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Unorthodox Pianism and Its Unexpected Consequences: A UNORTHODOX PIANISM AND ITS UNEXPECTED CONSEQUENCES: A PERFORMANCE GUIDE TO LEO ORNSTEIN’S SEVENTEEN WALTZES Arsentiy Kharitonov, B.M., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS May 2017 APPROVED: Joseph Banowetz, Major Professor Clay Couturiaux, Committee Member David Bard-Schwarz, Committee Member Steven Harlos, Chair of the Division of Keyboard Studies Benjamin Brand, Director of Graduate Studies in the College of Music John W. Richmond, Dean of the College of Music Victor Prybutok, Vice Provost of the Toulouse Graduate School Kharitonov, Arsentiy. Unorthodox Pianism and Its Unexpected Consequences: A Performance Guide to Leo Ornstein’s Seventeen Waltzes. Doctor of Musical Arts (Performance), May 2017, 44 pp., 33 musical examples, bibliography, 13 titles. Leo Ornstein's most significant piano oeuvre, the Seventeen Waltzes, stand out as a unique example of a pianism as a foundation for the composer's musical thoughts. The purpose of this document is to provide musical and technical suggestions based on Ornstein's pianistic patterns, which will help pianists understand the composer's complex writing and form a coherent interpretation. The guide covers the main avant- garde musical devices used by Ornstein such as tone clusters, polymeter, and polyrhythm. A comparison process within the collection will help performers to address Ornstein's unmarked waltzes by underlining the composer's similar ideas and traits. Copyright 2017 by Arsentiy Kharitonov ii ACKNOWLEDGEMENTS I would like to express my sincerest gratitude and appreciation to Joseph Banowetz, Clay Couturiaux, David Bard-Schwarz, and Steven Harlos for their time, help, and guidance, and Julia Bushkova for her artistic insight and support. iii TABLE OF CONTENTS Page ACKNOWLEDGEMENTS ............................................................................................... iii LIST OF MUSICAL EXAMPLES ..................................................................................... v CHAPTER 1. INTRODUCTION ....................................................................................... 1 The Significance of the Seventeen Waltzes by Leo Ornstein ............................... 2 Ornstein’s Pianism and Its Effect on His Compositions ........................................ 4 CHAPTER 2. ORNSTEIN’S AVANT-GARDE TECHNICAL DEVICES ............................ 6 Tone Clusters ....................................................................................................... 6 Polymeter ........................................................................................................... 11 Polyrhythm.......................................................................................................... 15 CHAPTER 3. PIANISTIC PATTERNS ........................................................................... 20 Fingerings ........................................................................................................... 21 CHAPTER 4. ORNSTEIN’S UNMARKED WALTZES ................................................... 29 Ornstein’s Interpretation Markings ...................................................................... 30 Waltz No.9 and the Related Unmarked Waltzes Nos. 4, 6, 7, and 13 ................ 31 Waltz No.11 and the Related Unmarked Waltzes Nos. 2, 3, 5, and 8 ................ 35 Comparison Process .......................................................................................... 37 CHAPTER 5. CONCLUSION ........................................................................................ 41 BIBLIOGRAPHY ........................................................................................................... 43 iv LIST OF MUSICAL EXAMPLES Page Example 1. Leo Ornstein, Waltz No.17 mm. 220-226. (All accidentals apply only to those notes before which they stand. They do not carry through the measure.) ............ 8 Example 2. Leo Ornstein, Waltz No.8 mm. 166-172. (All accidentals apply only to those notes before which they stand. They do not carry through the measure.) ....................... 9 Example 3. Leo Ornstein, Waltz No.3 mm. 351-361. (All accidentals apply only to those notes before which they stand. They do not carry through the measure.) ....................... 9 Example 4. Leo Ornstein, Waltz No.9 mm. 253-261. (All accidentals apply only to those notes before which they stand. They do not carry through the measure.) ..................... 10 Example 5. Leo Ornstein, Waltz No.15 mm. 26-30. (All accidentals apply only to those notes before which they stand. They do not carry through the measure.) ..................... 11 Example 6. Leo Ornstein, Waltz No.17 mm.104-106. (All accidentals apply only to those notes before which they stand. They do not carry through the measure.) ..................... 