The Mediant Relations in Amy Beach's Variations On

i

THE MEDIANT RELATIONS IN AMY BEACH’S

VARIATIONS ON BALKAN THEMES, OP. 60

A thesis submitted to the College of the Arts

of Kent State University in partial fulfillment of the

requirements for the degree of

Master of Arts

By

Jiaqi Sun

May, 2020 ii

Thesis written by Jiaqi Sun

B.A., China Conservatory of Music, 2017

M.A., Kent State University, 2020

Approved by

Gerrey Noh, Ph.D., Advisor

Kent McWilliams, PhD, Director, School of Music

John R. Crawford-Spinelli, Ed. D., Dean, College of the Arts iii

TABLE OF CONTENTS Page

LIST OF FIGURES ...... v INTRODUCTION ...... 2 1. Objective and Significance of the Thesis ...... 2

2. Literature Review ...... 3

2.1 Research on Amy Beach’s Biography ...... 3

2.2 Research on Women in Music ...... 4

2.3 Research on Amy Beach’s Piano Works ...... 5

2.4 Research on the Works about Piano Pedagogy ...... 5

2.5 Research on Other Works ...... 6

AMY BEACH AND HER COMPOSITIONS ...... 9 1.1 Amy Beach’s Life as a Pianist and Composer ...... 9

1.2 Amy Beach’s Compositional Style ...... 14

1.3 Introduction to Amy Beach’s Selected Compositions ...... 17

VARIATIONS ON BALKAN THEMES, OP. 60...... 23 2.1 Thematic Origins and Compositional Process ...... 23

2.2 Tonal and Formal Structure ...... 35

ANALYSIS THE MEDIANT-RELATIONS IN VARIATIONS ON BALKAN THEMES, OP. 60...... 38 3.1 i-III-i Relationship ...... 40

3.1.1 Theme and the Restatement of the Theme ...... 40

3.1.2 Variation I ...... 51 iv

3.1.3 Variation II ...... 53

3.1.4 Variation III ...... 59

3.1.5 Variation VI: Allegro all ’Ongarese ...... 62

3.1.6 Variation VIII: Marcia funerale ...... 65

3.2 I-vi-I Relationship ...... 71

3.3.1 Variation IV: i-#iii-i ...... 78

3.3.2 Variation VI: A tempo: I-III(♭)-i ...... 82

CONCLUSION ...... 86 APPENDIX ...... 88 1. Sheet Music Editions ...... 88

2. Discography ...... 88

REFERENCES ...... 90

v

LIST OF FIGURES

Figure Page

1.1. Beach, Valse-Caprice, Op.3……………………………………………………………..…..16

1.2. Beach, Let This Mind be in You, Op.105, mm. 33-37…………………………………...... …16

1.3. Beach, Prelude and Fugue for Piano, Op. 81, mm. 97-103……………………………….....17

1.4. “Variation I” in The Variations on Balkan Themes, Op. 60, mm. 1-10…………………….…17

