and chromatic alterations to the point of producing passages 248 that approach atonality. Once having established a tonal center, Aubin frequently changes it by sharpening or flattening the tonal center or by changing modes. A distinctive use of chromaticism in Aubin's sonata is the accompaniment figure for the first theme of the first movement (Ex, 77). The accompaniment consists of broken

Allegro

Meas

Ex. 77 Aubin's Sonate en si mineur. First Movement, Meas, 19. (Copyright Theodore Presser Co. Used by permission.) parallel thirds in chromatic movement. The parallel move­ ment of these intervals is more characteristic of Debussy than Dukas, A similar theme accompaniment is later used by Jacques Casterede, a student of Aubin, in his Sonate pour piano (1967), Like Debussy, Aubin used many augmented triads, and unresolved dominant sevenths and ninths, The use of the in the final movement was also a part of impressionistic language. The Phrygian.mode is found on the tonic in measures 1-5 and on the subdominant in measures 83-86 of the third movement. Zk9

Georges Auric*s Sonate en fa ma.jeur (1932)

Georges Auric was born in Lodeve, France on February 15i 1899. He first studied at the Paris Conservatory, then later at the Schola Cantorum with Vincent d'Indy. His compositions during this time revealed the strong influence of Ravel's music. He met Satie in 1917» and soon thereafter became one of Les Six. Influenced by the aesthetics of Satie as propounded by Co.cteau in the Coq et l'Arlequin. Auric wrote compositions from around 1917 to 1930 which emphasized clarity of melodic line, free but dry sonorities, and simplicity as the guiding virtue. Representative works from this period are the Sonatine, Impromptus, and Pastorales for piano; songs on the poems of Chalupt, Cocteau, Nerval, Banville, and Vilmorinj ballets for Diaghilev and Ida Rubenstein, namely Les Matelots, Les Facheux. La Pasto­ rale. and Les Enchantements d'Alcine; and incidental music for plays and films, Auric also wrote popular music during this time. One such example is the Adieu. New York, a fox-trot for piano. Auric's style changed around 1930, a year before he began to compose the Sonate en fa ma.jeur. The image and the music of Les Six which represented audacity in French music

6 Biographical information is taken from Rostand, Dictionnaire.... pp. 15-16. 250 during the 1920's had become commonplace by 1930. Claude Rostand, an outstanding critic of twentieth-century French music, commented about the nature of Auric's style change in 1930i He was disengaged from Les Six, and gave way to a nature and temperament which appeared to be his in depth. He expressed himself then with fullness, without restraint, proclaiming an aesthetic of strength, vigor, affirmation, certainty, seriousness, and even grandeur of tragic intensity of which the impetus is like Strauss, the language is as powerful as Roussel, and the rhythm7has the refinements and violence of Stravinsky.' In speaking of the Sonate en fa ma.jeur Rostand stated that it was the "first work in this vein and where expressionism subject to convulsions and unexpected Scriabinism are O conveyed." Another critic, Antoine Golea, saw the Sonate en fa ma.jeur as one of the first compositions in Auric*s mature style and as a work which is in the tradition of the Dukas'

^Rostand, Dictionnaire.... p. l6i "II s'est degage^ de 1'esprit groupe des Six et se laisse aller a une nature, a un temperament qui paraissent etre les siens en profondur, II s'exprime alors avec ampleur, sans retenue, proclamant une esthetique de force, deAvigueur, d'affirmation, de / certitude, de s^rieux, et meme de grandeur et d'intensite tragique, dont 1'impulsion est digne d'un Strauss, dont le language est muscle comme chez un Roussel et dont la ryth- mique a des raffinements et des violences Stravinskiennes." O Ibid,, p. l?t "...premiere oeuvre de cette veine et ou se traduit un expressionisme convulsionnaire et scriabinen tres inattendu...." 251 piano sonata and of the compositional principles of the Schola Cantorums It is around 1930 that...a maturation in Auric's disposition led to a strong desire for a change of orientation and style. He composed then a large and beautiful Sonata for piano with a rather severe contrapuntal writing and inspira­ tion governed by organizational thoughts. It was, conformable to Auric's personality a work of a new time, in all of which a link is found to the noble and masterful tradition of the g better Schola Cantorum, and also of Paul Dukas, The first performance of the sonata aroused anger in many of the critics of that time.10 Many described the work as being "absolutely empty" of meaning. These poor reviews discouraged Auric from continuing to compose "serious" music, and he proceeded to write more background music for films. His Partita for two pianos in 1953» however, was another attempt at music as "art for art's sake," The Sonate en fa ma.ieur has in more recent times been praised as a masterpiece, and many concert pianists with a

^Antoine Golea, Vingt ans de muslque contemporaine. 2 vols. (Parisi Editions Segher, 1962), Vol. Is De Messiaen a Boulez, p. 180s "C'est vers 1930 que...dans l'esprit d'Auric une maturation qui devait le conduire au d6sir tr^s vif d'un changement d'orientation et de style. II composa alors une ample et belle Sonate pour le piano, d'une ecriture contrapunctique assez severe, d'une inspiration qui laissait une large place a la pensee organisatrice. C'etait, selon la personnalite d'Auric, une oeuvre des temps nouveaux, tout en setrouvant liee a une noble et puissant tradition, celle de la meillure Schola Cantorum, celle aussi, d'un Paul Dukas." 10Ibid.. p. 181. 252 special interest in twentieth-century music have added this work to their repertoire. In 1953» Rene Dumesnil, author of La Musique contemporaine en France, cited the Sonate en fa ma.jeur and Auric's ballet, Phaedra as Auric's two greatest worksi With the Phaedra suite, we are in full violence, a consistent violence which does not take itself a joke. Once before, in his great piano sonata, George Auric had shown of what he was capable, what there was in this secret and modest character. Phaedra proves that this power was not the affectation of an instant, the mood of a day. It is indeed the fundamental nature of a musician who, in these last years, has ,, consented to release his best secrets to us. Among the other solo piano works by Auric are the Adieu, New York (1920), "Prelude" in Album des 6 (1920), Sonatine

(I923)i Petite Sonate (1928), Sonate (1930-31)I Impromptu en sol ma.jeur (1936), Impromptu en mi bemol ma.jeur (1939)» and Trois Impromptu (19^6). The Sonate en fa ma.jeur is a four-movement work. Only two other four-movement sonatas have been analyzed thus fars Dukas' Sonate en mi bemol mineur (1900) and Lack's Sonate Pastorale, Op. 253 (1906), the first two representative works of the twentieth-century French piano sonata. Other than the number of movements, the Auric sonata has little in common with that of Lack, but has much in common with the

:V

^Rene Dumesnil, jacket notes for Le groupe des Six, trans. Sherry Managan (Angel 35117/35118, 1953). 253

Dukas sonata. Both are lengthy virtuosic works that employ cyclical principles and contain intense chromatic language. The cyclicism in Auric's sonata is more extensive and as important an element in the organization of the composition, as in d'Indy's and Casiniere's sonatas. Principles of thematic cohesion are consistently apparent throughout Auric's sonata. Auric used a key scheme in his piano sonata which was unprecedented in the twentieth-century French piano sonata: I-iii-bVl/VII-i/l for his four movements. Auric's tonal language, which shares chromaticism with Dukas' language, is, however, more modern than that of the old Franck "school." It is similar to Aubin's language, assimilating Franck and Debussy at the same time. Auric's sonata is distinctive in its extensive use of equivocal members of chords (Ex. 78» P# 25*0 which are heard in superposition and in succession. The term, "equivocal" here is referring to the presence of an extraneous pitch in a chord structure which is a chromatic half step apart from one of the members of the chord. This term is only appropriate when referring to music that is based on traditional tertian structures. When the root, third, and fifth of a chord have equivocal members, it is not always clear whether the composer's intention was to double the three members of the triad at the interval of an augmented unison or to create a polychordal structure whose roots 25^

Tres anime J - =• 88 Meas. 8 10 m rr\ 4 ~tii "t *TV'7 I 4 J, tzt P 1G

IV VIId7 Im V(M)7/IV° YF VZ4-/V bVIIA7 6 IV(m) § 2 14- X X 15 16 .o. m p j' :W- . ,-f? m

VM IV I (V )M (V )m VM7 I IM 6 6 6B Ur 3

Ex, 78 Auric's Sonate en fa ma.jeur, First Movement, Meas. 8016, (Copyright Editions Salabert, Paris. Used by permission.) 255

are an augmented unison apart. Example 78 displays a passage in which equivocal third are used. These instances are marked by "X' s" above the staff. Although equivocal thirds are the most common, we also find equivocal roots and fifths in Auric's sonata. Earlier uses of equivocal members are found in Debussy's Preludes (1910 and 1913) and Ravel's Valses nobles et sentimentales (1911). Paul Harder discusses this compositional technique in his book, Bridge to Twentieth-Century Music. 12 He refers to equivocal chord members as "split" chord members. Another important stylistic element in Auric's sonata is the strong linear aspect. This important feature can also be seen in the excerpt from the first movement shown in Example 78 on page. 25^. Example 79 on page 256 traces three long stepwise lines in the inner voices of measures 8-16 of the first movement. Linear principles in French music at this time were for the most part products of Andre Gedalge's teachings at the Conservatory and d'Indy's 1 teachings at the Schola Cantorum, Albert Roussel was another student of d'Indy who had also made extensive use of this compositional approach in his Sonatine, Op. 16 (1912) for solo piano.

12Paul 0. Harder, Bridge to Twentieth-Century Music» A Programed Course (Boston: Allyn and Bacon, 1973), p. 197. 1. (2. /rw-, rrf jr? [ .. i

4t -H-T; l_I \ ' ' '^i-i IJlf ~>1v ! i v j, j '-J_j ]—!

f?. (T U i. • 1 r., . - -4-- -i- U.

' ' ^ ~"f' 1 _J

/J-* 1 1 £ =n~f~ c: 1^ finf—jr _1

Ex. 79 Auric*s Sonate en fa ma.ieur, Linear Writing, First Movement, Meas. 8-16, 257

Occasionally, one comes across melodies in this piano sonata which appear to be parodies of the popular music heard in Parisian cafes during this time (Ex. 80).

Tres anime <=5> =88

Meaa. 24 25 26 27 , .. ai. j? i nm 4 cfrhi f

iqui tj I 'i I =F=F a:

Ex. 80 Auric's Sonate en fa majeur. First Movement, Meas. 24-27, (Copyright Editions Salabert, Paris. Used by permission.)

Borrov/ing from the popular music idiom was an outgrowth of Auric's association with Les Six during the decade which preceded this piano sonata. In stark contrast to the element of popular tunes in the sonata is the atonal im­ pression of Auric1s third movement (Ex. 81, p. 258), The pitch sequence, texture, rhythm, and contrasts in register in the opening measures of the third movement produce a disjunct and hollow expression, that foreshadow the piano sonatas of Boulez, This hollow expression was probably the cause for evoking such an adjective as "empty" from the 258

Tres lent J -48

Lieas. 1

£

p 5ouie.ru/ Pfiihh b< -I. JTTI,T =P= H • tF Db: 3 Sf K ?--r"n — ^,'t>^~ b~*-

ClAj^r,7T

»=i h±! fcri-' bi ' ^§1?

Sx. 81 Auric's Sonate en fa maleur, Third Movement, Meas, 1-4,

(Copyright Editions Salabert, Paris, Used by permission.) 259

music critics in 1932.^ This quality is found throughout the third movement and in parts of the second movement. Table 32 on page 260 is an analysis of the form and tonalities in the first movement. Auric has chosen a sonata-allegro design for his first movement. The uses of a theme from the introduction as an important element in thematic unity is a distinctive characteristic of Auric's sonata-allegro form. The first eight measures of the movement present an introduction to the first theme. The melodic material in this introduction takes the form of a theme in the transition (rneas. 17-23) between the statement of the first theme (Ex, 78, p. 25*0 and its variant (Ex. 80, p, 257). The introductory theme was used in every tran­ sitional passage of this movement excluding the second and third transition measures in the development. The importance of the introductory theme is re-emphasized at the beginning of the recapitulation which begins with this theme, Another unusual feature of Auric's thematic organization of the movement is the reverse order of theme appearance in the development section.

13^Antoine Golea, Vingt ans de musiaue cont emtio raine, Vol. 1, p. 181. 260

Table 32 Auric 's Sons to en fa rna.iour, First Movement, Analysis or Form and i'onuilty.

£OTQ ZS2L K RpJ, D/B Meg 3 ifii Exp Intro I (FM) 0 0 1-0 8 1st Th iii-III 1-2 9-16 8 trans I-vi 0-1 0-0 7 1st Th var iii 1 IB 11 t ran 3 #IV-III U-2 A-'« 3S-& 20 2nd Th VI 2 33 55-63 W- Dov 2nd Th I 0 0 69-71 3 trans I-biii-bii-YII o-3-::2-:u O-A-A-53 72-33 12 1st Th I-biii o-j 0-A 0V-99 15 trans bii 1:2 A 100-101 3 2nd Th bii I!2 A 102-1C9 8 1st Th var bii-III 112-2 A-'f3 110-114 5 2nd Th III P. 4B 115-117 trans III 2 4B 118-121 2 Intro Th I-VII-i?IV-bii 0-N1-U-H2 0-53-A-A 12,2-138 i»> Roo Intro Th I-bii 0-i:2 0-A 139-143 3 1st Th bii-I 1:2-0 A-0 1W-151 3 trans I-vi 0-1 0-0 152-153 7 1st Th var iii 1 IB 159-169 11 trans blll-V-III 2-1-2 3^-iB-to 170-190 21 2nd Th VI-vi-bYII 2-1-2 33-0-20 191-207 17 coda . bVII-I 2-0 2D-0 203-226 19

The tonal organization of this first movement is unusual for sonata-allegro form. The most striking irregularity is the use of the tonic key at the beginning of the development, even though the exposition has ended with a modulation to the submediant major key. Although more distant relation of keys is found in the development section, the tonic key is prominently heard with the second theme, first theme, and introductory theme. The tonic key v/hich is usually associated with the first theme in the exposition of sonata-allegro form is employed for the introduction, while the actual first theme is placed in the key of the mediant. The major and minor modes of both the mediant and 261

submediant keys form the key organization of the-exposition. The tonic key is used with the first theme in the recapitulation, but the key of the submediant major is employed for the second theme in both the exposition and recapitulation. In the recapitulation, however, the sub­ mediant major key moves to the submediant. The typical progression of subdominant or dominant to tonic at the end of the movement is replaced by subtonic to tonic. Table 33 on page 262 is an analysis of the form and tonality in the second movement. The scherzo and trio form for the second movement of a four-movement sonata had not yet been seen in the twentieth-century French piano sonata. Both Dukas and Lack used the scherzo in the third movement of their sonatas. The second movement of d'Indy's sonata, is a scherzo, but his sonata only has three movements. The scherzo is not at all present in the French piano sonatas from 1916 to 1930, so Auric's choice of a scherzo form for one of his movements does manifest an attitude of turning back to the early twentieth-century piano sonatas. Auric, however, may have been turning back to an even earlier model of the French piano sonata if one considers Frederic Chopin to be more French than Polish. All three of Chopin's piano sonatas, the Sonata in C minor, Op. ^ (1828), the Sonata in

B-flat minor, Op. 35 (I839), and the Sonata in B minor, Op. 58 (18^) have four movements with a formal scheme that is 262 identical with Auric*s sonata, namely, sonata, scherzo (minuetto in Op. *0, ternary, and rondo. The tempo scheme is also the same: fast-fast-slow-fast, Two unusual features of Auric's scherzo are the presence of a scherzo theme in the Trio and the use of a section from the introduction at the return of the Scherzo.

Table 33 Auric's Sonate en fa majenr. Second Movement, Analysis 01" form and Jonality.

Tempo Form Mens Lth

Tres vif Scherzo a i (Am) o 0 1-17 17 3 r ^ vYf 5 iii-VI-iii 2-3-2 »B-A-43 I8.35 18 _ J Vlf trans 111-bIII . 2-1 43-0 Z6-bl 10 ,,A. a i 0 0 ftC-Gh 10 Moans vif b i-IV . 0-2 0-23 6^3! {7 Trcs Vlf ^ans IV-VII Z-XZ 23-A 02-89 8 t j. ~ * a 0-2 0-**B Q0-1C? £?nt , Tri0 c bvi-iii 2-2 103-in 11 Plus lent+ d VII nz A IT* lis < Tres legererjent b IX-bV 3-u 53-A 119-m 13 crli m - '?S c VII-V N2-2 A-^3 lV-l't? it Tres vif Scherzo Intro II 3 . 5i3 m-l6j 21

•'"loins Vif b iii-II—bTTT—TT Tres vif 198-205 8 2C6-220 15

The succession of keys in this movement frequently employs the interval of a descending fifth: iii-VI, i-IV- VII in the Scherzo and bV-VII in the Trio. The regression of a descending fourth is also found between some of the keynotes: Vl-iii, i-V in the Scherzo and iii-VII in the Trio. The keys in the return of the scherzo are a second apart with the exception of i-iii. It is interesting to note that both the Scherzo and Trio which follow end in the key of the 263 dominant major. The key progression of Il-i is only found in the return of the scherzo where it occurs at the begin­ ning and end of this section. Perhaps Auric thought of end­ ing the second movement v/ith Il-i as a balance to the first movement's last key progression of bVII-I, both of which progress by a major second. Table Jk on page 26b is an analysis of the third movement, which is in song form. The thematic material in the introduction to the first A section is the same as that of the coda at the end of the movement. The new thematic material which is presented in the introduction to the B section does not reoccur. The song form of this movement can be considered to be incipient, since the second A section is shorter than the first A section with the omission of the "b" theme. The "b" theme, however, is not new to this movement. Auric was here applying the cyclical principles of the Franck "school" by presenting the introductory theme from measures 1-8 of the first movement as the "b" theme of the third movement. The introductory theme in the A sections of the third movement is also cyclical with its source being the first theme (meas, 9-16) of the first movement. The "b" theme from measures 18-37 of the second movement receives cyclical treatment as the "d" theme of the third movement. In effect, there are only three new themes in the third movement! the "a" theme, "c" theme, and the thematic material used as an introduction to section B. ZEK

Table 3'( Auric's SonatR en fa malenr. Third Movement, Analysis of Form and Tonality.

Form Key J< ReJ. EZ2 Hcaa La A Intro Vl-vi 2-1 33-0 1-11 11 a I (EM) 0 0 12-16 5 b I 0 0 17-18 2 a I 0 0 19-23 5 b I 0 0 24-25 2 a I-VI 0-2 0-3B 26-U2 17 b I 0 0 'O-hb 2 B Intro II-IV-v 2-1-2 23-1D-2D '*5-59 15 c bV U A 60-6? a d I 0 0 68-75 8 b VII HI 53 76-83 8 A a I 0 0 en-93 10 a V 1 13 9^-97 k coda - V-I 1-0 1B-0 90-113 16

The key organization of this movement is similar to that of the first movement, but less complex. The use of the submediant keys is found early in both movements. In contrast to the first two movements, Auric used the more traditional progression of "dominant to tonic" to end the movement. The most characteristic feature of this movement's key organization is the presence of the lowered dominant and lowered tonic keys. Table 35 on page 265 is an analysis of the final move­ ment, which is in rondo form. The reverse order of theme appearance which was found in the development section of the first movement was also used in the fourth movement. The formal scheme of ABC which begins the movement becomes CBA at the end of the movement. The complete form of ABCBACBA reveals that the first C section is the third part 265 of the pattern ABC and simultaneously the first part of the pattern CBA which is repeated to end the movement. Unlike the other three movements, Auric consistently used transi­ tional passages to separate the formal sections in the fourth movement. A codetta was added to the B section at the beginning and end of the movement.

Tablo 35 Auric's Sonatg on fa maipnr- Fourth Movement, Analysis or Form and Tonality.

