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37? Albu M. Wt 37? AlBU M. Wt THE PIANO SONATAS OF RODOLFO HALFFTER: TRANSFORMATION OR NEW TECHNIQUES? DISSERTATION Presented to the Graduate Council of the North Texas State University in Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS By Nancy Lee Harper, B.M. Denton, Texas August, 1985 Copyright by Nancy Lee Harper 1985 Harper, Nancy Lee , The Piano Sonatas of Rodolfo Half fter. Transformation or New Techniques?, A Lecture Recital Together with Three Recitals of Selected Works of L. V. Beethoven, M. Ravel. F. Liszt, R. Schumannr W. A, Mozart, C. Debussy. J. Brahms, and D. Shostakovich. Doctor of Musical Arts, August, 1985, 36 pp., 49 examples, 7 appendices, bibliography, 49 titles. The Piano Sonatas of Rodolfo Halffter (b. 1900, Madrid, Spain) represent an important body of literature not widely known nor under- stood for their historical importance and Spanish heritage. The entire development of Halffter's compositional style, which embraces three periods of composition, may be traced through these sonatas. The modes of composition may be seen not to be separate and distinct but as having inter—relationships which therefore affect the outcome of Halffter's final dodecaphonic technique. The culmination of his serial method is found in the Tercera Sonata, op. 30. At first glance, this work appears to be a radical departure from the former styles. However, a more in-depth study reveals this sonata to be the logical outgrowth of earlier compositional techniques, thereby blending diverse, eclectic elements into a unique and homogenous application, all Halffter's own. Forced to flee his native country in 1939, Halffter became the first composer in Mexico to use twelve-tone techniques. Together with Carlos Chavez, he exerted great influence on the present generation's group of Mexican composers. Halffter today remains a crucial link in the continuation of the Spanish tradition as exemplified by his former mentor, Manuel de Falla. A brief explanation of Falla s theory of resonance including sketches in Falla's handwriting as well as portions of the unpublished analysis of Halffter's Tercera Sonata are presented, perhaps for the first time. This study reveals how Halffter manipulates many Spanish elements which are found in the ancient cante iondo and the string tunings of the guitar in addition to the use of acciacaturas and the internal rhythm of Domenico Scarlatti into a personalized idiom which remains apparent throughout all his compositional styles. An analysis of Halffter s Tercera Sonata shows that the final period is characterized by a unique blending of Falla's "apparent poly-tonality" with the twelve-tone system of Arnold Schoenberg. Tape recordings of all performances submitted as dissertation requirements are on deposit in the North Texas State University Library• 111 TABLE OF CONTENTS Page DOCTORAL RECITAL PROGRAMS v LIST OF EXAMPLES ix Chapter I. EARLY INFLUENCES 1 II. THE MIDDLE PERIOD 11 III. TRANSFORMATION OR NEW TECHNIQUE? 25 APPENDICES I. BASIS OF ENTIRE SONATA 37 II. TERCERA SONATA PARA PIANO, OP. 30 38 III. VECTOR ANALYSIS OF SELECTIVE CHORDAL COMBINATIONS 40 IV. TERCERA SONATA TABLE OF SYMBOLS 42 V. FIRST PERFORMANCE DATES OF HALFFTER'S SONATAS 43 VI. ORIGINAL SPANISH SOURCES OF TRANSLATIONS 44 VII. NOTES IN INTERPRETATION IN HALFFTER'S PIANO SONATAS .... 47 BIBLIOGRAPHY 51 IV North Texas State University School of Music DMA Recital NANCY LEE HARPER, piano Monday, October 5, 1981 8:15 p.m. Concert Hall Sonata in A Flat Major, Op. 110 Beethoven Moderato cantabile molto espressivo Allegro Molto Adagio ma non troppo; Fuga, Allegro, ma non troppo Sonatine; Ravel Modere Mouv't de Menuet Anime • Trois Etudes de concert Liszt I II Lamento II La Leggierezza III Un Sospiro This program is presented in partial fulfillment of the requirements for the degree Doctor of Musical Arts North Texas State University School of Music Graduate Recital NANCY LEE HARPER, Piano Monday, October 18, 1982 8:15 p.m. Concert Hall Waldszenen (Forest Scenes), Op. 82 Schumann 1. Eintritt (Entrance) 2. Jager auf der Lauer (Hunter in Ambush) 3. Einsame Blumen (Lonely Flowers) 4. Verrufene Stelle (Haunted Spot) 5. Freundliche Landschaft (Friendly Landscape) 6. Herberge (The Wayside Inn) 7. Vogel als Prophet (The Prophetic Bird) 8. Jagdlied (Hunting Song) 9. Abschied (The Departure) Sonata in A Minor, K. 310 Mozart Allegro maestoso Andante cantabile con espressione Presto Masques Debussy Voiles Etude XI - pour les Arpeges Composes Toccata Presented in partial fulfillment of the requirements for the degree of Doctor of Musical Arts VI North Texas State University School of Music presents Nancy Lee Harper, Piano in a Lecture—Recital The Piano Sonatas of Rodolfo Halffter: Transformation or New Techniques? March 4,1985 8:15 p.m. Concert Hall Program Dos Sonatas de El Escorial (1928) 1. d minor 2. A major Segunda Sonata para Piano, op. 20 (1955) 1. Allegro 2. Andante poco mosso 3. Scherzo 4. Rondo' Grateful appreciation is extended to the composer for his untiring assistance. This recital is presented in partial fulfillment of the requirements for the degree of Doctor of Musical Arts. VII North Texas State University School of Music presents Nancy Lee Harper, Piano in a Chamber Music Recital April 1,1985 5-00 n m 5 00 p m Concert Hall Trio in E flat major, op. 40 . for Piano. Violin and Waldhorn Tmi897) '' Andante; P000 P'" anlmato; Andante; poco piD anlmato; Andante U. Scherzo (Allegro; Molto Meno Allegro; Allegro) HI. Adagio Mesto IV. Allegro con Brio Farzad Khozeln, Violin Bret Seebeck, Horn INTERMISSION Concerto for Piano, Trumpet Hmiwci, . i . » DmlW •nd Chamber Orchestra. 