2.1. Folksong Themes used Variations on Balkan Themes, Op. 60……………………………….27

2.2. The First Three Notes in the First and Second Folk Songs…………………………………...30

2.3. The Picard Third in the First Cadence of the Variation II, mm. 55-56……………………..…31

2.4. mm. 93-95 in Variation IV…………………………………………………………………...31

2.5. The Opening of Variation V, mm.105-106…………………………………………………..32

2.6. The Beginning of Variation VIII, mm. 269-270……………………………………………..34

2.7. The Beginning of Marcia funerale, mm. 286-287…………………………………………...34

2.8. The Beginning of Quasi fantasia, mm. 369-370…………………………………….……….36

2.9. Whole-Tone in Thirds at the Cadenza, m. 377……………………………………….………36

2.10. The Augmented Seconds with Tremolos between Octaves at the Cadenza………..………..36

3.1.1. The Harmonic Analysis of the Theme…………………….…………………..….………..44

3.1.2. The Extension of the Restatement of the Theme………………………………………...... 45

3.1.3. Background-Level Five-Line Structure of the Theme……………………………..………46

3.1.4. Background-Level Three-line Structure of the Theme……………………………...…..…48

3.1.5. Background-Level Three-Part Structure of the Theme………………………………..…...49 vi

3.1.6 Middleground-Level Five-Line Structure of the Theme………………………………..…..50

3.1.7. Middleground-Level Three-Line Structure of the Theme……………………….……..…..51

3.1.8. Background-Level Three-Part Structure of the Theme………………………………..…...52

3.1.9. Variation I……………………………………………………………………………..…...56

3.1.10. Background-Level Five-Line Structure of the Variation II…………………………….....58

3.1.11. The Analysis of Variation II…………………………………………………………..….61

3.1.12. The Analysis of Variation III…………………………………………………………..…64

3.1.13. The Analysis of Variation VI: Allegro all ’Ongarese………………...………..…..……..66

3.1.14. The Analysis of Variation VIII: Marcia funerale……...……………………………..…..73

3.2.1. Background-Level Five-Line Structure of the Variation V…………………………..….…75

3.2.2. The Analysis of Variation V………………………………...………………………..…....79

3.3.1. Background-Level Five-Line Structure of the Variation IV…………………………..…...81

3.3.2. The Analysis of Variation IV……………………………………………………………....83

3.3.3. The Analysis of Variation VI: A tempo……………………………………………...... 87

vii

LIST OF TABLES

Figure Page

2.1. Comparison of the Original and Revised Version of Variations on Balkan Themes, Op.

60…………………………………………………………………………………………………36

2.2. Tonal Outline in Beethoven’s Six Variations, Op. 34……...………………………..……...38

2.3. Tonal Outline in Beach’s Variations on Balkan Themes, Op. 60...…..…………………..…38

3.1. The Key Schemes of Variations on Balkan Themes, Op. 60...……………..…………….…40

3.2. Structural Analysis of the Repeated Theme…………………………………...………….…52

3.3. Structural Analysis of the Repeated Theme……………………………………………...….53

3.4. Structural Analysis of Variation I………………………………………...……...………….54

3.5. Structural Analysis of Variation II…………………………………………...………...……57

3.6. Structural Analysis of Variation III……………………………………………………...….62

3.7. Structural Analysis of Variation VI: Allegro all ’Ongarese……………………...…………65

3.8. Structural Analysis of Variation VIII: Marcia funerale…………………...………………..68

3.9. Structural Analysis of Variation V………………………………………………….....…..…74

3.10. Structural Analysis of Variation IV………………………………………………………..81

Table 3. 11. Structural Analysis of Variation VI: A tempo…………………………...…………8 1

SUN, JIAQI, M.A., MAY 2020 MUSIC THEORY

THE MEDIANT RELATIONS IN AMY BEACH’S VARIATION ON BALKAN THEMES, OP. 60

Director of Thesis: Dr. Gerrey Noh

Amy Beach is known as the first American female composer to achieve worldwide fame.

Almost all her more than three hundred works were widely published and performed after coming out, making her one of the most representative composers of the late romantic period in the United States.

As an excellent pianist, Beach composed a considerable amount of piano works with a wide range of difficulties. Variations on Balkan Themes, Op. 60 is Amy Beach’s the longest and most technically demanded solo piano work. This piano variation is based on four folk melodies from Eastern Europe. This work not only reflects the composer's active interest in folk music but also reflects her superb compositional skills. It is one of the most representative works of the composer, with high research and performance value.