Forra KSX K P-oX iiZS Mans A i 0 30 trans 1-Vt I (FM)-V 0-1 0-1B 45-61 17 B V-IV 1-1 IB-ID 62-89 28 codetta V 1 IB 90-102 trans V 1 IB 103-106 C k v-'oVI-#lV 2-2-U 2D-'m-A 107-130 7M, trans bVXI-III 2-2 2D-JJB 131-W8 18 B III-IV 2-1 ItB-lD 159-160 20 trans IY-i 1-0 1D.-3D 169-180 12 A i-fIV-i-#IV-vi 0-U-0-U-1 3D-A-3D-A-0 181-211* trans vi -VI 1-2 0-3B 215-221 C VI 7 2 33 ' 222-230 9 trans VI-I 2-0 3B-0 231-2'l8 18 B I 0 0 2^9-262 W trans I 0 0 263-267 5 codotta I-VI 0-2 0-3B 268-.':93 26 A i-bii-i-t>III 0-I!2-0-2 3D-A-3D-3D 29^-32^ coda 31 blll-I 2-0 3D-0- 325-361 37

Cyclicism is also present in this movement. The first transition passage (meas. ^5-60) contains the introductory theme from the first movement (meas. 1-8), The first codetta (meas. 91-102) in this final movement utilizes the second theme (meas. 55-6l) of the first movement. The "b" theme from the second movement (meas. 18-37) becomes the 266 theme for the C sections of the fourth movement. The tonal organization of this movement gives emphasis to both the major and minor modes of the tonic key. F minor is associated with the A, or rondo theme section. The second appearance of the A section in measures 181-216, which is exactly at the midpoint of the 361 measures in the movement. The first half of the movement is characterized by the frequent use of the dominant key with a succession of sub- dominant major to tonic, IV-i, at the end. The second half begins with a repeated progression of i-//IV of which the keynotes are a tritone apart. The remaining keys emphasize the submediant and lowered mediant keys. The final progres­ sion in the movement is from the relative major of the tonic's parallel minor, bill, to the tonic key, I, Auric, like Aubin, used many indirect Neapolitan key relationships in his sonata. Most of Aubin's indirect Neapolitan relationships were found in his last movement, but with Auric we find the majority of these relationships in his first movement. Auric*s third movement is similar to Aubin*s middle movement in that both movements contain the least amount of Neapolitan key relationships and also in the existence of a direct Neapolitan key before the return of the tonic key at the beginning of the last large formal section. Only the first two movements of Auric*s sonata employ doubly indirect key relationships. In the first 267 movement the key of biii produces the doubly indirect relationship, while in the second movement this key relationship is served by the key of II. Unconnected key relationships occur in all four movements. The first three movements of the sonata are dominated by bright keys. All three of these movements include the bright key extreme of 5B, and only the third movement does not use ^B. Those dark keys that do occur in the first movement are bill and bVII near the end. Only one dark key is heard in the second movement. This key, bvi, has a darkness degree of to and occurs at the beginning of the Trio, The dark keys in the third movement are IV and v with darkness degrees of ID and 2D, respectively. They occur near the beginning of the B section in the song form of this movement, Auric's last movement, like that of Aubin , mixes both dark and bright keys in approximately equal amounts. The keys of UD and h-B were used in Auric's last movement, but the keys of 5D and 5B are absent. Ambiguous relation­ ships are found in all four movements with the greatest . number in the first movement and the least in the third movement, 268

Emmanuel Bondevilie's Sonate (1937)

Emmanuel Bondeville was born in Rouen, France on October 29, 1898."^ His music studies began in Rouen with private lessons in piano and organ under Hailing, harmony and counterpoint with Beaucamp, and fugue and composition under Jean Dere. At seventeen years of age he was appointed organist at the Church of Saint-Nicaise in Rouen. Although Bondeville was always active as a composer and organist throughout his life, he assumed many leadership responsibilities which were essential to the musical life of France, He became the Musical Director of the Eiffel Tower Radio in 1935. Two years later he accepted the position as musical director of the Secretary of the State broadcasting service. He was the principal conductor for the Opera- Comique from 1950-1952 and for the Paris Opera from 1952- 1969. Most of Bondeville's compositions were for musical theater of which the most popular were his light operas L'Ecole des maris (1935) and Madame Bovarv (1951). Among his works for orchestra are the Bals des pendus (1930), Lara (1932), Ophelie (1932), Gaultier-Garguille (1952), Marine (193*0, and Symphonie Choregraphique (19&3).

iZj. Biographical information is taken from Felix Raugel, "Emmanuel de Bondeville," in Grove's Dictionary..,, Vol, 1, p. 802. 269

Bondeville had no strong ties to any one teacher or school as did many other composers of his generation. We find that his style in the Sonate (1937) borrows elements of Neo-Classicism from the Satie school. The same mosaic quality of Sauguet's piano sonata is found in Bondeville's. Austere texture also characterizes Bondeville's sonata, especially in the first and last movements of his three- movement sonata. In addition to the texture, both the length of the entire sonata, and the lack of seriousness in the first and third movements approach the concept of the sonatina. Bondeville's thematic devices were not typical of the Satie "school." Cyclicism is present in the third movement (meas. 76-80 and 82-83) of a theme fragment in the first movement (meas, 6). Imitative counterpoint is found at the beginning of the development section in the first movement (meas, 29-30) and augmentation of themes is employed in measures 90-92 of the first movement and measures 8^-96 of the third movement. Bondeville's tonal language uses elements from that of Satie, Debussy, and Milhaud. He used a triadic basis for his chords and melodies (Ex. 82, p. 270). Occasionally one finds the use of parallel fourths, v/hich creates a distinc-

it tive sound characteristic in much of Satie's music (see Ex. 83» p. 270 and also meas. 12-13 of the second movement). Similar to Milhaud's piano sonata, Bondeville's language is 270

Allegro (J. = 120) .

Meas. • T4*HtA—r =&= 1 E Major Triad

Ex. 82 Bondeville's Sonate, First Movement, First Theme Motive, Meas. lt (Copyright Theodore Presser Co. Used by permission.)

Ritmico molto (2/4 — 58)

Meas. 42 43 44 A J15 £ -Q~

J L

b:

45 -O-A 46 47 3=

,+ r--* -ft . ±E3E

Ex. 83 Bondeville's Sonate, Third Movement, Meas, 42-47. (Copyright Theodore Presser Co. Used by permission.) 271 primarily diatonic with moments of pandiatonicism, poly- tonality, and polychords, Example 84 on page 272 shows a passage which is largely pandiatonic throughout and poly- tonal in the second measure. The polychordal setting in Bondeville's sonata approaches the concept of organ style through the use of pedal point technique in the last eight measures of the sonata. Bondeville would have been most familiar with this style, since he also had a career as a church organist. Bondeville also used scale materials found in much of Debussy's music. Example 85 on page 273 has a measure which uses the on E-flat. The presence of the pentatonic scale is shown in Example 86 on page 27^. Bondeville probably borrowed the concept of parallel chords from Debussy (see meas. 36 in the first movement and meas,. 9-14 of the third movement). Bondeville made an extensive use of dissonant incomplete chords in the upper register of the piano (see meas, 123-1^2 of the third movement in 5x. 87, p. 275) that is similar to passages in Debussy's piano music and anticipates the bell-like dissonances of Messiaen's music during the 1960's, especially Ghronochromie (i960) for large orchestra and Couleurs de la cite celeste (1963) for piano, wind, and brass. . Table 36 on page 276 is an analysis of the form and tonality in the first movement. Sonata-allegro form was 272

Tres lent Meas. 14-

iS±r-& A M p VvJ>a.-fo -p-rfcr-fc —-i =^b=

C:

X l -t-t- K « {L_Q

C' -i *-5- ~W ~e»- jii -4-

Ex, 8^ Bondeville's Sonate, Second Movement, Meas. lk-15. (Copyright Theodore Presser Co. Used by permission.) 273

Allegro ' (J» =120) Meas. kZ iL „ h"j/~lv a.Jtr-.'ir •£ ^f*~^JLj~"f"~ -^ StftCCrttO 1.17. l|T'.„,fr, Eb:

V/hole-tone Scale

Ex. 85 Bondeville's Sonate, First Movement, Meas, k2, (Copyright Theodore Presser Co, Used by permission.) 27^

Ritraico molto (2/4- - 58)

Meas.- 185 186 187 "» -r-M- M 4= T=T -f sV«eu£*-'f® cresc

B:

\<)' , »,,=Ig=3Bg=a^

Pentatonic Scale

Ex, 86 Bondeville's Sonate, Third Movement, Meas. 185-187*

(Copyright Theodore Presser Co. Used by permission,) 275

Ritmico molto (2/V= 58)

Meas. 123 1ZK 125 44- ft M-Tl: I A 1 Icen! ?. T'oca a -poCo cresce^o » \1> -ferj C: ^r A 126 127 128 n.fr„fe1 :£•£=p $r"p" > £ 4L ft A ..2 Ai i

-$-=fcr SE= $ L$R- ^ •jji ' F#:

Ex. 87 Bondeville's Sonate, Third Movement, Meas, 123-128, (Copyright Theodore Presser Co. Used by permission,) 276

used. The first theme has a cellular structure of six short subphrasesi 2,2,2,3.3»2 pattern in the number of measures. The second theme consists of two phrases, each of which is five measures long. The second theme in both the exposition and recapitulation is characterized by a slower tempo marking than that for the first theme. A third theme appears only twice in the development section, and does not reappear in the recapitulation. This theme is only four measures long. The first theme is the most important of the three themes. It reoccurs with the greatest frequency and forms the melodic material of the codetta at the end of the exposition (meas. 26-28) and of the transition at the end of the recapitulation (meas, 76-78),

Table 36 Bondeville's Sortnte. First Movement, Analysis of Poria and Tonality.

Tenno Forra KSX K Rol BZB Mean Allegro Exp 1st Th I (EM)-bVI-I 0-2-0 O-lfD-0 1-13 13 trans I 0 0 14-15 2 Andantino 2nd Th I-bvi-X 0-3-0 O-A-O 16-25 10 codctta I 0 0 26-23 3 Allegro Dev 1st Th I-i-V 0-0-1 0-30-1B 29-35 7 3rd Th V-bVI-YII 1-2-K1 13-4D-5B 36-1? H 1st Th V-bVI 1-2 1B-4D 4 0-52 3 2nd Th iii-bVI 1-2 1B-4D 4>44 2 Roc 1st Th I-bvi-bVI-bv 0-3-2-U O-A-'fD-A '>5-55 11 trans bv U A 56-57 2 1st Th bvii-bvi-iii 3-3-1 50-A-1B 58-67 10 -i-bvii-ii -0-3-1 -3D-5D-1D Andantino 2nd Th vi-III 1-2 0-4-3 63-75 8 trans bVI 2 4D 76-73 • 3 Tranquillo Coda lat Th X 0 0 79-30 2 2nd Th I-V-I-bII 0-1-0-H1 0-1B-0-5D 31-89 9' lot Th bll-vi-I-bvii Ml-l-0-3 5D-0-0-5D 90-105 16 -vi-I -1-0 . -0-0 277

Two features make this sonata-allegro design atypical. The transition which followed the statement of the first theme in the exposition led to the second theme, but in the recapitulation this transition is followed by a restatement of the first theme. Another unusual feature is that the development section begins in the tonic key, Bondeville's use of a coda section that acts like a second development section was not typical in the Classic era, but can be found in the first movement of Beethoven's Seventh Symphony and in the sonata-allegro forms of such Romantic composers as Schumann and Brahms. In Bondeville's coda we find an augmented version of the first theme is superposed over the second theme (meas, 90). Each of the four main sections of the form begins in the tonic major key, The exposition and coda end in the lowered submediant major. The most common key succession is either up or down a major third of which there are thirteen instances including enharmonic spellings of diminished fourth progressions. Key successions by major thirds was also typical of Debussy in his music. Succession of keynotes by the interval of a perfect fourth or fifth are found near the end of the development and recapitulation and at the beginning of the coda, Bondeville appears to have reversed the concept of key contrast between the first and second, themes in the exposition and unity of key relationship in 2?8 the recapitulation. Both the first and second themes in the exposition begin in the tonic and follow a similar key succession of I-bVI-I and I-bvi-I, respectively. The expected key of the dominant in the exposition does not occur until the development, and there it is associated with the first and third themes. The second theme was written in the same form of the mediant or submediant key until its final statement in the coda, where the dominant and lowered super- tonic are heard. The importance of the submediant key is re-emphasized by the final key regression of vi-I at the end of the movement. Table 37 on page 279 is an analysis of the second and third movements. The second movement is in song form. The A section is contrasted by the middle section which not only contains new thematic material, but also a change in meter and in key rhythm. Quadruple compound meter becomes quadruple simple, and the B section passes through four keys while the first A section remains in the tonic key of P minor. Unlike the first movement v/here the submediant and mediant keys were predominant, this second movement emphasizes the leading-tone and dominant major keys. The third movement is in a variation form, Milhaud's sonata is the only other sonata that has been analyzed in this dissertation which contains a third movement in variation form, Milhaud's variation form was the result of thematic metamorphosis. Thematic fragments from a single TAT)LA 37 BONDEVILLE'S SOR.AT?. SECOND AND SHIRD KOVESENTS, ANALYSIS OI" FORA AND TONALITY.

Wvt Mator Form Kov K Rcl D/B Meas Lth IX. 12/S A I (Ft.) 0 0 1-6 6 ADAGIO H/H 3 I-VI-V-VII 0-3-2-N2 0-A-43-A 7-13 7 TRANS ' V-V OVER VIII • 2-2 OVER N2 TE-'RB OVER A 1^-15 2 12/8 A VLL-I II2-0 A-G 16-20 5 CODETTA I 0 0 21-23 3 in. 2/k a ii-rv-vii-oii l-i-ru-ni id-id-5b-5d 1-32 32 KITCICO -VI-VII-BLL-IV. -1-K1-N1-1 -0-2E-5D-1D BOltO 3a a1 II-bIII-III-bVi 2-2-2-3 2b-3d-fe-a 33-55 23 a2 iv 1 id 56-83 2s '>A a3 r:-vi-bv 1-1-u id-o-a &'j-ii7 w 5A a4 BLL-V-V-IV KL-2-1-2 52-2D-13-4D 118-1^5 29 6a A5 IV-I (BK)-BVI-BVI-I 1-0-3-2-0 • ID-O-A-TO-O 1^7-lb? hi -BLL-VII-III-I -kl-kl-2-0 -53-53-^3-0 sa CODA I 0 0 183-201 l-'>

-oro vo 280 theme were altered and extended to create new themes. Bondeville's variation form only has one theme which is varied in numerous ways. Except for the second variation, the beginning of each variation coincides with a change in meter. Bondeville used an additive in his meter scheme, when he progressed from two-four to eight-four by adding one extra beat to each meter. Seven-four was omitted, however. This last movement provides the most interesting use of-keys in the sonata. It ends in the key of B major, thereby establishing this key as the principal tonality of the sonata. The key of B major, however, does not occur until measure 152 of this 201-measure movement. The key scheme created by the first key of each formal section emphasizes keys with subdominant functions: ii-II-IV-IV- bll-IV-I. This movement begins by continuing the minor mode of the second movement, but the keynote has shifted from F to C-sharp, the supertonic key of the principal tonality. The two formal sections with the greatest amount of modula­ tion are A and k$. Key successions by major or minor thirds or seconds are the most common. The ends of the A and A1 sections have a similar pattern of up a major third followed by down a minor third into a new formal sectioni bll-IV-II, and III-bvi-JV, respectively. 281

Bondeville's three-movement sonata has a tempo and formal scheme that was typical of the Classical piano sonata» fast sonata-allegro, slow song form, and fast variation form. The key scheme of the sonata is most unusual, because it does not begin in the tonic key: IV-bv-I, A strong harmonic progression, however, of Subdominant—Dominant—Tonic is contained in this key scheme. The key relationship and darkness/brightness successions of this scheme are 1-U-O and 1D-A-0, respectively. Bondeville used many Neapolitan key relationships in his sonata, and like Aubin, the majority of them are in the final movement. Unlike both Aubin and Auric, hov/ever, most of Bondeville's Neapolitan relationships are direct. The Neapolitan indirect relationship is only found in the second movement with the key of VII. There are no direct Neapolitan relationships in this middle movement. Doubly indirect relationships occur in all three movements. In the first movement they are heard in both the exposition and recapitulation, but not in the development. The middle section of the second movement is the location for this movement's sole doubly indirect key relationship. The doubly indirect relationship in the last movement is found in the first and last variations. With the exception of the key, bvii, in the first movement, the doubly indirect key . relationship in all three movements is served by some form of the submediant key. Unconnected key relationships 282 do not appear in the second movement, but in the two outer movements this relationship was strategically reserved for the midpoint of these movements' lengths. Bright and dark keys are mixed in the first and third movements, but the middle movement uses no dark keys. Its only bright key is B having a bright degree of ^B. Darkness/ brightness contrasts are strong in the outer movements with such successions as to-5B and 4B-^D in the first movement. When the key succession of Vll-bll occurs near the beginning of the last movement a D/B contrast of 5B to 5D results, but the key relationship of N1 remains constant. The reverse of this succession, namely bll-VII, takes place near the end of this movement. Ambiguous relationships may be found in all three movements.

Summary

Tony Aubin's Sonate en si mineur (1931), Georges Auric* s Sonate en fa ma.leur (1932), and Emmanuel Bondeville's Sonate (1937) have been analyzed in this chapter as represen­ tative French piano sonatas written betv/een 1931 and 19^0. These three sonatas revealed a conservative trend in the French piano sonata during this period. It was suggested that perhaps the economic depression of 1929 encouraged French composers to shun overt experimentation in their music. Publishers had become more cautious and most 283 symphonic organizations more conservative in their program selections. Although French composers were aware of quarter-tone music and the twelve-note system, they were not convinced that these methods provided a promising future for new music. Table 38 on page 28^ displays the formal schemes of the three sonatas in this chapter. The piano sonatas by Auric and Aubin manifest an attitude of turning back to earlier concepts of tonal language, texture, thematic processes, and length. Auric and Aubin readopted the Romantic concept of the piano sonata as a large and serious work. Auric's sonata was the first four-movement sonata since those of Dukas in 1900 and of Lack in 1906, Although Auric's sonata is closer to Dukas' than to Lack's in size, the tempo and formal scheme of his sonata suggest that it was modeled on the three Chopin sonatas. Both composers used the following succession of tempos and forms for their movementst fast sonata-allegro, fast scherzo and trio, slow song form, and fast" rondo form. In Chopin's Op, k a minuet was substituted for the scherzo. Aubin's sonata contains a sonata-allegro form v/ith a slow introduction for the first movement. The use of a slow introduction to an allegro sonata form was typical of the Romantic piano sonata, and can be found in the last movement of the sonata by Dukas, Aubin's master. The second movement is a slow sonata-allegro 28^ form, which was also used as the second movement of Dukas' sonata. Aubin concluded his sonata v/ith a fast rondo.

Table 38 Summary of Form in the Sonatas from 1931-19^0.

Composer Mvt II Hvt III (date ) Hvt IV

Aubin (1931) Sonata-allegro Sonata-allegro Rondo Auric (1932) Sonata-allegro Scherzo and Trio Bondoville Song Forn Rondo (1937) Sonata-allegro Sons Form Variation Forn

The tonal languages of the sonatas by Aubin and Auric contain elements from similar sources. They are both basically chromatic, but the type of chromaticism is individualistic, Aubin's sonata made use of frequent chromatic modulations in the manner„of Dukas. He also used impressionistic elements such as coloristic use of augmented triads, seventh and ninth chords and the incorporation of a principal theme in the Phrygian mode. Auric's chromaticism results from the use of equivocal members of a triad in superposition and succession. This method produces the effect of hearing a triad as distorted. His use of distorted triads v/ith melodies in the popular music idiom resulted in a unique and personal style. Both the Auric and Aubin sonatas display economy of thematic ideas and strong thematic development, two techniques v/hich were not at all apparent in Sauguet's sonata 285 of 1926. Thematic material frequently forms the basis of the transitional and codetta passages in the sonatas of Auric and Aubin. Both sonatas also display an extensive use of cyclicism, a technique of the Franck "school," Bondeville did not return to the late Romantic model of the piano sonata. Instead, he represented a trend toward the continuation and assimilation of the piano sonata. concept as expressed by Darius Milhaud in his first sonata (1916). Both Milhaud and Bondeville have a diatonic language which is colored by polytonality and polychords. Bondeville's language, however, is less discordant and percussive in its dissonances. Like Milhaud, Bondeville also used pandiatonicism. He incorporated whole tone and pentatonic scales in his sonata, which gives it;.an impressionistic quality. The length and texture of his sonata approaches the sonatina, but not to the extreme that Sauguet's sonata did. Like Sauguet's, Bondeville's sonata has a patchwork melodic phrase structure. He has occasional moments of thematic development such as imitative counter­ point, augmentation, and superposition of themes, and one instance of cyclic treatment. The tempo and formal scheme of his sonata is fast sonata-allegro, slow song form, and fast variation form. Of all the composers v/hose piano sonatas have been analyzed in'this dissertation, Milhaud was the only other twentieth-century French composer to have 236

used the variation form in a last movement. Milhaud's variation form differs from Bondeville's in that he used thematic metamorphosis to create themes v/ith independent identities. Although the three representative piano sonatas of 1931-19^0 reveal a trend toward conservativism, they each contain features which are new to the twentieth-century

French piano sonata. The key schemes in the three sonatas are most unusual (Table 39» p. 287). Aubin's three movements have the following progressions i-III-i. Bondeville's key scheme was IV-bv-I. His sonata is the first one analyzed in this study which did not begin in the tonic key. The last movement begins in the supertonic key, and the tonic key is not heard until the last fourth of the movement, The recapitulation ends in the tonic key and an extensive coda completes the sonata in the tonic. The key progression of Auric's sonata is I-iii-bVl/VII-i/l, Again, a movement, and here the third movement, begins in one key and ends in another. Auric's key organization of the sonata-allegro form is.unusual for its use of the mediant key in the first theme section of his exposition. The key progressions in these sonatas that were used to end movements were of a variety of types, but a clear avoidance of V-I and IV-I is apparent. The progression of VII-I is found more often than bVII-I, the latter of which was common among the Dukas and 287 d'lndy sonatas. Other common progressions are II-I, blll-I, and VI-I;

Table 39 Summary of Tonal Organization in the Sonatas from I93I-I9IK).

