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A Performer's Guide and Structural Analysis of Sergei Taneyev's Concert Suite for Violin and Orchestra by Aihua Zhang a Rese

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A Performer's Guide and Structural Analysis of Sergei Taneyev's Concert Suite for Violin and Orchestra by Aihua Zhang a Rese A Performer’s Guide and Structural Analysis of Sergei Taneyev’s Concert Suite for Violin and Orchestra by Aihua Zhang A Research Paper Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts Approved April 2019 by the Graduate Supervisory Committee: Danwen Jiang, Chair Kay Norton Rodney Rogers Jonathan Swartz ARIZONA STATE UNIVERSITY May 2019 ABSTRACT This research paper is a study of Sergei Taneyev’s Concert Suite for Violin and Orchestra, Op. 28 and includes Taneyev’s biography, a brief musical analysis which benefits the interpretation, and performance suggestions from the perspective of a concert violinist. The purpose of this paper is to enable performers to achieve a better understanding of this artwork and make informed musical choices. Sergei Ivanovich Taneyev (1856-1915) was a Russian composer. As a composition pupil of Tchaikovsky, and a teacher of Scriabin, Rachmaninoff, Lyapunov, and Glière, Taneyev is an important figure in Russian music. His compositions include operas, symphonies, chamber music, songs, and piano music. Taneyev’s style was influenced by Bach, Handel, Mozart, Glinka, Tchaikovsky, Wagner and various European composers. His cosmopolitan style, and wide-ranging compositional interests do not easily lend themselves generalization. This difficulty in categorizing his music along with his self-criticism and aversion to self-promotion, contribute to his lack of recognition when compared with his contemporaries. The Concert Suite for Violin and Orchestra, composed six years before his death, is his only work for Violin and Orchestra and was his last large composition. This work is cast in an unusual five-movement structure and embodies various brilliant violin techniques and rich Romantic-era harmonies. Taneyev’s interests in “old fashioned” style and folk music are evidenced by some of the movements titled “Prelude,” “Gavotte,” and “Theme and Variation” which contains a double fugue. He also utilizes i folk dances such as the mazurka and tarantella. This performance guide provides practical interpretational advice based on an analysis of harmony, form and structural divisions, stylistic considerations and violin techniques. A brilliant and charming work, it has sadly been neglected. Through the study and performance of this piece, the author hopes to provide performers with useful information that enables more musicians to know and enjoy this valuable masterwork. ii ACKNOWLEDGMENTS I would like to express my deep appreciation to Professor Danwen Jiang, who has guided me with great insight and knowledge. As my mentor, she provided me with numerous opportunities and inspiring advices. I am also grateful to Dr. Jonathan Swartz, Dr. Kay Norton, and Dr. Rodney Rogers for carefully reading this research paper and for offering critical ideas and suggestions. I appreciate Dr. James DeMars who helped me with issues of musical analysis before his retirement. I would like to give my special appreciation to Dr. Rogers who generously served on my committee on short notice. Last but not least, I would like to give many thanks to my dearest family, for their endless support and encouragement. iii TABLE OF CONTENTS Page LIST OF FIGURES .................................................................................................................. v LIST OF EXAMPLES ........................................................................................................... vii CHAPTER 1 BIOGRPAHY ......................................................................................................... 1 2 TANEYEV’S COMPOSITIONAL APPROACH AND HIS PLACE IN RUSSIAN MUSIC .................................................................................................. 5 3 THE BACKGROUND OF THE CONCERT SUITE ........................................... 10 4 THE ANALYSIS AND PERFORMANCE GUIDE OF THE CONCERT SUITE . ................................................................................................................................. 16 First Movement—Prelude ............................................................................... 18 Second Movement—Gavotte .......................................................................... 33 Third Movement—Märchen (The Fairy Tale) ............................................... 46 Fourth Movement—Theme and Variations .................................................... 65 Fifth Movement—Tarantella .......................................................................... 97 CONCLUSION ................................................................................................................... 