As an enthusiast of mediant-related harmony, Beach widely applies the tonal relationship throughout her works in different genres, so does in this piece. This thesis will discuss and analyze Variations on Balkan Themes, Op. 60 through four chapters. The first chapter briefly summarizes the composer’s life experience as a pianist and a composer and her compositional styles. The second chapter makes a comprehensive introduction in the compositional background and music elements of Variations on Balkan Themes, Op. 60. The third chapter utilizes a

Schenkerian approach to analyze the mediant relations which are applied in this piece. The last chapter concludes the analysis results and proposes further potential studies. Different versions of this piece and related recordings are introduced in the Appendix. 2

INTRODUCTION

1. Objective and Significance of the Thesis

Amy Beach’s compositional works and styles have become more and more known and studied by many scholars in recent years. She is one of a few highly accomplished female composers in the history of Western classical music, and one of the most influential American composers in the late nineteenth century and early twentieth century.

Beach lived in a period of transition from the Romantic to Post-tonal periods. Influenced by Liszt, Brahms, and other composers of the Romantic period, her music reflects the musical styles of the late Romanticism. At the same time, she also drew on the compositional techniques of impressionist composers such as Debussy. As a composer who grew up in a multicultural country, her music style was also inspired by Romantic-era nationalist Antonín Dvořák and she was fond of assimilating musical elements of folk music in her works. Variations on Balkan

Themes, Op. 60 is one of them.

As an excellent pianist, she composed a large amount of solo piano and chamber music works. Variations on Balkan Themes, Op. 60 is the longest of all her solo piano works, which requires demanding piano performance techniques. This piece is one of her most well-known works, which was performed several times in public by Beach. Composed based on four folk melodies from Eastern Europe, this piece presents unusual chromatic harmony and linear progressions. She particularly applies unconventional mediant harmonies throughout the piece.

Schenkerian analysis, both traditional and modified approaches, is a suitable approach to analyze these features. Although a considerable amount of research has been done on Amy Beach’s solo piano works, little work has been produced utilizing the Schenkerian approach to interpret this specific work. 3

In my analysis of Variations on Balkan Themes, Op. 60, I divide the theme and variations into four groups according to their types of mediant harmonies. The most common application of the third relation throughout this piece is the diatonic mediant relationship. The composer also utilizes chromatic third relations in some variations. A structurally important feature emphasizing the third relations is that Beach uses chromatic mediant chords as intermediate chords replacing the traditional predominant chords. My investigation will provide analytical insights focusing on mediant relationships in this piece, with modified Schenkerian techniques applicable to compositions beyond the Western tonal practice.

2. Literature Review

The research on Amy Beach mainly began in the 1970s. Numerous biographical and analytical studies have been published since then, including writings on her Variations on Balkan

Themes. However, none of these sources focuses on the mediant relationships used in Variations on Balkan Theme. And none of these studies discusses the musical features of Variations from the Schenkerian perspective.

2.1 Research on Amy Beach’s Biography

Adrienne Fried Block provides a comprehensive biography of Amy Beach and an overview of her musical achievements in Amy Beach, Passionate Victorian: The Life and Work of an American Composer, 1867-1944 (Block, 1998). Block thoroughly examines the connections between Beach’s life and works, considering social currents and the dominant ideologies in the period Amy Beach lived. The author describes Amy Beach’s early musical training as a young prodigy. Beach’s initial success as a composer was attributed to her art 4 songs. Large-scale works were written in her later compositional period. She wrote a mass, a symphony, an opera and chamber pieces, which challenged the accepted notion that women were incapable of creating the “high art.” Block is one of the earliest American scholars to study Amy Beach. She has written extensively about Beach’s life and music.

Walter S. Jenkins published The Remarkable Mrs. Beach, American Composer: A

Biographical Account Based on Her Diaries, Letters, Newspaper Clippings, and Personal

Reminiscences (Jenkins, 1994). Jenkins was Beach’s friend when they were both in residence at the MacDowell Colony.1 The book is based on the archival research, discussing her personal letters and conversations with her close friends and colleagues. Beach’s biography is introduced in E. Lindsey Merrill’s “Mrs. H. H. A. Beach Composer,” Helicon Nine 6 (Spring 1982: 84–91) and Gail Smith’s “Amy Beach: Celebrating 150 years,” Clavier Companion 9, no. 2 (2017: 46-

9). Both briefly summarize her life, musical career, and her notable works.