Key Schoma (date) Aubin i-III-i 0-3-0 0-A-0 Auric I-iii-bVI'i/VII-i/l 0-1-2/,Ni-o/o 0-1B-4D/53 -30/0 Bondevilie (1937) IV-bv-ii//I 1-u-1/0 1D-A-1D/0

Bondeville anticipated future compositional techniques when he used factors other than themes, texture, and key. contrast to define formal sections. The Andantino tempo of his second theme in the exposition and recapitulation of his first movement contrasts with the Allegro tempo marking of his first theme. Bondeville used meter contrast to define the formal sections of his second and third movement. The most systematic use of this device is in the third movement where the beginning of each section in the variation form is characterized by a with the exception of the second variation. The unit beat here remains as the quarter note, but the number of beats in each measure is expanded by the factor of one extra beat v/ith each new meter, The tonal language and piano scoring of Auric's slow movement foreshadow the abstract expression in the piano sonatas of Boulez, Although Dukas had approached atonality 288 in the trio of his third movement, we find Auric's atonal idiom has a greater degree of abstractness through his abrupt changes in piano register. Bondeville's scoring of the fifth variation in his last movement foreshadows the bell-like dissonances of Messiaen through the use of incomplete polychords in the upper register of the piano. The frequencies of intra-movement key relationships and darkness/brightness relationships in these three sonatas are shov/n in Table kO on page 289. The frequency distribu­ tion of key relationships in these sonatas displays tv/o striking differences from those that have been previously analyzed in this dissertation. First, the tonic key relationship is not as common in these sonatas as in those from 1900-1930. Five of the ten movements in Table *i0 have key relationships other than the tonic as the most frequent relationship. The indirect key relationship is the most common in Aubin's third movement, Auric's first and second movements, and Bondeville's second movement. In Auric*s fourth movement the indirect relationship is just as common as the tonic relationship. Bondeville's third movement is the only movement in which the direct key relationship is most typical. The second noticeable difference is the greater use of unconnected key relationships in these sonatas. The sonatas that were analyzed from the period, 1900-1915, had no unconnected relationships. Three of the Sable 40 Frequencies of Intra-roveaent Key Relationships and SssaEarJ^iecs/^risIitnoss 1931-15-.0. Relationships in tho Sonatas n-*1 Vcvq (data; 0 1 2 J U 33 2D ID 0 A 13 23 Aubin (1931) Sonata-allegro 1«S 25 9 8' 5 3 1 11 1* i> 2 0 1 Auric (1932) Sonata-allegro 22o Jil 10 9 .16 2 2 1 2 11 2 0 Sor.ata-alloEro Bo.-.diviilts (1937) 105 ^3 i5 13 •7 0 2 5 6 a 1 iS 5 6 * -

Aubir. (1931) Sonata-allesrc 113 17 8 2 7 1 6 8 1 1 Auric (1932) £chcr=o and Trio 220 29 7 2 13 6 1 1 9 5 . 2 7 5 Ecr.dcville (1S37) Sons ?orc 23 11 ir £ 1 if 3 . III Aubir. (1931) Eo-do 2^3 27 7 3 IV 1 2 2 2 3 5 2 2 Auric (1532) Son* ?or= 113 19 1* 1 1 10 1 2 1 •> 1 9 5 •> •» rcndcvillo (1937) Variation ?ora 201 30 16 7 2 1 2 1 1 6 6 3 - 2

J* •» Auric (1532) Bondo 361 36 12 9 12 3 1 a 2 3 S k. 4

ro voCD 290 ten movements analyzed from the period, 1916-1930, had unconnected relationships, Table kO shows that only three of the ten movements analyzed from 1931-19^0 do not have unconnected key relationships. These relationships were served by one of the following four keys: #IV, #iv, bV, or bv. The neutral darkness/brightness degree of "0" is the most typical relationship in these sonatas. The ambiguous D/B relationship appears in every movement of these sonatas. The ambiguous relationship also occured in the sonatas from 1916-19301 but it was not as common as in these sonatas. In the sonatas from 1900-1915 that have been analyzed the ambiguous relationship only appeared in Dukas' first move­ ment and d'Indy's third movement. The sonatas from 1931- 19^0 that have been analyzed also show a greater use of bright degrees than dark degrees. Aubin's first and last movements, Auric's first three movements, and Bondeville's second movement display anywhere from three to fourteen times more bright degrees than dark degrees. V/hen the letter, "D," is used to represent movements in which the accumulative number of dark degrees is greatest, and the letter, "b," is used to represent movements in which the opposite is true, we find that Aubin's D/B scheme is B-D-B, Auric's is B-B-B-D, and Bondeville's is D-B-D. Only four movements out of the ten in Table ^0 use the dark degree extreme of 5Di Bonde­ ville's first and last movements, and Aubin's second and 291 third movements. There are, however, only three movements that do not use the bright degree extreme of 5B: the middle movements of Aubin's and Bondeville's sonatas,-, and the last movement of Auric's sonata. The following chapter discusses the stylistic period of the French piano sonata from 19^1 to 1950. This is the fourth and final style period that is investigated in this dissertation. Only tonal piano sonatas are chosen for analysis. The trend in the piano sonatas from 19^1-1950 that are analyzed in the following chapter is toward novel elements in the tonal language cast in the context of traditional forms. CHAPTER SIX

SONATAS» 19*1-1 TO 1950

Eight French piano sonatas are known to have been written between 19^1 and 1950 (see "Appendix and Title Index" on pp. • Jean-Michel Damase's Sonate, Q-p. 2k (19^3)1 Andre Jolivet's Sonate pour piano (19^5)i and Henri Dutilleux's Sonate (19^8) have been chosen for analysis in this chapter as representative of the tonal French piano sonatas from 19^1 to 1950. Since the title of this dissertation is "Tonality and Form in Selected French Piano Sonatas: 1900-1950," the two sonatas by Boulez, composed in 19^-6 and 19^9, respectively, have not been considered for analysis in this investigation. Both of these sonatas are atonal. The sonatas by Casadesus, Milhaud, and Tansman were not selected for analysis, because they offer few new ideas to the tonal and formal organization of the French piano sonata. Casadesus* and Milhaud's sonatas are neo- classic in language and length. The texture in Milhaud's sonata approaches that of the sonatina, Tansman's sonata also approximates the length of a Classical piano sonata, but his language is not as diatonic as Casadesus' and

292 293

Milhaud's sonatas. Instead, it is similar to Damase's language, but with fewer novel techniques. The three piano sonatas that have been chosen for study in this chapter display a variety of progressive elements in their, language and irregularities in traditional formal structures.

Historical Setting

The musical life in France during this time was influenced by the Second World War (1939-19^5). Germans had annexed Alsace-Lorraine in northeastern France in 19^0 and soon occupied strategic areas of France. Between 19^0 and 19*)4 the musical life of France was very active, but it was dominated by the Germans, For example, the Paris Opera was required to present five new German operas and ballets a year,1 The Opera-Comique was similarly controlled as was the musical programming of the larger radio stations. Emmanuel Bondeville, the Musical Director of the Secretary of State radio service, organized extra festival concerts of the works by France's great composers from Berlioz and Faure. Music by French composers was also heard in private concerts after 19^2 by a new Parisian society, La Pleiade, which had been organized and supported by the Nouvelle revue

^Percy A. Scholes, "France," The Oxford Companion to Music. 10th ed., rev. and ed. John Owen Ward (Londoni Oxford University Press, 1970), p. 38^. 294 francaise.2 After France's liberation in 19^4 the musical culture did not return to normal. During the occupation young com- posers had heard new German composition^ that intrigued them and caused them to grow discontent with the Neo-Classical tradition. Pierre Boulez was the most outspoken of the young composers. He was a student of Olivier Messiaen. Later he studied with Rene Leibowitz, a Polish born composer who had been one of Schoenberg's followers. Boulez and many other composers became attracted to the twelve-tone technique of composition. However, less evidence of serial- ism is to be found in the piano sonatas from 19^1-1950 than in those after 1950, with the exception of Boulez's first two piano sonatas of 19^6 and 19^9» respectively. The three piano sonatas that are examined in this chapter manifest a conservative trend apart from the main stream of French composition. These sonatas are large three- movement works employing such traditional forms as the sonata-allegro, rondo, song form, and variation form. Thematic development is also an important principle in each sonata. Formal sections are unified with transitional passages and codettas through common thematic material. The emphasis in these sonatas is the same as in those v/ritten

2Ibid. 3Ibid. 295 between 1931 and 19kO, namely the importance of discipline in compositional technique. The piano sonatas written between 19^1 and 1950 differ from those of the previous decade in tonal language, Damase's language reveals many similarities with the post- impressionistic school of Milhaud and Casiniere, but his use of unconventional meters and octave displacement of melodic lines produces a distinctively modern sound. Jolivet all but abandoned chordal successions governed by tonality. His sonata, however, does tonicize particular pitches. Dutilleux assimilated the language of d'Indy, Debussy, and Milhaud with certain post-Webern techniques. His piano style is similar to Dukas', but is generally thinner in texture. All of them use untraditional scales that are similar to Busoni's set of altered major and minor scales (see discussion on p. 23 of Chapter One).

Jean-Michel Damase's Sonate. Op. 2b (194-3)

Jean-Michel Damase was born in Bordeaux on January 27, ZL * 1928, His first studies in music v/ere done at the L'Ecole Normale de Musique in Paris, Later he went to the Paris Conservatory, where he studied composition with Henri Busser and Marcel Dupre, In 19^3» when Damase was only fifteen

^Biographical information is from Fred Goldbeck, "Jean- Michel Damase," in Grove's Dictionary..., Vol, 2, p, 586, 296 years old, he won first prize in piano and composition at the Conservatory. This is the same year in which the Sonate, Op. Zk was written, Damase had been composing since he was nine years old. He won the "premier grand Prix de Rome" in 19*17 at nineteen for his Et la belle se reveilla.... He studied piano with Alfred Cortot and has performed with many of the outstanding orchestras in France, Table *f-l on page 297 is an analysis of the first movement from the Sonate, Op. 2k. The movement consists of a complex sonata-allegro form. The exposition contains an introduction idea which recurs throughout the first move­ ment. The bold character of the introduction and the emphasis upon the interval of the octave reminds one of the opening measures of Casiniere's piano sonata. The introduc­ tion is followed by a brief statement of the first theme in the tonic key of C major. After a brief digression back to the introductory material the first theme is stated in a fuller version. The second theme, which is at a lower tempo, ends the exposition. The introductory theme and first theme begin the development section as the original tempo returns. The development is dominated by the appearance of the second theme, which is heard first at a fast and then at a slower tempo. One statement of a third theme appears in the middle of the development section. This is the only occurrence of this theme, which has a delightful French folk-song quality 297

Tables 41 Damano's £saai£j_Clb_Eit. First Movement, /inalyuie ol' Voral and Tonality.

'fympo mm Ksy. K RPA VJA Hcaa hih Allegro Exp Intro I (CM) 0 0 1-4 4 1st Til I 0 0 5-8 4 trans ili-I 1-0 1B-0 9-14 6 Intro I 0 0 15-17 trans I 0 0 18-21 1 lot Th VI-I 2-0 3B-0 22-34 13 trans I-#IV 0-U 0-A 35-h6 12 Poco Meno Kosso 2nd Th IV-YI-bll-IV 1-2-H1-•1 1D-3B-5D-1D 47-65 Allegro Dev Intro bV over I U over 0 A over 0 66-6 9 lot Th II 2 2B 70-77 8 Soherzando 2nd Th //IV U A 78-83 6 trans bV U A 8^-89 6 Un peu plus largo 2nd Th Vl-bll-IV-vi 2-H1-1-1 3B-5D-1D-0 9O-IO8 19 trans vi-iii 1-1 0-1B 109-111 2nd Th iii 1 IB 112-115 2 tran3 iii-i 1-0 1B-3D 116-127 12 3rd Th //IV u A 128-132 5 trans vl-IV 1-1 0-1D 133-1^5 13 Soherzando 2nd Tli VII-I-bII-ii rii-o-iJi-i 5B-0-5D-1D 146-157 12 trans bill-Ill 2-2 3D-4B 158-169 12 Hec Intro I 0 0 170-173 4 1st Tli I 0 0 17^-177 4 tran3 III-IV 2-1 'IB-ID 178-181 4 Intro bV over I U over 0 A over 0 182-185 4 1st Th bV. over I U over 0 A over 0 186-188 trans V 1 IB 189-192 I Schorr,ando 2nd Th Vl-bVII-VII 2-2-N1 3B-2D-53 193-198 6 trans VII-I-#IV N1-0-U 5B-0-A 199-205 7 2nd Th I 0 0 206-209 4 trans bY u A 210-219 10 2nd Th I 0 0 220-233 14 coda IV-I 1-0 1D-0 . 234-246 13 298

(Ex. 88). Some of the transitional material in the

Allegro (J=100) Meas. 128 129 % hu. % A*:#*#:*: fyt*. T TL.T X> F//: ? I 130 131 132. . —" • ~ , ft. , « -f~ , f f , r f— ItTTtnLJ- I...I I >•-L Pg-b^-J \t±M » *•—'' 1

Ex. 88 Damase's Sonate. Op. 2k, First Movement, Third Theme, Meas. 128-132, (Copyright Editions Salabert, Paris. Used by permission.) development displays thematic conservation. The transition which precedes the third theme (meas. 116-127) is based on the transitional material in measures 9-1^, The last transition in the development (meas. 158-169) is constructed from a fragment of the second theme. As in the beginning of the exposition and the develop­ ment sections, the recapitulation begins with the introduc­ tory theme followed by the principal theme. The transition which had occurred between the second statement of the theme of the introduction and the first theme in the exposition is omitted in the recapitulation, and the second statement of the first theme is abbreviated. The character of the 299 second theme assumes the "scherzando" setting, which had been introduced in the development. The second theme is also found to dominate the recapitulation with its three statements. The coda begins with the transitional material from measures 18-21, which is followed by the first theme and introductory theme, respectively. Further thematic conservation is employed in the recapitulation. The first two transitions use motives from the introductory theme and the first transition of the movement. The last two transitions are built upon a fragment of the second theme. The key successions in this movement are predominantly by major third or minor second. The keys a third above and below the tonic are heard early in the exposition. The second theme at the end of the exposition moves through four keys which, spelled enharmonically, are a major third apart. The keynotes, thereby, outline an augmented triad. The same intervallic pattern characterizes the four keys of the second theme in the development marked "Un peu plus large." The last statement of the second theme in the development progresses through six keys to the mediant major by a pattern of ascending minor seconds. After the return of the tonic at the beginning of the recapitulation, the mediant major key progresses up by minor seconds to the dominant. The second theme then enters in a key a major second above, the submediant major, and regresses by 300

ascending minor seconds to the tonic statement of the second theme. The first theme which had been stated in both the tonic and submediant major in the exposition is only heard in the tonic in the recapitulation. The second theme which entered in the key of the subdominant in the exposition is stated in the submediant major and tonic in the recapi­ tulation. A key scheme .of I-bV over I-I is created by the first key of the exposition, development, and recapitulation. The lowered dominant key produces an unconnected key relationship with an ambiguous darkness/brightness relationship. There are nine instances each of unconnected key relationships and ambiguous D/B relationships. These relationships are .served by either #IV or bV, and occur at least once in every different formal division with the exception of the coda. So, this relationship is associated with the introductory theme, the three principal themes, and transitional passages. The doubly indirect key relationship never appears in this movement. Damase included the dark and bright key extremes of 5D and 5B, but never arranged them in immediate succession. However, the D/B succession of 5B-0-5D does occur in the development section v/ith the last statement of the second theme. This D/B succession was produced by the key succession of VII-I-bII, which has a key relationship . succession of N1-0-N1, The first departure from the tonic key at the beginning of the movement creates the key succession of I-iii-I with a key relationship sequence of 0-1-0 and a D/B succession of 0-1B-0. The last three keys at the end of the movement, I, IV, and I, also have a key relationship sequence of 0-l-0i but their D/B succession is 0-1D-0. Table 42 on page 302 is an analysis of the second movement. This slow movement is in sonatina form consisting of two themes with an exposition and recapitulation. As in the first movement the second theme receives more attention than the first theme. The second theme has four variants, but only the first two of them reappear in the recapitula­ tion. The first theme appears only at the beginnings of the exposition and recapitulation and at the end of the movement (meas. 79-85). The first two transitions in the exposition and the first transition in the recapitulation are built on a fragment of the first theme. In this movement the key successions are mostly by minor third and minor second. The key succession of I-bIII- 1-VII-I is heard at the beginning of both the exposition and recapitulation for the first theme section. Its key relationship succession is 0-2-0-N1-0, while its darkness/ brightness succession is 0-3D-0-5B-0, The key relationship sequence of Nl-0 also occurs at the very end of the movement 302

v/ith the key succession of VII-I. It is interesting to note that although the first eight keys at the beginning of the exposition, I-bIII-I-VII-I-II-VII-I, are not identical with the first eight keys at the beginning of the recapitu­ lation, I-bIII-I-VII-I-VT-bII-I, their key relationship successions are same: 0-2-0-N1-0-2-N1-0, In the recapitu­ lation Damase replaced the keys of II and VII in the exposition with the keys of VI and bll, respectively.

Table hZ Daraase's Sonnte. Op. Second Movement, Analysis of Form and Tonality.

Kov JC J?cl D/3 Meas Lth l3t Th I (EM)-blll-I-VII 0-2-0-K1 0-3D-0-53 1-8 8 1st Th X-II 0-2 0-23 9-16 8 trans VII-I Hl-0 5B-0 17-19 3 2nd Th V 1 ID 20-23 5 2nd Th V 1 IB 2^-25 2 2nd Th var 1 bVII 2 . 2D 26-27 2 tran3 II-bIII 2-2 2B-3D 28-30 3 2nd Th var 1 Y 1 IB 31-32 2 2nd Th var 2- VII-I Hl-0 5B-0 33-36 k trans bVI 2 4D 37-38 2 2nd Th var 3 v 2 2D 39-**2 1> 2nd Th var h V 1 IB hj-kO 6 trans II-bIII-V 2-2-1 23-3D-1B H9-55 7 1st Th I-blll-I-VII 0-2-0-N1 0-3D-0-5S 56-63 8 trans I-YI-bII-I 0-2-K1-0 0-3B-5D-0 6^-68 5 2nd Th var 1 VI 2 33 69 1 2nd Th V-VI 1-2 1B-3B 70-72 3 2nd Th var 2 III 2 ^B 73-7^ 2 1st Th V-VII 1-Hl 1B-5B 75-78 'f 1st Th I 0 0 79-05 7

Table 4-3 on page 303 is an analysis of the third movement. Damase used a fantasia form for his last movement which uses principles of the sonata-allegro form and rondo form without being a sonata-rondo. There are four themes which are presented individually and in combination 303 with other themes. As in sonata-allegro form, there are two principal themes, "a" and "D", that appear in combina­ tion at the end of the movement as a coda. The "D" theme is also combined with the "B" and "C" themes in passages which are similar to the development sections of sonata- allegro form. The recurrence of the "A" theme throughout the movement resembles rondo form, A ternary relationship is constructed using the first two themes, ABA (meas. 50- 63), and the second two themes, DCD (meas, 196-2^-1),

Table H-3 Danase's Sonato. On. ?.h. Third Movement, Analysis of Form ani Tonality.

Form Key Lisas tth A I (CK)-III-X 0-2-0 0-'(B-0 trans I 1-1^ lit 0 0 15-18 B IV-VII-IV l-Kl-l 1D-5B-1D 12 trans 1 19-30 0 0 3J-35 5 C II 2 • 2B • 3fi-i>3 8 trans VII-bIII-II-I-bVI Hl-2-2-0-2 5B-3D-2B-0-'JD A VI ki'r-h9 6 2 3B 50-53 it 3 Mil 2 3D it A III 54-57 2 kB 58-63 6 D III over I-blll-II-^IY 2 over 0-2-2-U h3 over 0-3D-2B-A B and D IV-III-bIII £;j-S7 Zk 1-2-2 1D-'H)-3D 63-111 2it trans I 0 0 A bll 112-117 6 Iii 5D 118-126 9 C II-VII-I 2-N1-0 2B-5B-0 trans I I27-1U9 23 0 0 150-153 9 . C and D 1-II-I-bIII-bVII 0-2-0-2-2 0-2B-0-3D-2D 159-195 37 D iii 1 IB C iii 196-207 12 1 . IB 208-225 18 D I 0 0 226-2'H D and A IV-bYI-I 16 1-2-0 lD-'W-O 2'a-263 22

The key successions in the last movement are mostly by minor seconds of which there are eleven instances. The major third or minor third keynote relationship occurs seven times. The key succession created by the first three 304 keys of this movement, I-III-I, is also the key scheme between the movements of the sonata. Its key relationship succession is 0-2-0, and its D/B sequence is 0-4B-0. A D/B succession of 4D-0 is produced at the end of the move­ ment with the final key sequence of bVI-I. A further abstraction of the key organization in the third movement is shown in Table on page 306. All of these structural keys have keynotes that are diatonic to the principal tonality. The only diatonic keynotes that are absent are V and Vii, that is, the keys with a dominant harmonic function. The first four keys, I-IV-II-VI, are each paired with the tonic in the remaining succession, with the major and minor modes of the mediant replacing the submediant major. Damase has used key and theme associations in some instances. The "A" theme is associated with the tonic, "B" with the subdominant, "C" with the supertonic major, and "D" with the mediant. Table 44 shows a gradual brightness increase in the first quarter of the movementj 0-1D-2B-3B- 4B. Damase's tonal language is primarily diatonic. He frequently used diatonic seventh chords. His music is amply colored with open fourths, fifths, and octaves. Example 89 on page 307.is a brief excerpt from a twelve- measure passage (meas. 220-231) in which only the supertonic and tonic seventh chords are used in a broken chord style 305

of perfect fourths and fifths instead of the more typical thirds and sixths. Damase contrasted passages of diatonic language with dissonant passages. Occasionally the dissonance was created through polytonality (see meas, 66- 70 and 182-189 of the first movement and meas. 6^-87 of the third movement). What makes Damase's dissonance so distinctive is the accompanying austere texture. An important source of dissonance in the sonata is Damase's alternation of the major scale so that his scale contains a lowered second and fifth scale degrees and a raised sixth. Although there are three altered degrees the presence of a major third above the tonic scale degree determines the major scale as its source (see discussion on p. 23 of Chapter One). This scale is heard in the ostinato of the first measure of the sonata (Ex. 90, p. 308). Damase's scale is abstracted in the bottom staff of Example 90, The first theme of the first movement is heard in a chordal arrange­ ment of these scale tones (Ex. 91» p. 309). An abstraction of the first theme is shown in the bottom staff of Example 91. Damase's scoring of the theme places it in the middle voice, that is, it is heard between the bottom voice of the treble clef and the top voice of the bass clef. This positioning of a melody is very common in this sonata (see meas, 30-38, 8^-89, and 162-16^ of the first movement, and meas. 127-13^ of the third movement). The first movement 306 ends with the first theme sounded in octaves and deriving its notes from the same altered major scale (see meas, 238- Zk-6). A more austere setting of the same scale is heard in the second movement with a two-voice passage in parallel minor ninths (Ex, 92, p. 309). This scale is also heard in the last movement (see especially meas. 15-18 and 31-35).

Table 't'f Danase's Sonatc. On. Third Movement, Reduction of Key Organization.

