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An Examination of the German Influence on Thematic An Examination of the German Influence on Thematic Development, Chromaticism and Instrumentation of Ernest Chausson's Concert for Piano, Violin and String Quartet, Op.21 Item Type text; Electronic Dissertation Authors Chiang, Chen-Ju Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 28/09/2021 13:38:22 Link to Item http://hdl.handle.net/10150/195479 AN EXAMINATION OF THE GERMAN INFLUENCE ON THEMATIC DEVELOPMENT, CHROMATICISM AND INSTRUMENTATION IN ERNEST CHAUSSON'S CONCERT FOR PIANO, VIOLIN AND STRING QUARTET, OP. 21 by Chen -Ju Chiang __________________ A Document Submitted to the Faculty of the SCHOOL OF MUSIC In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS In the Graduate College THE UNIVERSITY OF ARIZONA 2 0 0 6 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Document Committee, we certify that we have read the document prepared by Chen -Ju Chiang entitled An Examination of the German Influence on Thematic Development, Chromaticism and Instrumentation in Ernest Chausson's Concert for Piano, Violin and Stri ng Quartet, Op. 21 and recommend that it be accepted as fulfilling the document requirement for the Degree of Doctor of Musical Arts _____________________________________________________________________ Paula Fan Date: 4/14/06 _____________________________________________________________________ Tannis Gibson Date: 4/14/06 _____________________________________________________________________ Lisa Zdechlik Date: 4/14/06 Final approval and acceptance of this document is contingent upon the candidate's submission of the final copies of the document to the Graduate College. I hereby certify that I have read this document prepared under my direction and recommend that it be accepted as fulfilling the document requirement. _____________________________________________________________________ Document Director: Paula Fan Date: 4/14/06 3 STATEMENT BY AUTHOR This document has been submitted in partial fulfillment of requirements fo r an advanced degree at The University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the library. Brief quotations from this document are allowable without special permission, provided that accurate acknowledgment of source is made. Requests from permission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the head of the major department or the Dean of the Graduate College when in his or her judgmen t the purposed use of the material is in the interests of scholarship. In all other instances, however, permission must be obtained from the author. SIGNED: Chen -Ju Chiang 4 TABLE OF CONTENT S ABSTRACT....................................................................................................6 CHAPTER ONE: INTRODUCTION.............................................................7 CHAPTER TWO: THE PARISIAN MUSICAL SCENE BETWEEN 1870 AND 1900.........................................................................9 M USICAL CIRCUMSTANCES IN THE 1870 S...................................9 MUSICAL ACTIVITY IN PARIS IN THE 188 0S...............................10 MUSICAL DEVELOPMENTS IN PARIS BETWEEN 1890 AND 1900. ......................................................................................................11 CHAPTER THREE: ERNEST CHAUSSON'S LIFE AND MUSIC............12 B IOGRAPHICAL AND EDUCATIONAL BACKGROUND ..............12 MUSICAL CHARACTE RISTICS AND STYLE .................................15 CHAPTER FOUR: THE FRANCK SCHOOL............................................19 CÉSAR FRANCK AND HIS COMPOSITIONAL L ANGUAGE.. .....19 L A BANDE À FRANCK .....................................................................25 FRANCK'S POSITION IN FRENCH MUSIC.....................................27 CHAPTER FIVE: WAGNERISM.................................................................29 WAGNERISM IN PAR IS......................................................................29 THE BASIC IDEAL OF WAGER'S MIUSICAL LANGUAGE..........33 THE IMPACT OF WA GNERISM ON FRENCH COMPOSERS........38 5 TABLE OF CONTENTS - Continued CHAPTER SIX: ANALYSIS OF CONCERT ...............................................40 HISTORICAL BACKG ROUND OF CONCERT .................................40 FORMAL STRUCTURE OF CONCERT .............................................42 WAGNERIAN AND FRANC KIAN ELEMENTS IN CONCERT ....... 