2.2 Research on Women in Music

In Women in American Music: A Bibliography of Music and Literature, the editors list

Beach’s works by genres, the publication information, and related discography. (Block &

Neuls-Bates, 1979) In Christine Ammer’s Unsung: A History of Women in American Music, the author investigates the relatively active female musicians in the American music, from the early church organists to the contemporary jazz musicians, over the past two hundred years.

Ammer summarizes the influence of hundreds of female musicians in the American music history, including a long chapter devoted to Beach’s life, works and influences (Ammer, 1980).

1 The MacDowell Colony is an artists’ colony in Peterborough, New Hampshire, the United States, founded in 1907 by composer Edward MacDowell (1860-1908) and his wife, a pianist and philanthropist Marian MacDowell (1857- 1956). The mission of The MacDowell Colony is “to nurture the arts by offering creative individuals of the highest talent an inspiring environment in which they can produce enduring works of the imagination.” 5

2.3 Research on Amy Beach’s Piano Works

Much research has been done on Beach’s piano works. In doctoral dissertation “The

Solo Piano Works of Mrs. H. H. A. Beach,” Marmaduke Miles discusses Beach’s life as a pianist and traces the stylist changes in Beach’s piano works from early to the late compositional period (DMA diss., Peabody Institute of the Johns Hopkins University, 1985). In

“Amy Beach’s Concerto for Piano and Orchestra in C-Sharp Minor, Op. 45: A Historical,

Stylistic, and Analytical Study,” Katrina Rushing presents a comprehensive study of this work and remarks on the influences of other late Romantic composers on Beach’s compositional style (DMA diss., Louisiana State University, 2000). Adrienne Block points out that the piano concerto is a reflection of Beach’s life and work. She also shows Beach’s desire to become a musician who could play and compose in “A ‘Veritable Autobiography’? Amy Beach’s Piano

Concerto in C-Sharp Minor, Op. 45,” The Musical Quarterly 78, no. 2 (1994: 395-416).

2.4 Research on the Works about Piano Pedagogy

During her life, Beach published many articles and lectures on music education. These documents are of great value not only in the research of her music but also in the study of music education in the early twentieth-century United States. Some scholars believe that she wrote a lot of piano works for pedagogical purposes, most of which were composed during her later compositional period after returning from Europe.

In Donna Clark’s doctoral dissertation “Pedagogical Analysis and Sequencing of

Selected Intermediate-Level Solo Piano Compositions of Amy Beach,” the author analyzes the representative pieces of Beach’s piano works for pedagogy and presents in-depth study on nine intermediate-level solo piano pieces (DMA diss., University of South Carolina, 1996). Marcelle 6

Vernazza discusses two sets of piano works by Beach in “Amy Beach and Her Music for

Children,” American Music Teacher 30, no. 6, including Children’s Carnival, Op.25, and

Children’s Album, Op.36 (1981: 20–21).

2.5 Research on Other Works

In Jeanell Brown’s “Amy Beach and Her Chamber Music: Biography, Documents,

Style,” the author notes that Beach’s chamber music represents the highest level of her instrumental work. Although she is considered a late Romantic composer, her work also contains music elements of post-tonal techniques (DMA diss., University of Maryland, College

Park, 1993). Barbara Reigles analyze several important choral works by Beach in “The Choral

Music of Amy Beach.” The author also shows the development of her choral works in different periods (PhD diss., Texas Tech University, 1996). In “Amy Beach: An Investigation and

Analysis of the Theme and Variations for Flute and String Quartet, Op.80,” Carolyn Treybig makes a comprehensive analysis of the compositional techniques and musical styles of this work and also discusses Beach’s other important chamber music works (DMA diss., The

University of Texas at Austin, 1999).