KSi JLJUel 32ZE Mean x (en) 0 0 1-18 is i ID 19-35 . 17 II - 2 2B 36-h9 14 VI 2 3B 50-63 1** III over I 2 ovor 0 5b over 0' 6';-67 zh iv 1 id 08-111 24 * 0 0 112-126 15 J1 2 2B 127-158 32 h, ? 0 159-195 37 J11 1 IB 196-225 30 l„ 0 0 226-241 16 IV 1 ID 242-247 6 1 0 0 240-263 16

Damase has often played on the dominant of a key without effecting a traditional "dominant to tonic" cadence. In measures 21-22 of the first movement the dominant of C major moves to the dominant of A major, A pedal effect on the dominant of A major is sustained through measures 22-28 after which C major returns, A peculiar trait of Damase's style is the parody of the popular music idiom especially in the use of syncopated rhythms (Ex, 93, p. 310), Syncopated rhythm is used with the 307

Allegro (J=100) PoCo allarg.

Meas. 220 221

^9- • • -t- 3 £

rf i i. G: Ilm7 222 223 tf-t fcri—^ n ?V

IM7

Ex. 89 Damase's Sonate, Op. 2^-, First Movement, Second Theme, Meas. 220-223, (Copyright Editions Salabert, Paris. Used by perraission.) 308

Allegro (J=100)

Meas. V

.J. •<' I L be ' F n . — ** " : So. ba^SQ.- Scale ^ , . I,, , Jin Q •

b2 b5 #6

Ex. 90 Damase's Sonate, Op. 2k, First Movement, Meas, 1. (Copyright Editions Salabert, Paris. Used by permission.) 309

Allegro (d^-ioo)

Meas. 70 71, 72 -p—it— HV ^ , ,?=* ( '•) —r* U A J * \«rV 1 ^ —jjg' —»- ^ -*=1

First Theme

Ex. 91 Damase's Sonate, Op. 2k, First Movement, First Theme, Meas, 70-72, (Copyright Editions Salabert, Paris. Used by permission.)

Andante (JV116) Meas

Ex. 92 Damase's Sonate, Op. 24, Second Movement, Meas. 37-38. (Copyright Editions Salabert, Paris. Used by permission.) 310

Allegro (J=100)

Meas. 100 101 m1>(+ -g-.' h8~~ bs- s.

izf P; f ti

Ex, 93 D'amase's Sonate, Op. 2^-, First Movement, Meas. 100-101, (Copyright Editions Salabert, Paris. Used by permission.) unusual meter of ten-eight in the second movement (meas. 31- 36). The opening measures of the third movement (meas. 1-1*0 are also in a popular music idiom. This type of syncopation and unconventional meters is later found in the Sonate pour piano (i960) by Jean Francaix (1912- ), who was a student of Nadia Boulanger (1887- ). Damase's three movements end with a melody and note- value pattern that are shorter than the length of a measure. The excerpt shown in Example 9^ on page 311 outlines a pattern that is two eighth notes short of a complete measure. It gives the effect of perpetual motion. Damase may have first used this technique in his Mouvement perpetuel, Op. 10 for solo piano. 311

Moderate*

Meas. 260 261 262

-f. x $ ^ S.f ^ = fH=- stj- i , £ ^ x Hi =i 1 , ?p J L j 1 J u C:

Ex, 9k Damase's Sonate, Op. 2k, Third Movement, Meas, 260-262, (Copyright Editions Salabert, Paris, Used by permission.)

Andre Jolivet's Sonate t>our piano (19^5)

Andre Jolivet was born in Paris on August 8, 1905.^ His early interests were in literature, theater, and painting. He first became interested in music when he attempted to put one of his poems to music. He proceeded to study harmony and counterpoint with Paul Le Flem for five years (1927-1932) while he was completing his degree in literature at the University of Paris, He also took composition lessons with Edgar Varese between 1928 and 1930, During this same time he became familar with the music of and in which serialism had not yet been fully developed,

^Biographical information is from John Vinton, ed. Dictionary of Contemporary Music, pp. 380-381. 312

He founded the society, "La Spirale," in 1935 with Olivier Messiaen and Daniel Lesur, The purpose of the organization was to promote new chamber music works and to provide a foreign exchange program for new works and performers. When Yves Baudrier joined the group a year later they assumed the new name of "La Jeune France" and adopted a common aesthetic ideal. Rollo H, Myers described their aesthetic purpose as having the intention to "rein­ state those deeper and more permanent human and spiritual values which the post-first-world-war generation had affected to despise or ignore.1"7 Each of the four composers developed their own personal style. The two most famous composers of the group are Messiaen and Jolivet. . Both composers sought after a deeper humanism in their music through a mystical philosophy, Messiaen's mysticism was Roman Catholic, while Jolivet's was pagan. Jolivet saw music as having magical powers. He believed that music was similar to cosmic forces; both are intangible, but they affect living creatures. His philosophy is revealed in some of his composition titless Cosmogonie, Incantations, Danses rituelles, Mana, and Psyche,

^Rollo H. Myers, "Andre Jolivet," in Grove's Dictionary..., Vol. k, p. 651. 7Ibid. 313

Jolivet had always been concerned with freedom from the traditional tonality of the eighteenth and nineteenth centuries. He searched for a new tonal language, new rhythms, new form, and new orchestral colors. The period between 1927 and the early 19^0's was a time of experimenta­ tion for Jolivet. By 19^0, he had achieved a personal idiom which was to remain as the basis of his mature style. It is this mature style that we find in his Sonate pour piano (19^5). Jolivet did not adopt the twelve-tone technique, which he felt ignored the natural resonance of tones. Instead he used scales similar to the major and minor scales, but with altered notes. The scale that serves as the pitch source for the first movement of his piano sonata has a similar structure to the ascending melodic minor scale, but with a raised fourth degree and lowered seventh (Ex, 95, p. 31*0, His scales often eliminate the tritone found between the fourth and seventh scale degrees of the major, harmonic minor, and ascending melodic minor scales. The scale in use at the beginning of the Allegro in the third movement (meas. 11-30) is similar to a minor scale, but a raised fourth is present and the fifth and seventh scale degrees are omitted (Ex. 96, p. 31^). In the fifteen measures that follow (meas. 31—^5) the pitch emphasis shifts from C-natural to E-flat. Three new pitches appear to be 33>

Allegro J-126

Meas 21 22

Scale i »i to- bo

Ex. 95 Jolivet's Sonate pour piano, First Movement, First Theme, Meas."21-22, (Copyright Universal-Edition, Wien. Used by permission of European American Music Distributors Corp,)

-oo it' ESE -&•

Ex. 96 Jolivet's Sonate pour piano, Third Movement, Scale Source, Meas, 11-30, 315 added as a result of this scale transformation: F-natural, G-flat, and B-natural (Ex.. 97). Analyzing backwards from

Scale ,_ti . ,— , I • •• k n - tr&- 'Y • o O °

Tritones

Ex, 97 Jolivet's Sonate pour piano. Third Movement, Scale Source, Meas, 11-30. this point we can view the C scale in measures 11-30 as omitting the fourth and seventh scale degrees with the lowered fifth scale degree being present and spelled as G-flat. With this analysis we find that there are only two new added pitches in measures 31 'to ^5» F-natural and B-natural, the tonally important fourth and seventh scale degrees of a scale built on C. However, when these degrees enter, the pitch emphasis has shifted to E-flat, so that the tritone, F-B, occurs between the second and fifth scale degrees. There are also two other in this composite scale, and they are shown in the bottom staff of Example 97. However, Jolivet does not use these tritones in any special manner, 316

The thirty-five measures (meas. 11-^-5) that have just been analyzed manifest an important principle in Jolivet's tonal language, These thirty-five measures actually employ the same scale. The scale is incomplete in the first twenty measures and is completed by added tones in the last fifteen measures. Jolivet has frequently used a single scale for a large passage of music in his piano sonata, but he created the impression of a modulation by shifting emphasis to various pitches of the scale, In effect, Jolivet's music can be considered to be modal, not in the sense that he used the pitch arrangements of the eight ecclesiastical modes, but in a similar principle, Jolivet has created various modes in his piano sonata by emphasizing or tonicizing different notes without changing his scale source. Jolivet tonicized pitches in a number of ways. The most common was through the reiteration of a pitch (Ex, 98, p. 317). Duration is also an important means. A pitch can be tonicized by receiving a relatively longer duration than other pitches. The ten measures which precede the excerpt shown in Example 98, employ the durational emphasis of the same tonicized pitch, A-natural (Ex. 99, p. 317). These ten measures also use another important device in of a pitchj the phrase is framed by the tonicized pitch, that is, it is given major importance at the beginning and end of the phrase. 317

Molto lento (1=72) Meas.

a: W 16 ftv .(a. J-xz ±~^t y *z u -|- «T- -f— *T- ¥

Ex. 98 Jolivet's Sonate pour piano, Second Movement, Meas, 15-16. (Copyright Universal-Edition, Wien. Used by permission of European American Music Distributors Corp,)

Molto lento

Meas.5

10 • 11

i. bi»- •O-irvr-*- TT-rrt m :3r 1 zf- L 3—1 L3~l L3-J

JJL •fr/i'1 11 ( ^

Ex. 99 Jolivet's Sonate pour piano, Second Movement, Meas, 5-1^• (Copyright Universal-Edition, Wien, Used by permission of European American Music Distributors Corp.) 318

A fourth method of tonicization that Jolivet used is the repeated patterni one which approaches the tonicized pitch from a half step above and below (Ex. 100), The

Allegro i ^126 Meas. 1 2 t?S^= if .1-u t 1 P-—T«s:'—A 1—r^r-|[•"M f ID, f —' i —X -y * "y bb: 4

,i , ,

Tonicization of the Pitch, Bb

Ex, 100 Jolivet's Sonate pour piano, First Movement, Meas. 1-2.

(Copyright Universal-Edition, Mien. Used by permission of European American Music Distributors Corp.) excerpt in Example 100 displays this manner of tonicization of the pitch, B-flat, which is circled in the bottom staff. Jolivet did not tonicize pitches by harmonic progressions of "dominant to tonic." In fact, pitch, interval, and chordal successions in this sonata are usually void of the harmonic syntax of traditional tonal music. Jolivet's melodies are often long and chromatic. They lack the form of the folk-tune structured melodies found in Milhaud and Sauguet's piano sonatas. There is a repetitious 319 and static quality about Jolivet's melodies (Ex, 101). The

Allegro ritmico J =-168 Meas. ^6! b-7 4-8 . 1 2 3 1 2 3 r—^ 2 1^-2- ; 1 ?/• IP) ,r-l, (i) I"/'"""' I #^1 1 i *' fr-=:

4-9 50 51 52 ,34-5 15 63^75123^.521.65 , » pi f*p / |s„ .rrn, tv :T—- • ~ ^ Jjr; I

Ex. 101 Jolivet's Sonate pour piano., Third Movement, Meas. 46-52, (Copyright Universal-Edition, Wien, Used by permission of European American Music Distributors Corp.)

melody in Example 101 begins with a succession of three pitches that is immediately repeated. Occasionally new pitches are added to this melodic kernel giving it a sense of expansion. The first appearance of each pitch is circled, and all pitches are numbered according to their first appear­ ances. The static quality of Jolivet's melodies results in little thematic development in his piano sonata, Jolivet also has extensive transitional passages in which melodic fragments form a rising sequence to a high point in the middle of the passage, and are followed by a descending sequence (see meas. 1*1-7-151 in the first movement and fneas. 60-7^ in the third movement). 320

During the second World War Jolivet had studied some of Beethoven's music, including his symphonies and piano sonatas. His studies resulted in a book on Beethoven which O was published in 19^3. Jolivet was primarily concerned with form and rhythm in these studies. Thus we find that his Sonate pour piano, which was written two years after the publication of the book, is more conservative in form and rhythm than his earlier works for piano. However, his tonal language remains the same, so we find that tonicization of pitches replaces the key-contrast structure of his chosen Classical forms. The first movement is in sonata-allegro form; the second in song form; and the third resembles a rondo form. Table ^5 on page 321 is an analysis of the form and tonality in the first movement of Jolivet's Sonate pour piano. The term, "tonality," here refers to tonicized pitches, and not to the tonality created by major and minor scales. For the purpose of comparative analysis, upper-case Roman numeral are used when a major third is present above the tonicized pitch, while lower-case Roman numerals indicate the use of a. minor third (see p. 23 of Chapter One), The sonata-allegro form has a few peculiarities. The codetta which follows the first theme in the exposition

8 Andre' Jolivet, (Paris: Editions Richard Masse, 19^3). Table 45 Jolivet's Senate novr -ninno. First Movement, Analysis oi~ ?oa and i'onality.

?on T Lav T Pel P/3 l'e?.s Ith Exp Intro i (3ba) 0 0 1-20 20 1st Til i 0 0 21-32 12 codetta i-IV 0-2 ' ' 0-23 33-33 6 • IV-VII 2-K2 22-A 35-40 2 Ir.tro i 0 0 41-47 7 trar.s IV 2 2B 43-50 3 2r.c Th IV-#IV-IV 2-U-2 2B-A-23 51-55 15 trsr.s #IV U A 65-53 3 Hev I Intro iv-vii-v-ii-v-I 1-N2-1-2-1-0 13-53-1S-2B-1B-33 6o-?5 10 2nd Th iv-i 1-0 1D-0 7?-£2 4 codetta iv 1 ID S3-=2 10 Dev II 1st I:-. i 0 0 91-96 4 codetta bii N2 5D 97 1 2nd Th tfiv-oiii U-2 A-3D 9S-I00 3 1st eh biii-ii 2-2 30-23 101-105 5 cod etta ii 2 23 106 1 2nd Th V 1 13 107-109 3 1st i'h i 0 0 110-112 1 trar.s v-vi-iv-ii 1-2-1-2 1B-33-1D-23 113-113 o Rec 1st Th i-bvii-bvi 0-2-2 0-2D-4D 119-126 5 codetta bii-biii-ii K2-2-2 52-32-23 127-131 5 2nd Th bYI 1 13 132-134 3 codetta bVI-tvii-i-bii-ii-#iv-v 1-2-0-N2-2-U-1 13-2D-0-53-2B-A-13 135-144 10 1st Th i 0 0 145-146 2 coda i 0 0 147-159 13

VtojJ 322 serves as the closing theme section which would normally appear after -the second theme. There are two development sections, the first of which is devoted to the introductory material and second theme. The second development is larger. It begins with the first theme, and then the two main themes are presented in an alternating pattern. The form is clari­ fied by the fact that Jolivet used a triplet accompaniment pattern for his second theme in every appearance, while, in contrast, the first theme has an accompaniment which divides the quarter note into four sixteenth notes. Jolivet's first movement form resembles that of Damase. Both use sonata-allegro form and both give great importance to the introductory material which opens the movement. The introduction reappears throughout both sonatas, Jolivet, however, only gives a brief statement of the introductory material in the coda at the end of the recapitulation (meas. 153-15*0. Other twentieth-century French piano sonatas have also incorporated a recurring introductory, idea, but the distinctive feature about the sonatas of Jolivet and Damase is that this introduction reappears between the first and second themes of the exposition. The tonal organization of this first movement contains many tonic note successions by the interval of a major or minor second. Another very common succession is the'descend­ ing fifth progression of v/hich there are nine instances. In 323 fact, this is the first twentieth-century French piano sonata with so many "dominant to tonic" keynote progressions in a single movement. Even though Jolivet's language superficially borders on atonality, his underlying tonal organization strongly supports tonality. The tonal level scheme between the first and second themes of the exposition is tonic to subdominant major. Its tonal-level relationship is 0-2 with a D/B scheme of 0-2B, The "major-minor" relationship is also found between these two themes in the recapitulation, but the second theme here is in the submediant, The tonal level relationship, then, of the first and second themes in the recapitulation produces the scheme of 0-1 with a D/B scheme of 0-1D. Jolivet maintained the same tonic note identity of the tv/o themes in their first appearances in the respective develop­ ment sections. The reduced harmonic progression in this movement is i-IV-v-i (see meas. 1, '1-8, 107, and 119). This progression's tonal level relationship and D/B successions are 0-2-1-0 and 0-2B-1B-0, respectively. Table 46 on page 324 is an analysis of the form and tonality in the slow second movement, v/hich is in a ternary song form. The first A section begins with an introduction which returns in the second A section, but this time after the appearance of the A section's themes,, namely "a" and its tv/o'variants, "al" and "a2." The "a2" theme is heard above 32k and below the "a" theme in the first A section. All three A section themes are presented in a concentrated manner at the beginning of the return of A. Both "a" and "al" are superposed over "a2" in the length of only seven measures. The "b" theme only has one variant, Jolivet restated a fragment of the "b" theme in the last three measures of the movement.

Table k6 Jolivet'3 Songte •oour piano. Second Movement, Analysis of Form and Tonality,

Form T Lev T Re3, P/3 I£eaa Lih A Intro i (Am) 0 0 l-'f a 0 0 5-1'f 10 nl 0 0 15-16 2 trans bii-ii M2-2 . 5D-2B 17-19 a2 over a ii 2 2B 20-23 a over a2 iv 1 ID 2H-27 a2 over a I 0 3B 28-31 trans I-vi-bIII-ii 0-2-1-2 3B-33-0-2B 32-hi 10 b II-III 3-3 53-A hz-ty? 6 b III 3 A M-53 6 trans bV-bll U-lil A-2D 5^-59 6 bl v-bVI 1-1 IB-ID 60-62 3 a over a2 I 0 33 63-67 5 al over a2 biii 2 3a 68-69 2 tran3 III 3 A 70-72 3 Intro 0 0 73-76 b 0 0 77-79 3

The succession of tonal centers in this movement is predominantly by minor second. The first five tonicized notes in the first A section produce an intervallic pattern of three ascending minor seconds followed by a descending perfect fourth. The B section begins with a similar pattern between its first four tonicized notes 1 two ascending major seconds followed by a descending perfect fourth. Although 325 the beginning and ending of the movement are in minor modality, the middle portion of the movement is almost totally major. The tonic tonal level is initially left by the progression i-bii. The relationship between the three main sections of the form is i-II-i, The tonal level relationship for this scheme is 0-3-0, while the D/B succession if 0-5B-0. The bright degree of 5B only occurs once in this movement. Its appearance coincides with the beginning of the B section near the midpoint of the move­ ment's length. The doubly indirect tonal level relationship with II at the beginning of the B section progresses to another doubly indirect tonal level relationship, namely III, The only other doubly indirect relationship in the movement is heard in the last ten measures when the tonal level of III progresses to i. Table ^7 on page 326 is an analysis of the form and tonality in the last movement. The form is similar to rondo form with the A section returning after the B section and the introduction appearing after the G section. The C section reappears near the end of the D section so that moving from D to E does not sound through-composed. The E section has its own introductory section which is approxi­ mately the same length as the actual E section. This second introduction contains motivic fragments which are later the structural materials of section E. The last 326 transition is based on the thematic material of the A section, and it is followed by a return of the A section.

Tabic 47 Jolivet's Soriate pour pinno. Third Movement, Analysis of Form and Tonality.

T lev f H<>1 EZa Mcas It? Intro I i (Cm) 0 0 1-10 10 A iv 1 ID 11-30 20 B bvi 2 4D 31-^5 15 A bii-iv :<2-l 5D-1D 66-59 14 tran3 iv-bvii 1-2 1D-2D 60-74 15 C iv 1 ID 75-35 11 trans iv-vi-iii 1-2-2 1D-3B-4B 86-?3 13 CI iv-bvi 1-2 id-4d 99-114 16 codetta iv 1 ID 115-119 5 Intro I bv-bvi U-2 a-4d 120-127. 8 D vii-vi-vii K2-2-U2 5B-3B-5B 123-133 6 trans vi-bvii-bii-vi 2-2-H2-2 3B-2D-5D-3B 134-1&2 9 D Vll-vi-bii K2-2-112 A-3B-50 153-153 11 trans bii N2 5D 154-157 4 D1 i-ii 0-2 0-2B 153-163 6 trans vi-VII 2-H2 33-A 164-157 4 c VII H2 A 163-173 6 D VII 112 A m-173 5 Intro II IV-#iv-bVII-V 2-U-1-2 2B-A-1B-4B 179-205 28 E III-bii-I-vi-III-I-bii 3-;;2-o-2-3--o-;i2 A-5D-3B-3B-A-3B-5D 207-233 27 codetta bV u A 23^-2^4 11 trans bll III 2D 245-253 9 A I 0 3B 254-262 9 coda I 0 3B 263-273 11

The succession of tonicized notes in this movement is primarily by minor thirds and major seconds. Major thirds and minor seconds are also common, but the descending fifth progression is not as typical as it v/as in the first move­ ment. Both the A and C sections originally appear in the subdominantj the D section in the leading tone minorj and the E section in the raised mediant major. It should be noted that the D section, which occurs in the keys of F-sharp minor, G-flat major, and F-sharp major, all have the same 327 tonicized pitch. The tonal level scheme created by the first tonal level at the beginning of each introductory section and the coda is i-bv-IV-I, This scheme's tonal level relationship and D/B succession are 0-U-2-0 and 0-A- 2B-3B, respectively. The underlying tonalities of the music between each of these introductory sections is successively iv and vii/VII, Their tonal level relationships and D/B qualities are 1 and N2/N2, and ID and 5B/A, respectively. The tonal level of III underlies the E section immediately following the last introductory section, This tonal level introduces the only doubly indirect relationship in the final movement. The final tonal level in the E section is bii, and it progresses down a perfect fifth to bV, so that the relationship is N2 to U. These two keys are then followed by a final progression of bll-I with a relationship succession of N1 to 0, The most unusual aspect of this movement's tonality is that it differs from that of the first movement. The tonal progression of the three movements is B-flat minor to A minor to G minor, or biii-ii-i. Another piano sonata analyzed in this investigation that did not begin in the tonic was Bondeville's sonata (1937). His key scheme between the movements was IV-bv-ii/l, The tonal level scheme of Jolivet's sonata, biii-ii-i, has a tonal level relationship succession of 2-2-0 and a D/B 328 succession of 3D-2B-0. The indirect tonal level relation­ ship, which dominates this tonal level scheme, also dominates the tonal level relationships of the first and third move­ ments of Jolivet's sonata. However, the most common tonal level relationship in the middle movement is the tonic relationship.