11 Example 7. Leo Ornstein, Waltz No.11 mm. 229-238. (All accidentals apply only to those notes before which they stand. They do not carry through the measure.) ........... 12 Example 8. Leo Ornstein, Waltz No.2 mm. 186-200. (All accidentals apply only to those notes before which they stand. They do not carry through the measure.) ..................... 13 Example 9. Leo Ornstein, Waltz No.5 mm. 58-67. (All accidentals apply only to those notes before which they stand. They do not carry through the measure.) ..................... 14 Example 10. Leo Ornstein, Waltz No.2 mm. 105-114 (All accidentals apply only to those notes before which they stand. They do not carry through the measure.) ..................... 16 Example 11. Leo Ornstein, Waltz No.5 mm. 109-120 (All accidentals apply only to those notes before which they stand. They do not carry through the measure.) ..................... 16 Example 12. Leo Ornstein, Waltz No.3 mm.225-230 (All accidentals apply only to those notes before which they stand. They do not carry through the measure.) ..................... 17 Example 13. Leo Ornstein, Waltz No.4 mm. 25-30. ...................................................... 18 Example 14. Leo Ornstein, Waltz No.6 mm. 31-35. ...................................................... 19 Example 15. Frédéric Chopin, Etude Op.25, No.12 mm. 1-2. ....................................... 20 Example 16. Frédéric Chopin, Etude Op.25, No.12 mm. 1-2. ....................................... 21 v Example 17. Ornstein, Waltz No.3, mm. 159-163. (All accidentals apply only to those notes before which they stand. They do not carry through the measure.) ..................... 22 Example 18. Ornstein, Waltz No.15, mm. 61-67. (All accidentals apply only to those notes before which they stand. They do not carry through the measure.) ..................... 23 Example 19. Ornstein, Waltz No.15, mm. 61-67. (All accidentals apply only to those notes before which they stand. They do not carry through the measure.) ..................... 24 Example 20. Ornstein, Waltz No.17, mm. 84-94. (All accidentals apply only to those notes before which they stand. They do not carry through the measure.) ..................... 25 Example 21. Ornstein, Waltz No.17, mm. 84-93. (All accidentals apply only to those notes before which they stand. They do not carry through the measure.) ..................... 26 Example 22. Ornstein, Waltz No.15, mm. 136-145. (All accidentals apply only to those notes before which they stand. They do not carry through the measure.) ..................... 27 Example 23. Ornstein, Waltz No.9, mm. 1-2. ................................................................ 31 Example 24. Ornstein, Waltz No.4, mm. 1-3. ................................................................ 32 Example 25. Ornstein, Waltz No.6, mm. 1-4. ................................................................ 32 Example 26. Ornstein, Waltz No.7, mm. 1-4. ................................................................ 32 Example 27. Ornstein, Waltz No.9, mm. 49-56. ............................................................ 33 Example 28. Ornstein, Waltz No.7, mm. 47-57. ............................................................ 34 Example 29. Ornstein, Waltz No.13, mm. 45-52. (All accidentals apply only to those notes before which they stand. They do not carry through the measure.) ..................... 35 Example 30. Ornstein, Waltz No.11, mm. 1-10. (All accidentals apply only to those notes before which they stand. They do not carry through the measure.) ..................... 36 Example 31. Ornstein, Waltz No.8, mm. 54-63. (All accidentals apply only to those notes before which they stand. They do not carry through the measure.) ..................... 37 Example 32. Ornstein, Waltz No.15, mm. 101-104. (All accidentals apply only to those notes before which they stand. They do not carry through the measure.) ..................... 38 Example 33. Ornstein, Waltz No.5, mm. 91-94. (All accidentals apply only to those notes before which they stand. They do not carry through the measure.) ..................... 39 vi CHAPTER 1 INTRODUCTION Russian-American composer Leo Ornstein (1893-2002), who was known for his avant-garde piano output, stands as a unique example of a pianism that is a foundation for the composer’s musical thoughts. A phenomenal piano virtuoso, Ornstein composed primarily for his instrument. His musical language is highly complex, innovative, and unique. “While Charles Ives remained almost completely unknown, Leo Ornstein, rather than being a lone voice in the wilderness, was the center and focal point of a complex network of advocates for modernism, which embraced the most important modernist circles of the
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