108 REFERENCES..................................................................................................................... 110 iv LIST OF FIGURES Figure Page 1. The Utilization of Three Themes in Mvt. 1 ............................................................... 18 2. Diagram of Taneyev’s Concert Suite for Violin and Orchestra, Mvt. 1. .................. 20 3. Diagram of Taneyev’s Concert Suite for Violin and Orchestra, Mvt. 2. .................. 36 4. Diagram of Taneyev’s Concert Suite for Violin and Orchestra, Mvt. 2, Part I. ....... 36 5. Diagram of Taneyev’s Concert Suite for Violin and Orchestra, Mvt. 2, Part II. ..... 40 6. Diagram of Taneyev’s Concert Suite for Violin and Orchestra, Mvt. 2, Part III. .... 43 7. Diagram of Taneyev’s Concert Suite for Violin and Orchestra, Mvt. 2, Coda. ....... 46 8. Diagram of Taneyev’s Concert Suite for Violin and Orchestra, Mvt. 3. .................. 49 9. Diagram of Taneyev’s Concert Suite for Violin and Orchestra, Mvt. 3, A. ............. 51 10. Diagram of Taneyev’s Concert Suite for Violin and Orchestra, Mvt. 3, B. ............. 56 11. Diagram of Taneyev’s Concert Suite for Violin and Orchestra, Mvt. 3, A1.. .......... 60 12. Diagram of Taneyev’s Concert Suite for Violin and Orchestra, Mvt. 3, B1. ........... 66 13. Diagram of Taneyev’s Concert Suite for Violin and Orchestra, Mvt. 3, Coda. ....... 66 14. Diagram of Taneyev’s Concert Suite for Violin and Orchestra, Mvt. 4. .................. 70 15. Diagram of Taneyev’s Concert Suite for Violin and Orchestra, Mvt. 4, Theme. .... 70 16. Diagram of Taneyev’s Concert Suite for Violin and Orchestra, Mvt. 4, Var.1. ...... 74 17. Diagram of Taneyev’s Concert Suite for Violin and Orchestra, Mvt. 4, Var. 2. ..... 78 18. Diagram of Taneyev’s Concert Suite for Violin and Orchestra, Mvt. 4, Var. 3. ..... 82 19. Diagram of Taneyev’s Concert Suite for Violin and Orchestra, Mvt. 4, Var. 4. ..... 88 20. Diagram of Taneyev’s Concert Suite for Violin and Orchestra, Mvt. 4, Var. 5. ..... 91 21. Diagram of Taneyev’s Concert Suite for Violin and Orchestra, Mvt. 4, Var. 6. ..... 94 v Figure Page 22. Diagram of Taneyev’s Concert Suite for Violin and Orchestra, Mvt. 4, Var. 7. ..... 98 23. Diagram of Taneyev’s Concert Suite for Violin and Orchestra, Mvt. 5. ................ 102 24. Diagram of Taneyev’s Concert Suite for Violin and Orchestra, Mvt. 5, Part I. ..... 103 25. Diagram of Taneyev’s Concert Suite for Violin and Orchestra, Mvt. 5, Part II. ... 104 26. Diagram of Taneyev’s Concert Suite for Violin and Orchestra, Mvt. 5, Part III ... 105 vi LIST OF EXAMPLES Example Page 1. Taneyev’s Concert Suite for Violin and Orchestra, Mvt. 1, mm. 1-4....................... 21 2. Taneyev’s Concert Suite for Violin and Orchestra, Mvt 1, mm. 1-3 vs mm. 1-4. ... 23 3. Taneyev’s Concert Suite for Violin and Orchestra, Mvt.1, mm. 7-10. .................... 24 4. Taneyev’s Concert Suite for Violin and Orchestra, Mvt. 1, mm. 9-10. ................... 25 5. Taneyev’s Concert Suite for Violin and Orchestra, Mvt. 3, mm. 1-4....................... 25 6. Taneyev’s Concert Suite for Violin and Orchestra, Mvt.1, mm. 12-14. .................. 26 7. Taneyev’s Concert Suite for Violin and Orchestra, Mvt. 1, mm. 19-25. ................. 27 8. Taneyev’s Concert Suite for Violin and Orchestra, Mvt. 1, mm. 28. ....................... 28 9. Taneyev’s Concert Suite for Violin and Orchestra, Mvt. 1, mm. 41-44. ................. 29 10. Taneyev’s Concert Suite for Violin and Orchestra, Mvt. 1, mm. 44-46. ................. 30 11. Taneyev’s Concert Suite for Violin and Orchestra, Mvt. 1, mm. 52-57. ................. 31 12. Taneyev’s Concert Suite for Violin and Orchestra, Mvt. 1, mm. 61-65. ................. 32 13. Taneyev’s Concert Suite for Violin and Orchestra, Mvt. 1, mm. 70-73. ................. 33 14. Taneyev’s Concert Suite for Violin and Orchestra, Mvt. 2, mm. 8-12. ................... 37 15. Taneyev’s Concert Suite for Violin and Orchestra, Mvt. 2, mm. 17-20. ................. 37 16. Taneyev’s Concert Suite for Violin and Orchestra, Mvt. 2, mm. 28-35.. ................ 38 17. Taneyev’s Concert Suite for Violin and Orchestra, Mvt. 2, mm. 36-43.. ................ 39 18. Taneyev’s Concert Suite for Violin and Orchestra, Mvt. 2, mm. 43-47. ................. 39 19. Taneyev’s Concert Suite for Violin and Orchestra, Mvt. 2, mm. 59-62. ................. 41 20. Taneyev’s Concert Suite for Violin and Orchestra, Mvt. 2, mm. 67-70. ................. 42 21. Taneyev’s Concert Suite for Violin and Orchestra, Mvt. 2, mm. 116-126. ............. 44 vii Example Page 22. Taneyev’s Concert Suite for Violin and Orchestra, Mvt. 2, mm. 163-175... ........... 45 23. Taneyev’s Concert Suite for Violin and Orchestra, Mvt. 2, mm. 197-202. ............. 46 24. Taneyev’s Concert Suite for Violin and Orchestra, Mvt. 2, mm. 218-end............... 48 25. Taneyev’s Concert Suite for Violin and Orchestra, Mvt.
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