Henri Dutilleux's Sonate (19^8)

Henri Dutilleux was born in Angers, France on January 22, 1916,^ He studied music at the Paris Conservatory from 1932 to 1938, Among his teachers were Maurice Emmanuel for music history, for harmony, Noel Gallon for counterpoint and fugue, and Henri Busser for composition. In 1938, he received the Premier Grand Prix de Rome. He was the choral director of the Paris Opera from 19^2 to 19^3 and Chef des Illustrations musicales of the French radio from 19^ to 1963. Since 1961 he has taught composition at L'Ecole Normale de Musique in Paris, and became its president in 1969, Dutilleux has been considered by many to be one of France's leading composers since the end of the Second V/orld War. He received the Grand Prix National de la Musique in 1967.

9John Vinton, ed., Dictionary of Contemporary Music, p, 192 is the source for Dutilleux's biographical information. 329

Dutilleux is not a prolific composer, but his compositions are always well-constructed. The following compositions are most frequently listed as his major worksi Piano Sonata (19^6-^8), Symphony No. 1 (19^9-51)» 3 Sonnets de for and orchestra (1953)» Le Loup, a ballet (1953). Symphony No. 2. "Le Double" (1956-59), Hetaboles for orchestra (1962-65), and Concerto (1967- 69). He is presently composing an opera. Dutilleux claims that Debussy, Ravel, Roussel, Stravinsky, and Schoenberg have influenced his musical development,"'"® The arts, including the films of Renoir, Bergman, and Fellini, and the works of Fra Angelico, Rodin, and Van Gogh have in addition to the literature of Shakespeare and Baudelaire, also shaped his musical aesthetics. Having an excellent musical training and a strong compositional technique, Dutilleux often displays an academic rigor in his music. His disciplined technique is based on the principles of the Franck "school," Norman Demuth assigns Dutilleux's piano sonata to the tradition of the Dukas and d'Indy sonatas. He considers the music of Franck and his followers as being representative of the "Great Tradition" in French

10Ibid,T, . , 330

...for the substance of the Great Tradition is balanced by the Sonata (19^9) [publication date! of Henri Dutilleux (1916), a pupil of Henri Busser. Dutilleux profited'much from a private study of d'Indy's Cours de Composition Musicale. ...Dutilleux found that d'Indy's theories sup­ plemented those of his teacher. It does not constitute him a pupil of d'Indy, or even a Scholiste, but the results in general can be seen in the musical resources and the processes in his prodigious Symphony (1952) of which this present Sonata may be regarded as a natural forerunner. ...He is a master of what may be called tres lie, E."very lyrical"3 whereby his style is linked up with that of Dukas. There is no bravura for its own sake and every note has its thematic position in the thought, This is yet another,outcome of the indirect teaching of d'Indy. Example 102 displays the type of linear chromaticism that Dutilleux has borrowed from the Franckian tradition.

Allegro con moto (cl-108)

Meas. 77 78 f } J XTJ-yJ *4, n. I 37 Sir s-kiccqt-p jjjl%lh't ± fg c//i 1/

Ex, 102 Dutilleux's Sonate, First Movement, Second Theme, Meas, 77-78. (Copyright Theodore Presser Co. Used by permission.)

11Demuth, French Piano Music, p. 148. 331

However, Dutilleux1s academic discipline never assumed a reactionary aesthetic. On the contrary, he believes that experimentation and research are important: Today musicians are involved in deviating from what has previously been seen and heard, even from the form and presentation, for it is at random in "aleatory music." I find that good, even if sometimes it falls into a sort of musical dadaismj I am the first to encourage all experiments, ...since it is important that a musician be curious about all innovations, ...for all that which can stimulate the creative impulse in a composer will oftgn be manifested in other modes of expression. The tonal language in Dutilleux's piano sonata as­ similates not only the Franckian tradition, but also that of the impressionists and post-impressionists. His chords are often expanded tertian structures, such as the in Example 103 on page 332 or the incomplete in Example 104 on page 332. Dutilleux also used the parallel chord technique of the impressionist language (Ex. 105 and 106 on page 333).

12Taken from an interview with Dutilleux in Le Courrier musical de France as cited in Rostand, Dictionnaire... , p. ^82: "De nos ^jours, les^musiciens sont entr'aines a s'ecarter du deja vu, du deja entendu, meme par la forme et la presentation puisqu'on en est au hasard, a la "musique aleatoire." Je trouve cela bon, meme si parfois on tombe en une sorte de dadaisme musical, je suis le premier a assister a toutes les experiences, car tout cela peut stimuler, chez le musicien, 1'impulsion creatrice qui, souvent, se manifestera d'ailleurs de tout autre facon..., car il faut qu'un musicien soit curieux de toute innovation II • • « • 332

Allegro con moto (J=108) Reprenez le mouvt,

Meas. 124- 125

C: IVm9 b7

Ex, 103 Dutilleux's Sonate, First Movement, Meas. 12^-125. (Copyright Theodore Presser Co. Used "by permission.)

Allegro con moto (J=108) Reprenez le mouvt,

Meas. 160 161

E: bVI(M)bl3 b7

Ex. 10^(- Dutilleux's Sonate, First Movement, Meas, l60-l6l,

(Copyright Theodore Presser Co, Used by permission.) 333

Allegro con moto (d'108) Meas.281 282

IT? bi 7

Ex. 105 Dutilleux's Sonate, First Movement, Parallel Minor Triads, Meas. 281-282. (Copyright Theodore Presser Co. Used by permission.)

Allegro con moto (d=-108) Sempre stringendo

Meas. 362 363 364

' • »— % -jsrft-—•-V" y* . K U I M 1 E ^ £ • ' • h '• I 1 — 1 ' -i L_| 1

0:#.* :j . r , 1 t-. n <11 <• J— 'Z 1 ,! :« S .>• fih. IpT* 4 z \4 c £ 'l^r i ?

Ex. 106 Dutilleux's Sonate, First Movement, Parallel Major Triads, Meas. 362-364,

(Copyright Theodore Presser Co. Used by permission.) 33^ Polytonality, a characteristic technique of the post- impressionists is occasionally heard' in the sonata. The top voice in the first movement's second theme which was shown in Example 102 on page 330 v/as in G-sharp minor while the accompaniment pattern was in G-sharp minor. This interval of polytonality is found again at the beginning of the development section in the first movement (Ex. 10?). In this

Allegro con moto (

t Meas . 112 llU T"\ —'' 1 r- O r, — VJ 1 • 'i d ( j —- SovvTETv'^s fp 1 rtfrre ! < -Ji'Q •i'rO " - 4-e- c#:

Ex. .107 Dutilleux's Sonate. First Movement, Meas. 112-11^. (Copyright Theodore Presser Co. Used by permission.) occurrence the mode in the upper tonal plane is major, such that the result is G-sharp major over C-sharp minor, The presence of the pitch, G-natural, which creates a tritone with C-sharp, recurs in the second movement where G is sounded against D-flat (Ex. 108, p.335). Dutilleux's dissonant passages are often the result of exposing disso­ nant intervals in an extremely thin texture (Ex. 109, P. 335). This technique was also evident in Damase's piano 335

Assez lent^ (.^=60) Un poco piu mosso Meas

-g- t-T

PPP

Ex. 108 Dutilleux's Sonate, Second Movement, Meas, 73-7^• (Copyright Theodore Presser Co. Used by permission.)

Allegro con moto (^-108) Meas. Zk7 ZkQ

Ex. 109 Dutilleux's Sonate, First Movement, Parallel Major Seventh Intervals, Meas. 2^7-248. (Copyright Theodore Presser Co. Used by permission.) 336 sonata. Dutilleux's language not only incorporates elements from previous style periods, but also from the trends that existed in France after the Second 7/orld War: Without strongly following the conciseness of V/ebern, it is not possible to ignore all of the contemporary works which have sprung from this school, and where unquestionable masterpieces abound, where new musical forms that are very solid are born. The quest for original instrumental timbres in which we have all involved, can please the ear — even when it is not accustomed. But that which would be compromised, and which many very young composers are interested in, is the new perception of time divisions, at which Messiaen is most successful. It is in this area that research can go furthest; it is entreating without being there yet. ^

Octave displacement within a melodic line was charac­ teristic of the post-Webern school. This technique is occasionally found in parts of Dutilleux's sonata (Ex. 110, p. 337). A more extreme instance of the octave displacement device results in a pointillistic effect (Ex, 111, p, 337).

]7 "^Rostand, Dictionnaire..., pp, 82-83t "Sans suivre forcernent la concision de V/ebern, il n'est pas possible d'ignorer toute une production contemporaine issue de cette £cole, et ou abondent des oeuvres/incontestables, ou, des formes musicales nouvelles sont nees, extremement solides,... Les recherches de timbres, les instruments originaux, que nous somme tous amenes a employer, peuvent contenter l'oreille — surtout l'orsqu'on n'y est pas accoutume. Mais ce qui compterait, et beaucoup de musiciens tres jeunes s'y interessent, c'est une nouvelle perception de la division du temps, a quoi Messiaen a fort bien reussi, C'est dans ce domaine que la recherche peut aller le plus loinj on le pressent sans y etre encore," 33?

Allegro con moto (d=108) Reprenez le mouvt.

Meas.lgl 192 193 19^ 195 h»196 197: £gftfr 4p ,, y| Jj-rl > |? 4U. tjp. -«L > b: •5mf>*e. -f-f

Ex. 110 Dutilleux's Sonate, First Movement, Meas, 191-197. (Copyright Theodore Presser Co. Used by permission.)

Allegro con moto (J=108) Reprenez le mouvt. Meas. 88 89 ?•-, t *3=^0 4F fjb .

W±. . . 1 ! - -f-VTx f f-T- f —IH> 4 f - 1 ! cla\r e+cn-|'s;t^c1lin ** —, r j 1M1 a:

Ex. Ill Dutilleux's Sonate, First Movement, Pointillism, Meas. 88-89. (Copyright Theodore Presser Co. Used by permission.) 338

Dutilleux also used the process of inverting intervals in t.he development of the second theme of the first movement (see meas. 16^-168). The middle section of the ternary form in his second movement could be considered as athematic, because the melodic material has a fantasia quality that lacks the form and contour of the more traditional theme or subject (Ex. 112). Nevertheless, the concept of melody had

Assez lent^ (^=.60) Un poco piu mosso Meas. 4-3

^ ~ , 1»» •f'.u • v 1 FPP d i/ne Solvit*? -frei ,« iV- *- ! I '1 — 6 S

Ex. 112 Dutilleux's Sonate, Second Movement, Meas. 4-2-43. (Copyright Theodore Presser Co. Used by permission.)

expanded after the Second World War with the post-Webern "school." The anti-melody tendency was already seen in Jolivet's piano sonata of 19^5 • The melodic material shown in Example 112 is later found in inversion (see meas. 58-65). Dutilleux does not experiment with unconventional meters in this sonata* There are, however, instances of rhythmic complexity as a result of . The middle 339

section of the second movement, for example, contains a polyrhythmic passage (meas. 61-65) that assumes greater rhythmic complexity through the gradual increase in the sub­ divisions of the beat. The polyrhythms in the third movement (meas. 92-102 and 616-630) have recurring note- value patterns which do not coincide with the length of the measure. The Dutilleux sonata is not well-knovm to the public. It was first performed in 19^8 at a concert by the Societe Nationale de Musique with Geneviev Joy as the pianist. . It was to her that the work was dedicated. The sonata has been recently recorded by Jeffrey Siegel. Dutilleux described his piano sonata in a letter to Siegelt This sonata is a youthful work and also a transitional one. It figures among some of my pieces in which there yet remained a certain spirit of amusement and entertainment. In this Sonata my goal was to express a much more internal vision, at times even abstract, inside the austere framework which constitutes the sonata form. In this work the form still adheres to the traditional scheme but the language is much more modal than tonal. In writing the work I tried to create a certain internal pulsation, a type of lyrical tension, and also this 'sonorous abundance* that the piano, better than any instrument, can translate by virtue of its harmonic richness and variety of timbres, The music presents itself, in total , like a vision, a dream, and it must be listened to by submitting to it entirely (allowing oneself simply to be ! led) without attempting to criticize or control , it or to worry about its analysis.

Ik H»nri Dutilleux's Sonata and 's Sonata No. 3. Jeffrey Siegel, pianist and author of .iacket notes & 7299). 3*1-0

The modality in Dutilleux's sonata is not that of Debussy's but that of Jolivet. Unconventional seven-pitch scales are heard in different modes, Dutilleux's most common scale is a combination of the harmonic and ascending melodic minor with a lowered fifth scale degree (Ex, 113).

Large U=50) Meas.1 2 3 ^

r r. r , ^ ^ ^ Nf ' >' I ' b: ' -f-f Wtol-t-Q Wt Q,VCA,{O

Scale

• -|

Ex, 113 Dutilleux's Sonate, Third Movement, Choral Theme, Meas. 1-4-. (Copyright Theodore Presser Co. Used by permission,)

The three movements of the piano sonata are subtitled* "Allegro con moto," "," and "Choral et Variations," respectively. The tempo scheme of the three movements is fast-slow-fast. The key relationship between the three movements is i-V/v-iv/l or F-sharp minor—D-flat major/C- sharp minor—B rninor/F-sharp major. The use of D-flat major for the second movement is only the enharmonic spelling of the dominant major key. 3^1

Table ^8 on page 3^2 is an analysis of the form and tonality in the first movement of the piano sonata. The form of the first movement is sonata-allegro, However, Dutilleux deviated from this traditional form by adding a second development between the end of the recapitulation and the coda. The form begins with an exposition which presents a first and second theme. Each of these themes has two variants. The first theme section in measures 1-32 is repeated in measures 33-6^, but the second link is abbreviated and the transition expanded. A third theme with three variants is presented at the beginning of the first development, This is the only appearance of the third theme, which is followed by inverted fragments of the second theme and motives from the first theme. The recapitulation brings back the first theme section without the repetition that was heard in the exposition. After the return of a shortened second theme section, the second development begins. It is not as long as the first development. Fragments of the second theme are presented, after which the first -variant of the first theme and the first theme are heard. The coda that concludes the movement is based on the first theme. The tonal structure of the first movement follows the Classical tradition. In the exposition, the first theme, Cable 43 Dutilleux's Sorip.te. First Xoveiaent, Analysis of Por= and Tonality.

Forri Kev K_2£i BLeas Lty, 7-12, 13-15 6. 6. 3 Sx? 1stlink ?h (aala2) i (??a) 0 Is-: Ch (a2) I 0 2 lir.k i 0 ? trar.s 0 5 1st Sh (aals2) i 0 39-^3. ^">6 6. 5. 3 linjc i 0 -5 1st Th. (a2) i 0 iir.:-. i 0 trans Vll-bvi-v H2-2-1 A-42-13 J 2nd Tn (bbblbb2) v-ii over v 1-2 over 1 lfi-23 over 13 65-CS, 69-72, 73-76. 77-80, 8I-83 4, 4,'4, 4, 3 tra:-.s v-iii-V 1-2-2 -43-43 64-99 16 c;d=tta v 1 100-111 12 DiV I 3rd "h (oolo2c3) II over v-bv-Y-bVIX 3 over 1-0-2-1 53 over 13-A-43-1S 112-124, 125-136, 137-147. 148-159 13. 12, 11, 12 Ir.d Ih bVII-iv-bii 1-1-K2 1B-1D-53 150-205 1st Th bvi 2 205-226 21 Hec 1st il". (aala2) i 0 227-232, 233-237, 238-240 6, 5. 3 lirJ: i c 1st Th

-P"ro 3k3 which is in the tonic key is followed by the second theme in the dominant. The second theme, however, employs poly- tonality at the perfect fifth with G-sharp minor over C-sharp minor, Polytonality at the perfect fifth is again associated with the second theme in the recapitulation, where D-sharp minor is heard over G-sharp minor. The only other instance of polytonality is at the beginning of the first development, where the third theme is heard with poly­ tonality at the perfect fifth, G-sharp major over C-sharp minor. These three instances of polytonality involve bright keys exclusively. In fact, it is at the second occurrence of polytonality, which takes place at the beginning of the first development, that the brightest degree, 5B, is heard with the key of the supertonic major. The codetta closes the exposition in the key of the second theme. The first development begins in that same key. The first development section contains a greater number of keys including more distant relationships to the tonic key than is found in the second development. The tonic key, which returns with the first theme in the recapitulation is approached by a regression from the submediant minor key, A stronger approach to the tonic precedes the coda with forty-one measures (meas. 292-332) of the dominant key. The major third is the most common intervallic relationship in the succession of keynotes, 344

The formal and tonal organization of the second movement is shown in Table 49. The typical slow movement song form was used. The slow tempo marking of "Assez lent" for the A section becomes faster for the B section with "Un popo piu mosso." The middle section is also characterized by a greater amount of disjunct motion. The "a" theme has one variant which is heard in both A sections. The second statement of the "a" theme in the first A section (meas, 21-29) is an inversion of the theme. The "b" theme is also inverted in its second statement (meas. 53-65). The B section has a fantasia or improvisatory character, Canonic treatment of the "b" theme occurs in measures 48-50, The techniques of imitation and inversion are also found in measures 10-18 and 107-119, respectively. Both the presence of a codetta at the end of the first A section and the improvisatory nature of the B section may have been borrowings from the sonata-allegro form.

Table 49 Dutilleux's Sonate. Second Movement, Analysis of Form and Tonality.

Eesa Kox )C

A a I (DbM) 0 0 1-9 9 al bljl 2 3D 10-20 11 a l-#iv-bii 0-U-N2 • 0-A-A 21-29 9 trana bii H2 • A 30-33 k codetta bii-bvii N2-3 ' A-5D 34-tfl 8 B . Wii 3 A fe-53 12 link biii 3 A 54-57 4 5 bv4 3 A 53-65 8 trans bvi-biii-V 3-3-1 A-A-1B 66-73 8 A al I o-o 74-79 6 a i 0 3D 80-90 11 coda 1-1 0-0 3D-0 91-97 7 3^5

The keys at the beginning of the three main formal sections create the following scheme: I-biii-I, In relation to the principal tonality of the sonata, that is, F-sharp minor, the key succession is V-bvii-V. The key relationship successions for the I-biii-I and V-bvii-V scheme are 0-3-0 and 2-2-2, respectively. This movement ends in C-sharp minor, which is the enharmonic tonic minor' to the movement's principal tonality of D-flat major. The final key succession of i-I has a D/B succession of 3D-0. A reversed D/B succession, namely 0-3D» occurs with the first two keys of the movement, The interval of a second is not found in the succession of keynotes, but both the major and minor third are common. The progression of a descending fifth or "dominant to tonic" was strategically placed at the beginning of the B section (bvii-biii) and the second A section (V-l), The tonal and formal organization of the last movement is displayed in Table 50 on page 3k6. The form is a theme with four large variation sections concluded by a coda. Dutilleux called his theme a choral, perhaps for the reason that it is an extended melody in long note values with a tempo marking of "Large." The Choral and its four variations have tempo markings which follow the scheme of a traditional four-movement piano sonata. In the four-movement concept the slow tempo of the Choral would serve as an introduction Table 50 Sutilleux'3 Smate. Third Movenent, Analysis o£ Porn and Tonality.