0p. 35 I. Allegretto; Allegro Vivace; Allegretto; Allegro; Moderate (Attaca) H. Lento; Piu Mosso; Largo (Attaca) III. Moderate (Attaca) IV. Allegro con Brio; Presto; Allegro con Brio; Allegro con Brio (Cadenza) Presto assisted by 1st Violins Mary Bellone Anna Dryer Luclnda Adams Shelley Markowski Terice Prelo Vincent Massimino Bass Jennifer Sakebey Mark Cousins 2nd Violins Trumpet KathJeen Hennessey Dennis Johnston Katie Hudson . Jonathan Paul {jp,. Suzanne Schrefl ^ Bkdwd Violas Cynthia Beard Donna Nelson Tamara Sanders Ellen Towniey Thk Vlll LIST OF EXAMPLES Example Page 1. Rameau's derivation of the minor triad . 6 2. Superpositions derived from a major chord of Manuel de Falla 7 3. Superpositions resulting from the opening sonority of Fallafs Concerto 8 4. Fallafs Concerto, second movement, measures 4-5. 8 5. Fallafs Concerto, first movement, Halffterfs analysis. • 9 6. Fallafs Concerto, first movement, first two opening phrases 10 7. Halffter, Dos Sonatas de El Escorial, op. 2/1, measures 2-23 as they appear after Fallafs suggestions and one example before Fallafs corrections (1928-1929) . 11 8. Halffter, Dos Sonatas de El Escorial, op. 2: I/measures 1-9 12 9. Halffter, Dos Sonatas de El Escorial, op. -2: II/measures 1-10 13 10. Halffter, Dos Sonatas de El Escorial, op. 2: II/measure 13: "apparent poly-tonality". ........ 13 11. Halffter, Dos Sonatas de El Escorial, op. 2: I/measures 20-29. 13 12. FallaTs Concerto, third movement, measures 1-9 ....... 14 13. Beethoven, Sonata op. 2/1; Minuet, measures 1-8 15 14. Halffter, Homenaje a Antonio Machado, second movement, measures 1-3 17 15. Halffter, Homenaje a Antonio Machado, second movement, measures 18-20 and Fallafs Concerto, first movement ... 17 IX Example Page 16. Halffter, Homenaje a Antonio Machado, third movement, measures 1-3 18 17. Halffter, Homenaje a Antonio Machado. fourth movement, measures 1-4 18 18. Halffter, Primera Sonata para Piano, first movement, measures 1-3 and 28-32 19 19. Halffter, Primera Sonata, second movement, measures 23-27 20 20. Ravel, Le Tombeau de Couperin. "Minuet," measures 55-58 20 21. Debussy, "Soiree dans Grenade" from Estampes, measures 29-30 20 22. Halffter, Primera Sonata, second movement, measures 1-5 21 23. Falla's Concerto, first movement, last two measures showing generated chords from the tonic triad of D major 21 24. Halffter, Segunda Sonata, first movement, measures 80-81; 106-108 22 25. Halffter, Segunda Sonata, second movement, measures 1-3 23 26. Halffter, Segunda Sonata, third movement, measures 1-6 23 27. Halffter, Segunda Sonata, fourth movement, measures 1-4; 63-66 24 28. Halffter, Primera Sonata, first movement, measures 9; 49; and Segunda Sonata, first movement, measures 83; 16-17 24 29. Halffter, Tercera Sonata para Piano, first movement, measures 1-4 26 30. Halffter, Tercera Sonata para Piano, second movement, measures 1-4 26 Example Page 31. Halffter, Tercera Sonata para Piano, third movement, measures 1-2 27 32. Halffter, Tercera Sonata para Piano, fourth movement, measures 1-4 27 33. Halffter, Tercera Sonata para Piano, first movement, closing section 28 34. Halffter, Tercera Sonata para Piano, second movement, closing section 28 35. Halffter, Tercera Sonata para Piano, third movement, closing section 28 36. Halffter, Tercera Sonata para Piano, fourth movement, closing section 29 37. Halffter, Segunda Sonata, first movement, measures 16-17 30 38. Halffter, Primera Sonata, first movement, last two measures 31 39. Halffter, Tercera Sonata para Piano, third movement, the composer's unpublished analysis, measures 55-61 ... 31 40. Halffter, Tercera Sonata para Piano, ending of third movement and beginning of fourth movement, the composer's unpublished analysis. English trans- lation in example: "The tones which are lacking [in the twelve-tone row] are those which begin the following movement." 32 41. Halffter, Tercera Sonata para Piano, third movement, the composer's unpublished analysis, measures 23-26 ... 33 42. Halffter, Tercera Sonata para Piano, third movement, measures 41-44 34 43. Halffter, Tercera Sonata para Piano, fourth movement, measures 50-54 and Halffter, Segunda Sonata, second movement, measures 31-33 35 44. Halffter, Dos Sonatas de El Escorial/II, measures 11-12 47 XI Example Page 45.
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