47 W AGNERIAN ELEMENTS Tristan und Isolde Parsifal Harmonic Language Instrumentation FRANCKI AN ELEMENTS The Employment of Sequential Writing and Cyclic Form The Inspiration of Franck's Violin Sonata and Piano Quintet CHAPTER SEVEN: CONCLUSION...........................................................70 APPENDIX A: THE COMPARISON OF THE KEYS IN CÉSAR FRANCK'S REDEMPTION AND ANTON REICHA'S CHART OF KEY..73 APPENDIX B: FORMAL STRUCTURE OF CONCERT, MOV EMENT I............. .................... .................... .................... .................... .75 APPENDIX C: FORMAL STRUCTURE OF CONCERT , MOVEMENT II......... .................... .................... .................... .................... ...77 AP PENDIX D: FORMAL STRUCTURE OF CONCERT , MOVEMENT III........ .................... .................... .................... .................... ...78 APPENDIX E: FORMAL STRUCTURE OF CONCERT , MOVEMENT IV......... .................... .................... ....... .................... ...............79 REFERENCES..............................................................................................81 6 ABSTRACT This paper presents a history and analysis of how the two masters, Richard Wagn er and César Franck, influenced Ernest Chausson during his lifetime and how their musical elements are represented in Chausson's Concert . The influential elements include harmonic employment, instrumentation and thematic development. Musical quotations fro m Wagner's operas as well as Franck's sequential writing and cyclic technique are discussed. An analysis of formal structure is provided in this context. Musical circumstances surrounding the composition of Concert are presented as well as a brief biography and description of Chausson's musical style. The impact on French Music of César Franck and Richard Wagner is also discussed. 7 CHAPTER ONE INTRODUCTION Ernest Chausson's Concert occupies a unique place in the chamber music repertory because it uses the combination of piano, violin and string quartet. It is considered to be one of the most original instrumentations composed in the genre of six players. The work, however, inspires controversy. Misled by the title and the dedicatee (a Belgian violinist Eugène Ysaÿe), scholars and performers have debated whether it is a form of concerto for violin or a double concerto for solo piano and violin; the work demands that both instrumentalists be concerto virtuosi. In addition, the complicated harmonic context and thematic design arouse diverse opinions concerning the formal structure of each movement. Three major biographical books written by Jean Gallois, Barricelli and Weinstein, and Ralph Scott Grover all provide short paragraphs about Concert . Jean Gallois addresses that it is neither a sextet nor a concerto;1 Barricelli and Weinstein claim that it is "a work in which the solo instruments blend in with the ensemble,"2 reminding one of a Baroque concerto grosso;3 Grover claims Concert is "a chamber work of unusual design, a sextet perhaps, in which the solo violin and piano often function in the manner of a ________________________________ 1. Jean Gallois, Ernest Chausson ([Paris]: Fayard, 1994), 288. 2. Jean -Pierre Barricelli and Leo We instein, Ernest Chausson: The Composer's Life and Works (Norman: University of Oklahoma Press, 1955), 49. 3. Ibid., 143. 8 violin and piano sonata against the quartet." 4All three books, while not necessarily in agreement, also include a brief analysis of f ormal structure. The controversy brought about by these arguments increases the challenge of interpretation as well as the definition of formal structure. It has been widely recognized that Chausson was a Wagnerian composer who studied under César Fra nck. Concert is a composition that combines elements of both composers to reveal a genuinely new idea. This document will examine how Chausson incorporates the two masters' musical elements 5 through clever thematic design, employment of harmonic technique and choice of instrumentation. The writer hopes both to clarify the controversy and disputes concerning the work and provide supporting information to enhance performance and interpretation. _________________________________ 4. Ralph Scott Grover, Ernest Chausson: The Man and His Music (Lewisburg: Bucknell University Press, 1980), 190. 5. The music examples used in this document will be only the excerpts of Ernest Chausson’s Concert published by International Music Company and Dover Publications, César Franck’s Violin Sonata by Wiener Urtext Edition and Breitkopf & Härtel, and Piano Quintet by Edition Peters, Richard Wagner’s Tristan und Isolde by Breitkopf & Härtel. 9 CHAPTER TWO THE PARISIAN MUSICAL SCENE BETWEEN 1870 AND 1900 MUSICAL CIRCUMSTANCES IN THE 1870 S Before the end of the Prussian -Franco War in 1871, Paris
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