?Jrr! Kov K Pel Hss* isn Larsa Choral iv 2 43 1-0 9 al iv-V 2-1 4D-IB 10-13 9 trans V-bvii 1-3 13-3D 9 Vivaoe Var I a2 bvii 3 53 &K 17 a2 bvii 3 53 45-57 13 a3 bii-iii U2-1 A-13 y^-77 20 a3 iii 1 13 76-91 14 a4 bll K1 53 S2-1C0 9 trans bll-ovii Kl-3 53-53 101-105 £ a2 bvii 3 53 107-119 1" a5 bV7. •9 43 15 trans bVI-bVI over IV-bii 2-2 over 1-K2 4q-4d over 1D-A Dr. poco piu vivo Var II a 6 bv-bV U-U A-A 151-131 % c7 bV U A 152-2C5 24 ao vii-vii over II-VII IU-H1 over 2-H1 23-2B over 23-53 CC6-230 31 VH-bVII-bv N1-2-U 53-2D-A 237-267 bv-bV U-U 265-2Q5 V- alO I (?#;«)-bv o-u 0-A trans tvii-iv 3-2 53-4D W-W, !' CalMto all iv-bii-vi-bv• 2-X2-I-U 42-A-0-A 55 Calno Var III al2 bv-vi U-l A-0 mm al2 i-I 0-0 33-0 413-420 Cads; ires leserecent I-iii 0-1 0-13 421-420 9 xrastissi=o . Var IV Intro iii 1 13 430-471 42 al4 vi 0 472-47? 8 link vi 0 4SC-4S7 5 a 14 vi 0 4JS-4CO 12 trans vi-i 1-0 0-3D 500-515 17 a 14 i •-0 33 517-529 13 liric 0 33 530-540 al5 0 3D lir> 0 3D 13 a 15 0 3D 10 ?ia vivo trans •I 0-0 33-0 roco allarcar.do -I 0-0 3D-0 633-^^5 3I

V4="JO CTv 3k? to the first fast movement. The second and fourth movements would be even faster, while the third movement would be slow and lyrical. The third variation is slow and lyrical, and it is in this variation that the long note values and character of the original choral theme returns. Although Dutilleux only indicated the existence of four variations, there appear to be separate variations or subsections within each of the variations. The fourth variation section is the only one with an introduction. This introduction is large and in a toccata style. The keys found at the beginning of the five main formal sections produce the following scheme: iv-bvii-bv- bv-iii,. Its key relationship and darkness/brightness successions are 2-3-U-U-l and ^D-5D-A-A-1B, respectively. Minor keys occur more frequently than major keys in this last movement. Each of the lowered degrees of the F-sharp minor scale, however, serves as a keynote for a major key. The only major keys that are unaltered degrees of the F-sharp minor scale are I, IV, and VII, The minor third is the most common intervallic rela­ tionship in the succession of keynotes. It is also the . interval of the polytonality that occurs near the end of Variation I (meas, IjB-lkk). In "the only other instance of

polytonality, near the beginning of Variation II (meas, 21k- 221), the interval is the major sixth, the inversion of the 3^8 minor third. The minor third is given further significance in the final succession of keynotes for the movement. Here, the shift is from the tonic's relative minor to its parallel minor. Both the Choral and Variation IV have only three different keynotes. The first key of the Choral is the subdominant minor. The second key, V, was the principal tonality of the second movement. The third key, bvii, or E minor was also important in the second movement as the primary key of its middle section. The three keynotes .in Variation IV have the succession of mediant to submediant to tonic minor. Modal interchange characterizes the transition to the coda in Variation IV. Variation I and Variation III have similar key structures. With the exception of the succession, bvii-V, in Variation I, both variations have key successions limited to the interval of the minor third. The four keynotes in Variation III have an intervallic succession of three ascending minor thirds. The intervallic succession of the first five keynotes in Variation I is a balanced pattern of two ascending minor thirds followed by two descending minor thirds. The logic of the remaining three keynotes in Variation I may be seen when the keynote successions in both the Choral and Variation I are concatenated ^Ex, 11^, ; p. 3^9). After the first progression of an ascending major 3^9

Choral Variation I

/ ~ c ^ 3 F#: iv fmz . iii bvii |M2 IV 4,I<13

Ex. 11^ Dutilleux's Sonate, Third MovementProgression of Keynotes in Choral and Variation I. second the keynotes move up by minor thirds to iii and then down by minor thirds to bvii. The progression then of bvii to bVI interrupts the minor third sequence with a major second, so that iv may be approached from a minor third above. The key of the subdominant minor can be considered as the underlying tonality of both the Choral and Variation I (meas, 1-11*0. The underlying tonality changes when the lowered supertonic minor enters in the last seven measures of Variation I, The key of bii progresses down a perfect fifth to bv at the beginning of Variation II. This is the only instance where the last key of one formal section is not identical with the first key of the succeeding section. Variation II also has the greatest number of different keynotes. The succession of keynotes in Variation II is shown in Example 115 on page 350. Seven of the eight different keynotes may be grouped in minor triad formations as they are notated 350

Variation II f-p .iL —f-=— w •bo • L loe- L t F#: vii I bvii bv

4! ====g=, bS F#: vii bvii bv^

Ex. 115 Dutilleux's Sonate, Third Movement, Variation II, Reduction of the Tonal Organization, in the bottom staff of Example 115. In relation to the principal tonality of F-sharp minor, these three triads produce the following relationships vii-bvii-bv.* The one key whose keynote does not fit into any triad is G-flat major, the enharmonic spelling of the principal tonality. This key is approached and left by a tritone succession, which is the only instance of this interval in the last movement, G-flat major also only occurs once in this last movement, and it .is approximately at the midpoint of the movement, measures 297-303 of a 633-measure movement. The underlying tonality of the entire Variation II is bv. The basic key scheme of the last movement then is iv- bii-bv-iii-vi (relative minor) -i-I, Except for the key succession of bv-iii and vi-i in this scheme, the keynote movement is progressive, The key relationship and D/B 351 successions for the scheme are 2-N2-U-1-1-0-0 and to-A-A- 1B-0-3D-0, respectively. The importance of the lowered dominant was revealed in the opening measures of the movement where the scale material resembled the traditional forms of the minor scale, but with a lowered fifth degree.

Summary

The period of 19^1-1950 of the French piano sonata was investigated in this chapter through the analysis of the following representative compositions« Jean-Michel Damase's Sonate, Op. 2k (19^-3)» Andre Jolivet's Sonate pour piano (19^5)» and Henri Dutilleux's Sonate (19^8). All three sonatas, and expecially Dutilleux's, are large three- movement compositions. The abstract quality of their language and thematic content along with the disciplined development of ideas constitute three dignified examples of the twentieth-century French piano sonata. The tempo schemes of the three movements are the traditional "fast- slow-fast" pattern. The tonal language in these sonatas contains many new elements in its vocabulary. Jolivet's sonata is the most modern, drawing little from previous tonal styles, Damase and Dutilleux, on the other hand, assimilate the language of Debussy and Milhaud. Damase's language is marked by diatonic seventh chords and open, intervals of the perfect 352 fourth, fifth, and octave, and a rigorous use of poly- tonality. Dutilleux incorporates d'Indy's linear chromati­ cism, Debussy's expanded tertian structures and parallel chords and Milhaud's polychords. Jolivet's language abandons the functional harmony of the eighteenth and nineteenth centuries. His chord structures are not simply tertian or quartal, but a mixture. The untraditional chord structures in addition to the lack of. functional harmony contribute to the atonal quality of Jolivet's sonata. The composition remains tonal, however, through the tonicization of pitches, The common modern element in the tonal language of these sonatas is the use of unconventional scales. These scales have seven pitches, and are similar to the traditional major and minor scales, but with altered tones. Damase's scale consists of a major scale with a lowered second and fifth degree and a raised sixth degree. Jolivet's scale has the intervallic structure of the ascending melodic minor with a raised fourth and lowered seventh degrees. Dutilleux combined both the harmonic and ascending melodic minor scale with a lowered fifth degree. In all three scale types a tritone is created above the tonic pitch with //^ or b5. The only precedent in this dissertation for these synthetic scales is found in the sonata by Casiniere, who used an ascending melodic minor scale with a lowered 353 fifth degree. Even the tonal scheme of his three-movement sonata contained the tritone relationship'! i-bV-i, Both Jolivet and Dutilleux substitute the more conventional modulation technique of transposing a scale to a new pitch level with modal rearrangement of a single scale. Other aspects contribute to the modern sound of these sonatas. Damase and Dutilleux placed dissonant intervals such as the major seventh and minor ninth in austere textures and frequently in parallel motion. All three composers used polyrhythms and note-value patterns which did not coincide with meters. Unconventional meters and frequent changes in meters are found in each sonata. The Webern devices of octave displacement of the melodic line and pointillism were employed in each sonata. Jolivet and Dutilleux presented a modern style of melodic writing. Their melodies do not have the form and sense of direction found in tradi­ tional tonal music. Dutilleux*s melodies are either incipient, overextended, or improvisatory in nature. Jolivet's melodies are either long chromatic lines or static cellules that are repeated, sequenced, and extended. The pianistic style of Damase*s sonata is similar to Casiniere's and to Milhaud's. Jolivet has an individual piano style that, at times, is reminiscent of Beethoven. Dutilleux adopts a mixture of Dukas* intense lyricism and Bartok's stark staccato style. 35'J-

Academic formal types were selected for the individual movements of these sonatas (Table 51)» but deviations from these forms were frequent. The first movement in each sonata is a sonata-allegro form, Damase deviates from the "textbook" model for this form by presenting an introductory passage before the first theme in the exposition, develop­ ment, and recapitulation. This passage occurs twice in both the exposition and recapitulation, Damase's sonata- allegro form further deviates from traditional practice by .placing greater emphasis on the second theme than on the first. The second theme is also unusual because of its two different tempo settings; it is characterized by a slow tempo in the exposition and by a "scherzando" marking in the development and recapitulation. The single appearance of a third theme in the middle of the development was typical of the Romantic piano sonata, but not of the Classical mode.

Table 53- Summary of Form .in tho Sonatas from 19IU-1950

Composer Mvt X Mvt TIX (date)

Earaasc (19't-3) Sonata-allegro Sonatina Fantasia Jolivot (19*5) Sonata-allegro Song Form Rondo Dutillcux (1948) Sonata-allegro Song Form Th and Var's

Jolivet's sonata form contains two development sections between the exposition and recapitulation. The first 355 development is devoted to the introduction theme, second theme, and codetta material of the exposition. The second development contains the first and second themes with the codetta. Like Damase's form, Jolivet also used an intro­ ductory section which is heard twice in the exposition, but his introductory theme does not reoccur in the recapitula­ tion. Dutilleux's form also has two developments, but the second development was placed after the recapitualtion. A third theme was presented in the first development, but does not reoccur. Both Jolivet and Dutilleux employed a song form for the slow middle movement. The themes in the individual sections had variants. The fantasia-like middle section of Dutilleux's song form gives the impression of a development section. Damase used a sonatina form for this movement. Again his second theme, which has four variants, assumed greater importance than the first theme, Three different forms were found in the last movements of these sonatas. Damase wrote a fantasia movement that used elements from the sonata and rondo forms- v/ithout being in sonata-rondo form. There are four themes. Each of the first three themes is combined with the fourth theme in a development section similar to sonata form. The recurring first theme indicated the rondo conception of form, Jolivet's last movement is in a complex rondo form with five themes. There are two different introductory sections, the 356 first of which is heard twice, and the second precedes, and is based on, the fifth theme. Dutilleux*s last move­ ment is a theme v/ith four variations. Each of the variations contains subsections with different variations. A toccata introduction precedes the final variation. The tempo scheme of the theme section and four variations resembles the tempo pattern of a four-movement sonatai slow/moderately fast—fast—slow—very fast. Tempo played a more significant role as a form defining element in these sonatas than in previous French piano sonatas. The development and conservation of thematic materials was also important in these sonatas, but these ideals were accomplished without the use of cyclicism. The tonal organization of the Damase and Dutilleux sonatas is more traditional than that of Jolivet (Table 52, p. 357). Damase's key scheme between the three movements is I-III-I. Dutilleux's key scheme is i-V/v-iv/l, Jolivet's was an unusual biii-ii-i. The intervallic relationship between the keynotes of Jolivet's first movement reveal more "dominant to tonic" progressions than any of the other sonatas. The most common interval in the key successions of Jolivet's sonata is the major or minor second, while both Damase and Dutilleux utilized more third relationships. 357

Table 52 Summary of Tonal Organization in the Sonatas from 19^1-1950.

Composer Key Schomo K ftsl n/n (date) (or T Lev Scheme) (or T Rel)

Dcmase (19^3) I-III-I 0-2-0 0-1*3-0 Jolivet (19^5) biii-ii-i 2-2-0 3D-23-0 Dutillcux (19'r8) i-v/v-iv/l 0-2/1-1/0 0-W1B-1D/3B

The tonal organization within the movements varies. The first and second theme relationship in the exposition of Damase's first movement is I-IV with I-VI in the recapitu­ lation. Jolivet has a similar relation of i-IV in the exposition and i-bVI in the recapitulation. The underlying structure of his movement is a strong tonal progression of i-IV-v-i. The first two themes in Dutilleux's sonata form are related by i-v in the exposition and i-vi over ii/i in the recapitulation. The basic key organization of his movement is i-v-i. The tonal organization of the middle movements is I-V- I in Damase's sonata; i-II-i in Jolivet's, and I-iii-I in Dutilleux's sonata! The key relationship between the two themes in Damase's sonatina form is I-V in the exposition and I-VI in the recapitulation. Again Damase has used the submediant major key for the second theme in the recapitula­ tion, but unlike the first movement, V instead of Iv was employed for the second theme in the exposition. 358

In the final movement Damase built a key structure of I-IV-II-VI-I. Most of the other keys that v/ere employed had tonic notes which v/ere diatonic to the scale of the principal tonality, Damase, however, did not use V or VII, the two keys with a dominant harmonic function. The tonal organization of Jolivet's last movement is similar: i-iv- vi-bii-i. Dutilleux's scheme was iv-bii-bv-iii-i-I, A variety of final key successions exist at the end of the movements, Damase's three movements end respectively with bV-I, VII-I, and bVI-I. Jolivet's endings are v-i, Ill-i, and bll-I. Dutilleux ended his movements with v-i, V-I, and vi (relative minor) -I, respectively. The existence of some form of the dominant to tonic is common in all three sonatas at the end of their first movements, which are in sonata-allegro form. Table 53 on page 359 displays the frequencies of intra- movement key relationships and darkness/brightness relation­ ships in these sonatas. No one key relationship is definitively more typical than another. In four of these nine movements the indirect relationship dominates. The tonic relationship is most common in three movements, v/hile the direct relationship is most frequent in only two move­ ments, The doubly indirect relationship is also present in these sonatas, but not with any greater frequency than it occurs in the sonatas analyzed from the previous decade. Table 53 Frecuencies oi Intra-covement Key Relationships ar.d ironEariness/Srightness 1941-1950. Relationships in the Sonatas

Mrt Ccr.roser m, Ko. of Vevs K Rel (or T Pel) n/3 ) (or 2 Lev's) 0 - 2 3 a 50 4D 32 2D 13 0 A IB 23 33 43 *1 x Dt.ni2.ss (I9**\3) Sonata-allegro 246 5? 13 21 • 9 9 3 •5 1 20 9 5 2$. 2 Jolivet (1945) Sor.aia-allesro 159 50 12 11 23 4 3 1 3 2 6 11 5 5 11 2 Dutilleux (1948) Sonata-allegro 366 43 19 14 13 1 1 1 2 2 2 13 2 12 3 2 3

II Eanase (19^3) Sonatina 85 3? 10 13 14 1 1 4 2 10 7 3 3 1 Jolivet (1945) Sons Fore 79 24 3 5 6 1 1 1 1 2 6 4 1 3 4 Dutillaux (194S) Sons Fora 97 18 6 1 4 6 1 I 3 4 9 1

Ill Da^ase (1943) Fantasia 263 42 13 10 18 1 12514 13 1251^3 Jolivot (1945) Rondo 273 48 69 28 23 o 3 372912 11 22 Butilleux (19^) Th and Var'3 666 oO 14 19 12 6 9 8 7 9 1 1 H 12 6 3 2

Vj\ 360

Damase used the doubly indirect relationship less often than Jolivet and Dutilleux did in their piano sonatas. The unconnected relationship; does occur with a greater frequency than in any of the sonatas analyzed from 1900 to 19^0, Again, Damase is found to have used the unconnected relation­ ship less often than Jolivet and Dutilleux did in their piano sonatas. The frequency distribution of darkness/brightness degrees in these sonatas differs ..considerably from the sonatas of previous stylistic periods that have been analyzed. Three of the nine movements in the sonatas from 19^1-1950 have D/B degrees other than the tonic degree that are most common. The ambiguous D/B degree is most frequent in Dutilleux's second and third movements. The only prece­ dent for this to be found in the other piano sonatas that have been analyzed is in the middle movement of Milhaud's Sonate from 1916 (see p. 232 in Chapter Four), In Jolivet's third movement the D/B degree of 3B is the most common with the ambiguous degree being next most frequent. The D/B degree of 2B in his first movement is as frequent as the tonic D/B relationship. Breville's piano sonata from 1923 (see p. 232 in Chapter Four) and the last movement of d'Indy's sonata of 1907 (see p. 1^9 in Chapter Three) are precedents for the greater occurrence of 3B keys than tonic relationships. 361

A noticeable difference in the darkness/brightness relationships in these sonatas from those of 1900-19^0 that have been analyzed is the greater number of accumulative bright degrees than dark degrees, Dutilleux's second and third movements are the only movements in which there are a greater number of dark degrees than bright degrees. Jolivet's sonata is most unusual for its balance of accumu­ lative dark and bright degrees in his first and last movements. An equal number of accumulative dark and bright degrees (38 dark and 38 bright degrees) exists in his first movement, while his last movment has one more bright degree than dark degrees (55 dark and 56 bright degrees). The middle movement has exactly twice the number of bright degrees than dark ones (12 dark and 2^ bright degrees). Consequently, the D/B scheme between Jolivet's three move­ ments is Neutral-B-B, The D/B schemes for Damase's and Dutilleux's sonatas are B-B-B and B-D-D, respectively. The dark and bright key extremes of 5D and. 5B are present in every movement except Dutilleux's second movement where the sole bright key occurrence has a bright degree of only IB. The following chapter is a summary of the disserta­ tion's purpose, scope, and findings. Further conclusions are made about the French piano sonatas that have been analyzed and about the nature of these sonatas in relation to those of our standard repertoire. CHAPTER SEVEN

SUMMARY

This dissertation asserts that the tonal French solo piano sonata from 1900 to 1950 can be assessed through an analysis of representative works. To be considered for analysis the sonatas had to be tonal compositions by French composers v/ho had received their training in France. The v/orks had to have the term, "sonata," in their titles and had to have been both written and published during the years 1900-1950. The analytical objective is to gain an understanding of the use of tonality and form in tonal French piano sonatas composed and published during the first half of the twentieth century. Tonality and form were chosen as the focal points of the analysis, since these two elements have served throughout the history of various style periods as the defining characteristics of the keyboard sonata. The history of the French piano sonata was traced to tv/o early sonata collections (1783 and 1788) by l2tienne Nicola Mehul (1763-1817). Mehul and his contemporaries left excellent examples of the French piano sonata from approximately 1780 to 1820. A decline in the quantity of

362 363 piano sonata writing characterized the nineteenth century, not only in France, but in other parts of Europe as well. During the 1800's the piano sonata came to be looked upon as an "academic" form which required a disciplined compositional technique. This was partly due to the fact that many nineteenth-century composers viewed the piano sonatas of Beethoven as having reached the limits of this genre's tonal and formal organization. The framework of the piano sonata became a proving ground for the competence of young composers, rather than a popular medium of expression. In effect, the piano sonata was no longer as fashionable in the nineteenth century as it had been in the previous century. Consequently, we find that the "learned" connotations of the Romantic piano sonata resulted in compositions that v/ere larger, more complex, more abstract, technically more demanding, and less appealing to the amateur pianist than were the sonatas of the Classical period. For the most part, this situation still exists in the French piano sonatas from the period 1900-1950, and even more so after 1950. A few exceptions are the piano sonatas by Theodore Lack, Henri Sauguet, , Robert Casadesus, and Jean Francaix. Although their works are entitled sonatas, their dimensions are proportional to the Classical piano sonata, and would otherwise be 364 considered as sonatinas by twentieth-century standards. Lack's sonata is the smallest composition selected for analysis and the only known example of a twentieth-century French programmatic sonata for piano. The majority of the piano sonatas selected for analysis in this dissertation were written by relatively young composers. The youngest was Jean-Michel Damase who v/as only 15 years old and a student at the Paris Conserva­ tory when he composed his Sonate. Op. 24. Most of the composers were in their twenties or early thirties. Theodore Lack, Vincent d'Indy, and Pierre de Breville are exceptions. These three composers were, respectively 60, 56, and 62 years old at the time they composed their sonatas. Although the reason is not always clear as to what motivated these composers to write piano sonatas, we frequently find that many of the sonatas were composed during student years, often as a testing model for new techniques which were to be employed later in larger instrumental mediums.

Analytical Method

The following is a summary of the analytical techniques applied in the dissertation. Fourteen of the twenty-eight French piano sonatas composed and published during 1900 to 1950 are analyzed. Each analysis includes a description of the tonal language, piano style, and 365 thematic content, however, the primary objective in these analyses is the investigation of the use of tonality and form in each movement of the sonata and the tonal structure and form of the sonata as a whole. These aspects are discussed in terms of "textbook" models. The tonal and formal organization of each movement and of the sonata as a whole are compared with other French piano sonatas and with piano sonatas from our standard repertoire. The preliminary survey of tonality and form in piano sonatas of the standard repertoire includes such composers as Haydn, Mozart, Clementi, Beethoven, Schubert, Mendelssohn, Chopin, Schumann, Brahms, and Liszt. Formal types are assigned to each movement. The form of the sonata as a whole is analyzed in terms of a "formal scheme" created by the succession of movement forms. The unconventional techniques applied in the analysis of tonality include key or tonal level relationships and darkness/brightness relationships based on the analytical system given in Francis Tovey's book, The Forms of Music (19*14). His system of key relationships and darkness/ brightness relationships was found to be similar to those of Albert Lavignac and Vincent d'Indy, who were important pedagogues in France around the turn of the century. Tovey's system is adopted in lieu of Lavignac*s and d'Indy's because it is a more detailed model of tonal practices 366

by Classical composers. The key relationship and darkness/ brightness relationship of a key are determined by their harmonic and modal relationship to a tonic key. Key relationships and darkness/brightness relationships of keys within a movement are analyzed in relationship to the tonic key of the movement. A key relationship and darkness/brightness relationship scheme is produced by abstracting the underlying key succession of the movement. The underlying key succession of a movement is determined by the duration of keys and their relationship to the formal structure. In addition to the succession of key relationships and darkness/brightness relationships, the frequency distribution of these particular relationships in a movement is included in the analytical summaries. After the frequency distribution of the darkness/brightness relationships in a movement is determined, the accumulative dark and bright degrees are calculated by multiplying the number of occurrences of a D/B relationship by the number of degrees characterizing the relationship. When there is a greater number of dark degrees than bright degrees, then the movement is assigned an accumulative degree value of "dark." The accumulative degree value of "bright" is assigned to movements in which the opposite is true, but v/hen there is an equal number of accumulative dark and bright degrees then the assigned value is "neutral." 367 The tonal organization of the sonata as a whole is discussed in terms of a key or tonal level scheme. The key scheme of a sonata is the succession of the tonic keys of the movements, which have been assigned a harmonic relationship to the principal tonality or tonic key of the entire sonata. The key relationship and darkness/ brightness relationship schemes of a sonata are also produced by relating the tonic key of each movement to the principal tonality of the sonata. A further step in the analysis of darkness/brightness quality is applied to the sonata as a whole by producing an accumulative darkness/ brightness degree succession based on the accumulative value of each movement.

Tonal Language, Piano Style, and Thematic Oontent

A wide variety of stylistic traits exist in the musical language, piano scoring, and thematic content found in these v/orks. The sonatas from 1900-1915, namely Dukas' Sonata en mi bemol mineur (1900), Lack's Sonate Pastorale. Op. 2 51 (1906), Hure's Premiere Sonate (1907), and d'Indy's Sonate en mi. Op. 63 (1907) display three different types of tonal language,"piano style, and thematic material. The DUlcas and d'Indy sonatas have a common Franckian language of linear chromaticism and frequent, modulations. Their piano style is similar to that of the late Romantic 368

German composers with thick textures of altered chords. Lack's language is an uncomplicated diatonicism with modal inflections of the lowered seventh and raised fourth scale degrees. His texture has the austerity of the Baroque keyboard sonata, and its thematic material resembles that of the French clavecinists. Hure's language and themes are a more, modern version of Franck's language with less chromaticism and fewer modulatory passages. His texture is considerably thinner than that of Franck and his "school." A very different style was introduced between 1916 and 1930. Both Milhaud in his Sonate (1916) and Casiniere in Sonate en si mineur (1926) employed a post-impression­ istic language of bitonality, polychords, modal interchange, pandiatonicism, bimetric settings, and extreme textural contrasts. While Milhaud's melodies often have a folk song quality, Casiniere*s were modeled after those of Ravel. The scale material in Milhaud*s sonata is diatonic with an occasional use of the Lydian mode. Casiniere*s scale material was novel in his use of an ascending melodic minor scale v/ith a lowered fifth degree. Sauguet's language reveals the influence of Koechlin's diatonicism and Satie's free piano style. He used many diatonic seventh chords and folk song themes. His sonata represents the realization of Satie's aesthetic not only in language, but also in.formal structure. A mosaic form resulted from 369 the juxtaposition of many different ideas which v/ere never developed. Brevi?le's sonata represents the conservative trend between 1916 and 1930* His tonal language is a mixture of Franck's and Debussy's language, but his piano style is more similar to Debussy's than to that of Franck. A mixture of Franck's and Debussy's style was also found in Aubin's Sonate en si mineur (1931)> one of the representative sonatas from 1931-19^-0 • Auric in his Sonate en fa ma.ieur (1932) combined the linear chromaticism of d'Indy vdth various contemporary traits such as equivocal chord members, parody of popular music chromatically distorted, and atonal sound image through sparse texture v/ith disjunct me.lodic registers. The parodying of popular music in Auric's sonata may have resulted from his experiences in composing film music. Nevertheless, this style had become well-known in the late 20's and early 30's through the parodying of Bertolt Brecht's tunes by such composers as (1900-1950), (I898- 1962), Marc Blitzstein (1905-196*0, and Alan Bush (1900- J."1" Bondeville followed the footsteps of Milhaud and Sauguet in his Sonate (1937)•

"'"Austin, Music in the 20th Century, pp. ^98-500. 370

In the period of 19^1-1950 we found further eclectic v/riting.- Damase's language in the Sonate. OP. 2k (19^3) incorporates the rigorous bitonality and open fifths and fourths from Milhaud's post-impressionistic language, Dutilleux's Sonate (19^8) also used bitonality in addition to the expanded tertian structures and parallel chords of Debussy. His piano style is a mixture of Dukas* lyricism and linear v/riting and the percussive austerity of the post-impressionists. Jolivet abandoned traditional harmony in his Sonate pour piano (19^5) and employed the technique of tonicization. All three sonatas during this period use altered diatonic scales. Both Damase and Dutilleux employed scales with a lowered fifth degree that were similar to Casiniere's, while Jolivet used a raised fourth. The modal quality of Jolivet's and Dutilleux's sonatas results from the rearrangement of the notes in their unconventional scales.

Form of the Sonata as a Whole

There is less variety in the formal types than in the tonal languages that were used for the individual movements of the piano sonatas from 1900 to 1950, "but there is consi­ derable variety in their formal schemes. Table 5^ on page 371 is a summary of form in the sonatas from 1900 to 1950. Most of the sonatas are in three movements. However, Dukas, 371

Tablo 5^ Summary of Form In the Sonatas fron 1900-1950.

Conjionnr m x m,n ®njix mvt tv " (date)

Dukr.a (1$>00) Ccr.ata-alleGro Sonata-allegro Scherzo and Trio Sonata-allegro Lack (1906) Variation Form Sony Form Scherzo and Trio Sonatina Hurd (1907) Sonata-allegro d'Indy (190?) Th and Var's Scherzo and Trio Sonata-allegro

Mlhftud (191^) Sonata-rondo Sonata-allegro Variation Fora Brcvillo (19?0) Sonata-allegro Caoiniore (1926) Sonata-allegro Sonata-allegro Sonc Porn Sauguot (1926) Sonata-allegro SonG Fora Sonata-allogro

Aubin (1931) Sonata-allegro Sonata-allegro Hondo Auric (193?.) Sonata-allesro Scherzo and Trio Song Forn Rondo Bondcville (1937) Sonata-allegro Song Forn Variation Fora

Dnnaso (19'»3) Sonntn-allegro Sonatina Fantasia Jolivot {191*3) Sonata-allegro Song Form Hondo Dutilleux (19'»8) Sonata-allogro Sons Form Th and Var'o 372

Lack, and Auric employed four-movement plans. One-movement. sonatas were composed by Hure and Breville. Each of the three sonatas in four movements has a different sequence of formal types. However, there are a few similarities in these schemes. Both Dukas and Auric have a first movement form of sonata-allegro. The scherzo and trio form constitutes the third movement of Dukas' and Lack's sonatas. The slow movement in the sonatas by Dukas and Lack is the second movement, v/hich is the traditional location for the slow movement. Auric, composing in 1932, placed the slow movement as the third. His choice of form for the slow movement, namely, song form, is the same as Lack's choice. The formal scheme in Auric's sonata was found to be identical with the piano sonatas by Chopin. The three-movement sonatas also displayed a variety of formal schemes. The sonata-allegro form is most common. In fact, every one of the three-movement sonatas has at least one movement in sonata-allegro form, and d'Indy and Milhaud's sonatas are the only three-movement sonatas that do not use sonata-allegro form for the first movement. D'Indy's first movement is in theme and variation form. This form v/as also found in Dutilleux's last movement. A similar form that is based on a variation technique was used by Milhaud and Bondeville in their final movements. Milhaud's first movement form is sonata-rondo, and it is 373 the only instance of this formal type in the sonatas from 1900-1950 that have been analyzed. The next most common form in the three-movement piano sonatas is song form. It usually occurs in its traditional location as the form for the slow middle movement. However, Casiniere used it for his fast third movement. In addition to Milhaud's use of a sonata-rondo form, the other forms that occur with little frequency in the three-movement sonatas are the scherzo and trio, the sonatina, and the fantasia. D'Indy was the only composer v/ho used a scherzo and trio in a three-movement sonata. Scherzo and trio form usually follows the slow second move­ ment of the four-movement piano sonatas from the standard repertoire. Since all three movements of d'Indy's sonata are at a fast tempo and the scherzo and trio form occurs as the middle movement, his entire sonata could be viewed as an incomplete four-movement sonata with the omission of a slow second movement. The scherzo and trio form, which v/as not found after d'Indy's sonata (1907), may have been considered archaic by later French composers. However, this form v/as found in some of the French Neo-Classical piano sonatas composed after 1950. Damase employed the sonatina and fantasia forms for his second and third movements, respectively. These are the only occurrences of these forms in the three-movement piano sonatas that 37^ have been analyzed. The one-movement designs of Hure and Breville were based on sonata-allegro form. Hure's sonata is a smaller work than Breville's and its form is less complicated. A distinctive feature of Hure's form is the addition of a large coda in toccata style. Breville's sonata has, in effect, two simultaneous sonata forms within one movement. The formal sections had the following scheme: Exposition I —Development I—Exposition II—Development II— Recapitulation I—Recapitulation II. Although the first and second expositions correspond with their respective recapitulations, the development sections use a mixture of themes from both expositions.

Form within the Movement

Many of the sonata-allegro forms that v/ere used in these sonatas follow the formal scheme of the "textbook" model. They were usually abbreviated when employed in slow movements. The most common irregularity is the interpolation of additional introductory sections, transi­ tions, and codettas between and v/ithin the major divisions of the form. This is more common in the period between 1931 and 1950 and particularly in the piano sonatas of Jolivet. Other common deviations during this period from the "textbook" model v/ere the return of the first theme in the 375 exposition between the second theme and the closing theme, and the use of several theme variants in the first and second theme sections of the exposition and recapitulation. The irregularity in the sonata-allegro forms of Dukas' fourth movement and d'Indy's third movement was later found in Dutilleux's first movement. All of these movements have a second development which occurs after the recapitulation. Jolivet also used tv/o developments, but both occur between the exposition and recapitulation. Milhaud introduced a novel technique in his sonata-rondo form. The first movement of his Sonate (1916) begins v/ith a first and second theme in the exposition followed by a third theme and a codetta in the development section. The order of theme presentation is then reversed in the recapitulation. The other standard forms endorse fewer irregularities. D'Indy's scherzo and trio does not follow a three-part form, but extends into five parts : Scherzo—Trio I—Scherzo— Trio II—Scherzo. This extended scherzo and trio form is common in Beethoven's works beginning v/ith his Fourth Symphony through his Quartet in C-sharp Minor. Op. 131. The variation forms of d'Indy and Dutilleux consist of a theme section followed by four variations. Milhaud, hov/ever, wrote a most unusual variation form in v/hich thematic metamorphosis produces new themes that give the impression of a through-composed form. 376

The important cyclical technique of the Franckian tradition was employed in many of these sonatas. It is most extensive in d'Indy's (1907), Casiniere's (1926), Aubin's (1931), and Auric's (1932) sonatas. Casiniere, however, used cyclicism in a novel manner. His cyclicism is cumulative over the duration of the three movements. Not all of the cyclical themes appear in the opening movement. The first theme from the first movement was found in both the exposition and development of the second movement, and in the second and fourth formal sections of the last movement. The first theme of the second movement was heard again in the three middle sections of the last movement. There are actually no new themes in his final movement, since this movement's main theme is merely a metrical transformation of the second movement's second theme.

Tonal Organization of the Sonata as a 7/hole

There is a wide variety of tonal schemes in these sonatas. Table 55 on page 377 shows the tonal organization in the sonatas from 1900-1950. The four-movement works do not follow the typical tonal plans of the Romantic piano sonata in which usually only one movement, the second movement, is in a key other than the tonic. Dukas' sonata (1900) has a tonal organization of i-lV-bvi-i, which is 377

Tablo 55 Summary of Tonal Organization in tho Sonatas from 1900-1950.

Comnoser Ko.v Schnmft (date) (or 'f Lev Scheme) (or T Rol)

Du'/.as (1900) i-IV-bvi-i 0-2-2-0 O-23-to-O lack (1906) I-IV-I-I 0-1-0-0 0-1D-0-0 Huro (1907) i/1 • 0/0 0/33 d'Indy (1907) i-blll-i 0-1-0 0-0-0

Kilhaud (1916) I-V-l 0-1-0 0-1E-0 Breville (I923) i 0 0 Casiniero (1926) i-bV-i/l o-u-o/o 0-A-0/3B Sausuet (19X6) I-bV-I o-u-o O-A-O

Aubin (1931) i-III-i 0-3-0 , O-A-O Auric (1922) i-iii-bvi/vil-i/l 0-1-2/Nl-O/O 0-13-'»D/53-3D/0 Bondevillo (1937) IV-bv-ii/I l-U-1/0 1D-A-13/0

Damase (19'0) I-III-I 0-2-0 Jolivet (19^5) biii-ii-i 2-2-0 3D-2„-0 Dutilleux (19!t8) i-V/v-iv/l 0-2/l-l/0 0-W1B-1D/33 378 similar to Beethoven's Op. 27, Mo. 1 with I-vi-IV-I. Although both Beethoven and Dukas used similar keys for the middle movements, Beethoven's are directly related to the tonic major, whereas Dukas' are indirectly related to the tonic minor. Lack's sonata (1906) has a key scheme of I-IV-I-I, which is identical v/ith Beethoven's Sonata in C Ha.ior. Ov. 53. and typical of the four-movement piano sonatas in the late Classical era. Auric's sonata (1932) uses a key scheme that is more complicated: I-iii-bVl/VII- i/l. A similar key scheme had also been used by Chopin in his Op. 4 with i-blll-bYI-i. It appears likely that Auric may have used Chopin's piano sonatas as models for both form and key structure. Chopin's two middle keys, however, are directly related to the tonic, while Auric introduced an indirect relation v/ith bVI and a Neapolitan direct key relationship v/ith VII.

Among the three-movement piano sonatas, d'Indy's sonata (1907), Auric's sonata (1932), and Damase's sonata (19^3) have a similar plan of i-blll-i, I-III-I, and I-III-I, respectively. In the typical Classical three-movement piano sonata the middle movement is usually in the subdominant or submediant key. However, the mediant major was found in the second movement of such standard repertoire piano sonatas as Schumann's Op. 11, Chopin's Op. and Brahms' Op. 5, frut unlike Auric's and Damase's sonatas these are all in minor keys, and the mediant key 379 functions in a direct relationship to the tonic as its relative major. Aubin's sonata (1931) uses a mediant key relationship for the middle movement, but it is not diatonic to the minor key system and produces a doubly indirect relationship. Milhaud's sonata (1916), Casiniere's sonata (1926), and Sauguet's sonata (1926) share a common key scheme of a middle movement with a dominant relationship. Milhaud's plan is I-V-I, Casiniere's is i-bV-i/l, and Sauguet's is I-bV-I. The dominant key was occasionally used by Classical composers for their middle movements. Mozart used the key scheme of I-V-I in his K. and 5^5> and Clementi used i-v-i in his Sonata in F minor. No. 19. The dominant key in the sonatas by Mozart, Clementi, and Milhaud has a direct relation to the tonic, but Casiniere and Sauguet, by using the lov/ered dominant, chose the most unrelated key that was possible. The diminished fifth is often the interval of bitonality in both Milhaud's and Casiniere's sonatas. In addition Casiniere used an ascending form of the melodic minor scale with a lov/ered fifth degree. The key scheme of Dutilleux's sonata (19*1-8) is i-V/v- iv/l. Like Auric's sonata (1932), Dutilleux's movements do not always begin and end in the same key. Dutilleux's scheme produces an arch-like structure by leaving the tonic through an ascending perfect fifth and returning to 380 the tonic "by that same interval. Only the dominant major key is indirectly related to the tonic minor. Ending a minor key piece in the parallel major is typical of Cesar Franck, but also can be found in the piano sonatas of Haydn, Beethoven, and Schubert. The remaining two three-movement sonatas have outer movements which are not in the same key. Bondeville's sonata (1937) has a key structure of IV-bv-ii/l. Except for the supertonic key, this key scheme has a strong harmonic progression of subdominant—dominant—tonic. It is not surprising that Bondeville, like Casiniere and Sauguet, employed a lowered dominant key, since his language is very similar to the 1916-1930 period. The underlying key structure in Dutilleux's and Variations movement a decade later also begins with a subdominant key and uses a lowered dominant key: iv-bvii-bii-bv-iii-vi (relative minor)-i/l. The technique of starting a sonata or movement in a key other than the tonic was apparently becoming more popular as the twentieth century progressed. Jolivet's sonata (19^5), like Bondeville's, has a tonal scheme that does not begin in the tonic key: biii-ii-i. The lov/ered dominant tonal level is also important in Jolivet's sonata; it occurs in every one of his movements. 381

Tonal Organization within the Movement

In summarizing the tonal organization within movements we shall begin "by discussing the key structure of the two one-movement sonatas, both of v/hich have a sonata-allegro design. Table 56 on page 382 presents the key scheme of the sonata-allegro forms in the sonatas from 1900-1950. The keys in this table were found at the beginning of the designated formal sections. This table is designed to describe a variety of sonata-allegro models. However, it is limited to recognizing only five major divisions of the form: introduction, exposition, development, recapitulation, and coda. Y.'hen the length and thematic material of the introduction and coda sections are not approximately equal in importance to those of the exposition, development, and recapitulation, they are shown as sections within the exposition and recapitulation, respectively. The complete key scheme of those sonata-allegro forms containing more than one exposition, development, or recapitulation are not displayed in Table 56. Instead, only the keys at the beginning of the first exposition, development, and reca­ pitulation are shown. In a similar manner, the keys presented for the introductory theme, first theme, and second theme are those that are heard v/ith the first occurrences of these themes in the exposition and Cable 56 ^-^•7 of Xev Schemes of tha Sonata-allegro Forms in t'r.a Sonatas iroa 1900-I950.

Coda Cot.coser EZS Intro Ex-p 2£v Kec. (data) Tr.tro TV> 1st T'n ?n-i ? T-.tro ?h ;?t r<\ 2nd th

Eukas CISCO) I i bill bVI bii/i II IV bVII i IV i i bVI bVII i :-:UR5 (1907) i bill biii i I &•Ir.dy (19C7) III i I III bVII I bill i/1

Milha'-d (1916) II I bvi m II Brevilie (1923) i I bii 1 bii bvi Casiniera (1926) I i vi biii i I i/1 II II VII I

Sausuot (1926) I I I • III V I III I IV bill I

Aubir. (I93I) I VII bill II I bii I bVIl/l Auric (1932) ill VI bii VI

Bondevilie (1937) I I vi danssa (19*0) IV bV ovar I VI IV/I Jolivet (19^-5) IV iv bVI Dutiliewc (15^3) v II ovar v vi over ii vjj CXI CO 383 and recapitulation. The keys at the beginning of the second development in Dukas' fourth movement and d'Indy's third movement are shown in Table 56 as the keys of the coda section, because they serve as large closing sections after the recapitulation. Hure's one-movement sonata (1907) contains the key scheme of i-blll or tonic to relative major for the first two themes in his exposition. The closing theme section ends the exposition in the tonic minor, and the mediant minor key opens the development section. The development then ends with a key progression of iii-i establishing the key for the beginning of the recapitulation. Hure maintained the major mode of the second theme in the exposition by notating it in the parallel major of the sonata's principal tonality. Most of Hure's keys are directly related to the tonic. Breville's one-movement sonata (1923) has two expositions. The relationship between the first and second themes of the first and second expositions are I-bii and iv-I, respectively. In the two recapitulations the themes are related as bii-bvi and i-i. All of these key relations are indirect except for i-I. The subdominant to submediant key scheme found within the second exposition and development is a typical key scheme for the middle movements of the "textbook" four-movement sonata. 38^

The relationship "between the keys of the first and second themes in the expositions of sonata-allegro form v/as seldom modeled after the "textbook" form, that is, closely related keys with the first themes in a major key progressing to the dominant major and minor first themes progressing to the relative major or dominant minor. Exceptions to the typical first and second theme tonal relationship were found in the sonata-allegro movements of d'Indy's sonata (1907), Milhaud's sonata (1916), Sauguet's sonata (1926), Bondeville's sonata (1937)» Damase's sonata (19^3and Jolivet's sonata (19^5)* The key relationship bet ween d'Indy's two themes is I-III in the exposition and I-bIII in the recapitulation. Sauguet has the same key scheme of I-III in his first movement, but only in the exposition; the recapitulation has both themes in the tonic major. The sonata-allegro form of Milhaud's siow second movement has the two principal themes in I and bvi, respectively in the exposition and the first theme in the supertonic major v/ith the second theme omitted in the recapitulation. The use of II in the recapitulation balances the key of bVII through which the first theme passed in the exposition. Bondeville placed the key contrast principle of first and second themes in the recapitulation with I-vi, while both themes are in the tonic major in the exposition. The subdominant key is 385 used for the second theme of Sauguet's third movement. The same key relationship v/as also used by Damase in his first movement, "but in his sonatina movement he placed the second theme in the dominant. In the recapitulation of these two movements by Damase the themes are related by I-VI following in the footsteps of Bondeville's scheme of I-vi. Jolivet also used this plan with i-lV in the exposition and i-bVI in the recapitulation. The traditional technique of beginning the development in the key of the second theme is not very common in these sonatas. However, there appear to be a few trends in the choice of the development key. Dukas in his second and fourth movements used the key of the subtonic major, Casiniere had a similar key of the leading-tone major at the beginning of his development in the slow second . movement. The dominant major was found in Sauguet's first movement and Aubin's first and second movements. The two other sonatas from the 1930's, Auric's sonata (1932) and Bondeville's sonata (1937) eliminate the key contrast at the beginning of the development by starting in the tonic key. The interval of a tritone above the tonic that permeates much of Milhaud's and Damase's sonatas v/as found again in the key scheme between the beginning of the exposition and development. Milhaud has I-//IV in his slow second movement and Damase has I-bV over I in his first

movement. 386

Host of these sonata-allegro forms do return to the tonic key at the beginning of the recapitulation. Milhaud's second movement and Breville's one-movement sonata are exceptions. Milhaud's recapitulation begins in II, while Breville's starts in bii. Milhaud's key of II at the beginning of the recapitulation moves to bll. His key succession for the first five keys of the recapitulation is II-bII-II-bII-V, and has a strong harmonic progression of tv/o Subdominant functions followed by a Dominant function. Breville's key of bii, on the other hand, is. approached from bVI, and resolves to bvi, thereby having no other harmonic function than that of serving as a temporary tonic. Although the recapitulation in Auric's first movement begins in the tonic key, the key of bii occurs at the beginning of the first theme in this section. Here, the key of bii has an upper leading-tone function as it moves to I within the first theme section. The intervallic relationship between the succession of keynotes within individual movements are usually by seconds or thirds, whether their form is sonata-allegro or not. "Dominant to tonic" progressions are rare except in those sonatas that have languages approaching atonality, namely Auric's sonata (1932), Jolivet's sonata (19^5)> and Dutilleux's sonata (19*1-8). In fact, the most atonal work, Jolivet's sonata, has the tonicized pitch progression of 387 i-IV-v-i as "the underlying structure of his first movement. Mirror progression away from a midpoint was found in both d'Indy's sonata (1907) and Milhaud's sonata (1916). In the scherzo and trio form of d'Indy's second movement both the form and keys are reversed after the second trio such that the form is Scherzo—Trio I—Scherzo—Trio II— Scherzo—Trio I—Scherzo with the respective keys being I-bVI-I-iv/lV-I-bVI-I. The last two sections and keys, however, are abbreviated as part of the movement's coda. The variation form of Milhaud's third movement employs thirteen different keys. The intervallic relation­ ship in the keynote succession from the first to the seventh key is inverted in the succession from the seventh key to the thirteenth key. The interval sizes are identical, but the directions are exactly the opposite. The seventh key, which functions as the midpoint in this keynote pattern, is introduced in the very middle of the movement, measure 82 of a 165-measure movement. A summary of the relative frequencies of key relation­ ships and darkness/brightness (D/B) relationships within movements remains to be discussed. Table 57 on page 383 presents this information. All fourteen sonatas from 1900- 1950 that have been analyzed are arranged by movement in this table. The relative frequency of key relationships are analyzed by a scale of "1 to 5" with "1" being the Tnblo 57 Summary of Frequencies of In1 ra-inovcmcnt Hoy nelatlonnhlrs and Darliiicss/fli-islitness i(uJatlon:ihlj

ffiti fong k hgx. 0 1 2 u

Dukas (1900) Sonata-allegro 2 1 3 zid/pd Lack (1906) Variation Form 1 2 2 30/03 Huro (1907) Sonata-allegro 1 2 3 15d/26b d'Indy (ISO?) Tli iuv) Var'a 1 2 2 3u/63

MUhaud (1916) Sona la-rondo 290/27B Broville (1923) Sonata-allegro Casinioro (19^6) i'.onata-allegro 50/JlSB Sauguet (1926) Sonata-allegro 2D/1'> B

Aubin (1931) Sonata-allegro 1 2 3 4 1D/23B B Auric (1932) Sonata-allegro ?. J 1 h h 7D/'l'»B B Bondevilie (1937) Sonata-allegro 12 3 5 56!J/153 D

Dainnso (19

IX Dukau (1900) Sonata-allegro 1 3 2 lfD/03 B Lack (1906) Song Form 1 2 2 3dAb B d'Indy (1907) Soherno and Trio 1 3 2 1?L'/0B D

Milhaud (3.916) Sonata-allegro 5 1 2 't 3 22D/15B D Caniniere (I926) Sonata-allegro 1 3 2 .'f 18D/1CB D Sauguot (1926) Song Form 2134 20U/l'm D

Aubin (1931) Sonata-allegro 1 3 2 290/lB D Auric (.1932) Schorzo and Trio 2 I* 1 3 5 'JD/57B B Bondevillo (1937) Song Form 2 1 3 0D/12B B

Dainase (19'f3) Sonatina 3 2 1 25D/51B B Jolivct (19^5) Song Form 132't 5 mn/2'13 B Duti.llcux (19'f8) Song Form 13 2 13 l'H)/lB D

III Dukan (1900) Schcrzo and Trio 1 2 Od/23 B Lack (1906) Scherzo and Trio 1 2 5D/03 D d'Indy (I907) Sonata-allegro 1 b 2 3 17U/28B B

Kilhsu'l (1916) Variation For.'a 12 3 li SSO/O3 D Caniniere (I926) Song Form 12 2 3 3 7D/21B B Sauguet (1926) Sonata-allegro 2 11 2'llj/lB D

Aubin (1931) Hondo 2 3 1 5 '(• 21D/'U3 B Auric (1932) Song Form 12 3 3B/15B B Bondevilie (1937) Variation Form 3 1 2 'J 5 39D/23B D

Dainase (19'»3) Fantasia 2 3 1 I)- 3'H)/'f6B B Jolivot (l'AS) Rondo 3 2 1 5 I) iilj/503 B Dutijleuz (19'jO) Th and Var'a 2 1 3 5 If 98ly'22B D

iy Diifcao (1900) Sonata-allegro 1 2 3D/7B B lack (1906) Sonatina 1 2 10D/1B 1)

Auric (1932) Rondo 12 1 3 35o/2'iU I) 389 most frequent relationship and "5" being the least frequent. When a particular key relationship is not present in a movement, no number is placed under its column heading. The pattern for the more traditional frequency distribution of key relationships would be a graduated decrease from, the tonic relationship (0) to the unconnected relationship (U), such that the column listings read from left to right for one movement v/ould appear as 1, 2, 3> 5. This complete pattern only occurs in the first movement of Bondeville's sonata (1937). However, similar patterns are found in the first movements of Sauguet's sonata (1926), Aubin's sonata (1931), and Dutilleux's sonata (19^8); in Hure's one-movement sonata (1907); and in the last movement of Milhaud's sonata (1916). The most typical key relationship in each movement is the tonic relationship. This is especially true in the first movements. However, the first movements of Dukas' sonata (19°7)> Milhaud's sonata (1916), and Damase's sonata (19^3) have the direct key relationship as most common, while the indirect key relationship is most common in the first movements of Auric"s sonata (1932) and Jolivet's sonata (19^5)* The second and third movements in the four-movement piano sonatas have only one exception to the tonic relationship as the most frequent key relationship. The indirect relationship is most common in Auric*s second 390 movement. There are four exceptions to the tonic relation­ ship as most common in the middle movement of the nine three-movement sonatas. Kilhaud and Sauguet used the direct relationship most frequently. The indirect relation­ ship v/as most typical in the middle movement of Damase's sonata. Dutilleux used the tonic key relationship and the doubly indirect relationship with equal frequency. It is in Dutilleux's sonata (19^8) that the greatest frequency of doubly indirect relationships occurs within any single movement. The movement with the greatest number of exceptions to the tonic relationship as most frequent is the last movement in these sonatas. The direct relationship is most common in the last movements of Bondeville's sonata (1937) and Dutilleux's sonata (19^8). Aubin's sonata (1931), Damase's sonata (19^3)» and Jolivet's sonata (19^5) have final movements in which the indirect relationship is most frequent. In Auric's last movement the tonic and indirect relationship occur with equal frequency, while the direct and indirect relationships have an equal number of occurrences in Sauguet's last movement. From a chronological perspective the general trend in the most frequent key relationship moves from the tonic relationship during the 1900-1915 period through the direct relationship of the I916-I93O period to the doubly indirect relationship in the 1931-19^0 and 19^1-1950 391 periods. Again, the greatest relative frequency of the doubly indirect relationship within any single movement is in the middle movement of Dutilleux's sonata (19^8), which was the most recent sonata analyzed from the period

1900-1950. A similar trend is present in the existence of doubly indirect and unconnected key relationships. Of the fourteen piano sonatas that have been analyzed, those composed during I9OO-1915 contain the fewest number of doubly indirect relationships, and the unconnected k.ey relationship is nonexistent. One doubly indirect relation­ ship occurs in the third movement of Lack's sonata (1906) ajid in Hure's one-movement sonata (1907). D'Indy has four doubly indirect relationships in the last movement of his sonata (I907). In Lack's third movement the doubly indirect key relationship is served by bvii that occurs in the trio section of his scherzo and trio form. Hure's doubly indirect key, VI, is the penultimate key in the sonata. Both Lack and Hure moved from the doubly indirect key to the tonic. The doubly indirect keys in d'Indy's third movement are III, VI, and II. The raised mediant major key is heard at the beginning and end of the second theme section in the exposition. The keys of VI and II occur in the development during the second and first themes, respectively. Hone of d'Indy's doubly indirect keys moves to the tonic. 392

Six of the ten movements analyzed from the period, 1916-1930, have doubly indirect relationships, while three of the ten movements use unconnected relation­ ships. Two of these movements using unconnected relation­ ships are by Milhaud, and one is by Casiniere. In the ten movements from 1931-19^-0, seven have doubly indirect relationships, and seven have unconnected relationships. The use of doubly indirect relationships does not increase in the sonatas from 19^1-1950, but there is a greater number of movements v/ith unconnected relationships. This r key relationship is found in seven of the nine movements from 19ZH-1950. Since the set of keys that can serve unconnected relationships is limited to fiIV, #iv, bV, and bv, the increased use of unconnected key relationships from 1916 to 1950 can be interpreted as a growing usage of the "twentieth-century dominant" (see Chapter 4, p;. 228 )• The majority of the unconnected keys in these sonatas do resolve to the tonic key. The next most common resolution is to a key v/ith a Neapolitan direct relationship, namely VII, vii, or bll when the tonic key is major, or simply bll when the tonic key is minor. Resolutions of the unconnected keys to Neapolitan indirect keys also occur. 393 Occasionally the unconnected keys resolve to the subdorainant or dominant keys, in which case the unconnected keys are functioning as temporary upper- or lov/er-leading tones to the keys that follow. A few instances of deceptive resolutions, bV-vi, also occur. The increased use of doubly indirect and -unconnected key relationships is paralleled by an increase in the number of darkness/brightness degree extremes, namely 5D and 5Bf. and in the number of ambiguous key relationships. There is little use of either 5'D or 5B in the sonatas from

I9OO-1915. Three of these twelve movements use 5D, and two use 5B. D'Indy's third movement is the only movement that uses both extremes in a single movement. An abrupt increase of these extremes appears in the sonatas from 1916-1930. Five of these ten movements include 5B, and six employ 5D. The presence of both extremes within a single movement is found in five instances. A further increase in 5B keys is displayed in the number of sonata movements containing 5'D and a decrease in the number of movements with both extremes present. Two of the three movements that have both extremes coexisting are by Bondeville. The sonatas from 19JM-I950 have the greatest number of movements with both extremes present. Except for the absence of 5B in Dutilleux's second movement, the degrees of 5D and 5B coexist in all of these movements. 39^

Ambiguous key relationships in the sonatas from 1900- 1915 only appear in two of the twelve movements: Dukas* first movement and d'Indy's third movement. Dukas* ambiguous key occurs near the beginning of his development section, while d'Indy's ambiguous keys are heard during the second theme section in the exposition and development. Six of the ten movements from 1916-1930 have ambiguous keys. The greatest number of them is found in Milhaud's three movements. Ambiguous relationships are found in all of the movements of the sonatas from 1931-19^°> "but Auric's sonata has the highest frequency of occurrences. In the sonatas from 19^1-1950, no one composer, more than another, appears to have used a greater number of ambiguous keys. Damase's second movement is the only movement without an ambiguous key. There are also some movements in these sonatas v/here only one dark or bright key is used. A few common locations exist for the placement of this sole dark or bright key in relationship to the form. Dukas placed the single bright key in his third movement in the second theme section of the exposition, and Sauguet used the same location for the single dark key of his first movement. Aubin used only one dark key in his first movement and only one bright key in his second movement. Both of them are found near the beginning of their development sections. A single 395

dark key is employed in the second movement of Lack's sonata and a single bright key in Dutilleux's second move­ ment. The form of these two movements is ABA, and the solitary key was placed in the B section. The scherzo and trio forms of Lack's third movement and Auric's second movement have the movement's sole dark key in the trio section. D'Indy is singular in his placement of the first movement's sole dark key in the last variation of his theme and variation form. The display of the accumulative darkness/brightness

degrees in Table 57 (p. 388) shows that some movements use either dark or bright keys exclusively. Most of these

instances occur in the early stylistic periods of 1900-1915

and 1916-1930. Only dark keys are used in the first and third movements of d'Indy's sonata (1907), and in the third

movement of Milhaud's sonata (1916). The exclusive use of bright keys is found in the third movement of Dukas'

sonata (1900) and in the second movement of Bondeville's

sonata (1937). A few of the movements have accumulative D/B degree ratios of one dark degree to every bright degree. This

occurs in the third movement of Aubin's sonata (1931)» in

the second movement of Damase's sonata (19^3)> and in the

first movement of Dutilleux's sonata (19^8). The opposite ratio of exactly one bright degree to every dark degree is not found in these sonatas. 396 The first movement of Jolivet's sonata (19^5) is the only instance where there are exactly the same number of accumulative dark degrees as there are of bright degrees, A similar balance of dark and bright, degrees is found in the third movement of his sonata. Lack and Liilhaud are two other composers who approached an equal number of dark and bright keys (see lack's second movement and Milhaud's third movement in Table 57, p. 388). Table 58 on page 397 displays the D/B classifications listed in Table 57. Here, they are arranged in a movement sequence for each sonata. The D/B classification for the tv/o one-movement sonatas are different. Hure's sonata (1907) is B, while Breville's sonata (1937) is D. The bright degree classification is more common than the dark degree classification in the four-movement sonatas. Lack's sonata is the reverse of Dukas' scheme. Milhaud's scheme is the only one that does not include a bright degree classification. Dark degree classifications are absent in Damase's sonata (19^3) and Jolivet's sonata (19^5).

The same D/B scheme of B-D-B v/as used in d'lndy's sonata (1907), Casiniere's sonata (1926), and Aubin's sonata (1931)* Although, to the author's knowledge, there is no existing study of accumulative D/B degrees in the music of the standard repertoire, one would expect the majority of the three-movement piano sonatas to have accumulative 397

Table 58 Darkness/Brightness Schemes Eased 011 Accumulative Degrees in tho Sonatas from I900-I950.

Stylistic Period Composer P/B Scheme (date) 1900-1915 Dukas (1900) D-B-B-B lack (1906) , D-B-D-D Huro (1907) B d'Indy (1907) \ B-D--B

1916-1930 Milhaud (1916) D-D-D Breville (1923) D Casiniere (192o) B-D-B Sauguot (1926) B-D-D

1931-19^0 Aubin (1931) B-D-B Auric (I932) B-B-3-D Bondoville (1937) D-B-D

19^1-1950 Damase (19'n) B-B-3 Jolivet (19'l-5) Neutral-B-B Dutilleipc (19^8) 3-D-D 398

D/B schemes of B-D-B, since their key schemes usually have a D/B sequence of B-D-B (see Table 10 on page 5*0• The D/B schemes in Sauguet's sonata (1926) and Dutilleux's sonata (19^8) are identical . Although there does not appear to be any one trend in accumulative D/B schemes within a stylistic period, each successive period displays a greater use of bright keys and accumulative bright degrees.

Conclusion and Recommendation

The purpose of this study was to provide analytical information about a relatively unknown body of French piano music. The analyses of these compositions showed that, in general, twentieth-century French composers inherited the nineteenth-century understanding of the piano sonata as a medium for serious expression and a demonstration of the mastery of compositional techniques. Although the piano sonata has not been as popular in the twentieth century as it was during the late 1700's and early 1800's, French composers have managed to revitalize this genre during the first half of this century in an original and expressive manner.

The majority of the French piano sonatas from 1900 to 1950 that have been analyzed are three-movement works, which have sequences of movement tempos and forms modeled after the Classical piano sonatas of our standard 399 repertoire. The four-movement piano sonatas that have been analyzed have tempo and formal schemes similar to the late Classical and to the Romantic piano sonatas of our standard repertoire. The most noticeable similarity in the formal schemes between these fourteen French sonatas and those of the standard repertoire is the frequent use of sonata-allegro form and the frequent use of this form for the first movement. Sonata-allegro form was even found in the two one-movement piano sonatas that were analyzed. However, sonata-allegro form, as well as the other standard forms found within the movements of these fourteen French sonatas often display a considerable number of deviations from the "textbook" descriptions of these conventional forms. The sequence of movement keys in most of these French sonatas was also modeled after the sonatas of our standard repertoire. In both of these sets of piano - sonatas, mediant, subdominant, dominant, and submediant key relationships characterize the middle movement keys. Hov/ever, the French piano sonatas differ from the standard repertoire sonatas in that these key relationships are not served by the diatonic keys of the principal tonality. One of the French piano sonatas that was analyzed has a key scheme bearing no resemblance to conventional sonata tonal plans, namely Jolivet's scheme of biii-ii-i. 400

In view of the fact that essential similarities and differences exist between the formal and tonal plans of these fourteen French piano sonatas and those of the standard repertoire, it appears likely that these French composers chose the conventional framework of the sonata to provide a familiar context for unfamiliar compositional techniques used in their tonal languages, piano styles, thematic materials, forms, and key structures. The analyzed sonatas in this dissertation were selected as being representative of the variety of tonal French piano sonatas composed and published during 1900 to 1950. '' Consequently, the immediate sound image of these sonatas not only differs from those of the standard repertoire, but also differs, to a large extent, from one another. In addition to surface differences, variety in the formal and tonal organizations of these selected sonatas was revealed through conventional methods of analysis. In the presence of this variety, uniformity and trends in the tonal organization of these fourteen sonatas were explicated through a rigorous application of Tovey's theory of key relationships and darkness/brightness relationships, and through the calculation of accumulative darkness/brightness values. One can make the conjecture that through the application of these three unconventional analytical 401 techniques, uniformity and trends in the tonal organization of all tonal French piano sonatas can be studied. This includes those tonal French piano sonatas composed during 1900 to 1950, but not analyzed in this dissertation, as well as the tonal French piano sonatas composed before 1900 and after 1950. In a similar manner, these analytical techniques may be applied to all tonal twentieth-century piano sonatas, as well as those composed during previous centuries. Through this procedure a more comprehensive assessment can be made of the relationship between tonal twentieth-century piano sonatas and the piano sonatas of our standard repertoire. More generally, the particular analytical techniques emphasized in this dissertation, namely formal schemes, key schemes, Tovey's key or tonal level relationship successions and schemes, his darkness/ brightness successions and schemes, and the accumulative darkness/brightness degree schemes, can be applied to the comparative study of that large body of instrumental literature for v/hich the generic sonata form provides the organizational basis. Included in this category are solo, duo, and trio sonatas, symphonies, string quartets, and concertos. APPENDIX AND TITLE INDEX

TWENTIETH-CENTURY FRENCH PIANO SONATAS

^02 403

Sonatas from 1900 to 1915

Dukas, Paul. Sonate en mi bemol mineur. Paris: Durand, 1906. Composed in 1900, 61-62, 64-65, 81, 84-100, 143, 146, 149, 214, 229, 247, 252-253, 261, 286-288, 295, 329-330, 353, 367, 370-372, 375-378, 382-383, 385, 388, 394-397 Hure, Jean. Premiere Sonate. Paris: A. Zunz Mathot, 1919. Composed in 1907, 115-127, 143-152, 241, 367-368, 371-372, 374, 377, 382-383, 388-389, 391, 396-397 D'Indy, Vincent, Sonate en mi, Op. 63. Paris: Durand, 1908. Composed in 1907, 64-65, 81, 128-143, 145-146, 148-152, 214, 229, 253, 261, 287. 329, 352, 360, 364, 367-368, 371-373, 375-378, 382-3'84, 387-388, 391, 393-395, 397 Lack, Theodore. Sonate en ut. Paris: Alphonse Leduc, 1904, 81, 101 Sonate Pastoralej Op. 253, Paris: Alphonse Leduc, 1906, 81, 101-115, 143-144, 146-147, 149-152, 225, 252, 261, 283, 363-364, 367-368, 371-372, 377-378, 382, 388, 391, 395-397

Sonatas from 1916 to 1930

Breville, Pierre de. Sonate en r4 bemol. Paris: Rouart Lerolle, 1923, 153, 158, 185-196, 224-229, 231-232, 360, 364, 369, 371-372, 374, 377, 382-383, 386, 388, 396-397 Casiniere, Yves de la. Sonate en si mineur. Paris: Rouart Lerolle, 1926, 153-154, 158, 196-212, 224-233, 245, 253, 296, 352-353, 368, 370-371, 373, 376-377, 379-380, 382, 385, 388, 392, 397 Hure, Jean. Deuxieme Sonate. Paris 1 A. Zunz Mathot, 1919. Composed in 1916, 116-117 Milhaud, Darius. Sonate. Paris: A. Zunz Mathot, 1920. Composed in 1916, 153-155, 157-184, 199, 214, 224-229, 231-233, 269, 278, 285, 368, 370-373, 375, 377, 379, 382, 384-390, 394-397 4o4

Ple-Caussade, Simon, Sonate, Paris: Editions Henri Lemoine, 1925. Sauguet, Henri. Sonate en re ma.jeur, Paris: Rouart Lerolle, 1927, 153-154, 157-158, 212-232, 284-285, 363, 368, 371, 377, 379-380, 382, 384-385, 388-390, 397-398 Tansman, Alexandre, Sonata Rustica. Wien: Universal- Edition, 1926, W5 . Sonata No» 2. Publisher unknown, 1929, 363

Sonatas from 1931 "to 1940

Aubin, Tony. Sonate pour piano en si mineur. Parist Heugel, 1931, 234, 237-248, 282-291, 369, 371, 376, 379, 382, 385, 388-390, 395-397 Auric, Georges, Sonate en fa ma.jeur. Paris: Rouart Lerolle, 1932, 234, 249-267, 282-291, 369, 371-372, 376-379, 382, 385-386, 388-390, 397 Bondeville, Emmanuel. Sonate. Paris: Durand, 1937, 234, 268-282, 284-291, 369, 371-372, 377, 380, 382, 384-385, 388-390, 393, 395, 397 Migot, Georges, Sonate Polonia. Paris: Alphonse Leduc, 1936, 234 , Trois Sonates pour piano. Paris: Alphonse Leduc, 1939, 234

Sonatas from 1941 to 1950

Boulez, Pierre. Premiere Sonate. Paris: Amphion Editions Musicales, 1951. Composed in 1946, 65, 75-76, 292 . Deuxieme Sonate. Paris: Heugel, 1950. Composed in 1949, 65, 75-76, 292 Casadesus, Robert Marcel, Premiere Sonate pour piano, Op. 14. Paris: Editions Salabert, 1947, 68-69, 292, 363 *<•05

Damase, Jean-Michel. Sonate pour piano, Op. 24. Parisi Editions Salabert, 1943, 292-293, 295-311, 351-361, . 364, 370-371, 377, 382, 384-385, 388-390, 394-397 Dutilleux, Henri. Sonate. Paris: Durand, 1949, 24l, 292, 295, 328-361, 370-372, 375, 377, 379-380, 382, 386, 388-391, 393, 395, 397-398 Jolivet, Andre. Sonate pour piano. Wien» Universal-Edition, 1951. Composed in 1945, 292, 295, 311-328, 338, 340, 351-361, 370-371, 374-375, 377, 380, 382, 384-388, 390, 396-397 Milhaud, Darius. Deuxieme Sonate. Paris 1 Heugel, 1950, 161, 292 Tansman, Alexandre. Sonata No. 4. New Yorki Associated Music Publishers, 19%2~, Composed in 1941, 292, 363

Sonatas from 1951 "to 1975

Amy, Gilbert. Sonate pour piano. Parisj Heugel, 1961, 75-77 Ballif, Claude. Cinquieme Sonate pour piano, Op. 32. Paris: Editions Choudens, 1975, 7