Beach’s “Gaelic” Symphony in E Minor, Op. 32 is regarded as the first symphony composed and published by a female American composer. It has been discussed in detail by two doctoral dissertations as well as several research publications. Sarah Gerk examines the receptions of the Beach’s symphony, from its premiere in 1896 to Beach’s death in 1944 in “A critical reception history of Amy Beach’s ‘Gaelic’ Symphony,” (MA Thesis, California State

University, Long Beach, 2006). Kathryn Kuby discusses the historical background of Beach’s symphony and analyzes the thematic materials, key areas, form, tempo markings, 7 instrumentation, use of folk songs, and recordings in “Analysis of Amy Cheney Beach’s

‘Gaelic Symphony,’” Op. 32 (DMA diss., University of Connecticut, 2011). Beach’s works also have been discussed in several journal articles, such as Betty Buchanan’s “Connection: A

Medieval Text and Twentieth-Century Expressionism in ‘Canticle of the Sun,’ by Amy

Beach,” The Choral Journal, Vol. 41, No. 10, (2001: 9-19).

2.6 Research on Variations on Balkan Themes, Op. 60

In E. Douglas Bomberger’s “Motivic Development in Amy Beach’s ‘Variations on

Balkan Themes,’ Op. 60,” American Music 10, no. 3 (1992: 326-47), the author deals with two versions of this piece. He introduces the historical background of the four folk melodies that

Amy Beach used in the themes in this piece. He also raises significant concerns for a pianist who must choose between the two versions of the work. In the “Thematic Development” section, he explains the formal structure and harmony used in the piece. He classifies the form of Amy Beach’s Variations on Balkan Themes as “fantasia variations” and recognizes the opening three-notes of the theme as the principal motive used throughout the piece.

Adrienne Fried Block disagrees with a few issues of Bomberger in her article “On

Beach's Variations on Balkan Themes, Op. 60.” American Music 11, no. 3 (1993). She considers the tonal relationships of the variations to the theme are more fundamental than the opening three-note motive. Block argued that Beach may have used Beethoven’s Six

Variations, Op. 34 as a model for her own tonal structure. She compares the tonal scheme of

Beethoven’s Six Variations and Beach’s Variations on Balkan Themes, arguing that the tonal centers of the variations in both pieces are based on a pattern of descending thirds. She also examines Beach’s technique of delayed resolutions and the melodic augmented second between 8 the sixth scale degree and the leading tone. She claims that these features prohibit the climactic arrival to the tonic.

Variations on Balkan Themes, Op. 60 is also discussed in two doctoral dissertations:

Myrna Garvey Eden, “Anna Hyatt Huntington, Sculptor, and Mrs. H. H. A. Beach, Composer:

A Comparative Study of Two Women Representatives of the American Cultivated Tradition in the Arts” (PhD diss., Syracuse University, 1977: 275-80) and Marmaduke Sidney Miles, “The

Solo Piano Works of Mrs. H. H. A. Beach” (DMA diss., Peabody Conservatory of Music, 1985:

95-108).

9

CHAPER I

AMY BEACH AND HER COMPOSITIONS

1.1 Amy Beach’s Life as a Pianist and Composer

Amy Marcy Cheney Beach (1867–1944) was a great pianist and the first successful female American composer of large-scale art music. She was one of the first American composers to succeed without the benefit of European training, and one of the most respected and acclaimed American composers of her era. As a pianist, she gave many concerts featuring her own music in the United States and in Europe.

Amy Marcy Cheney was born on September 5, 1867 in Henniker, New Hampshire, to a prominent New England family.2 Her father, Charles Abbott Cheney was the nephew of Oren

B. Cheney, who founded Bates College. Her mother, Clara Imogene Marcy Cheney, was a talented amateur singer and pianist.3 Young Amy was a true prodigy who memorized forty songs at the age of one and taught herself to read words at age three. She played four-part hymns and composed simple waltzes at age four. By the age of six, she began studying piano with her mother and performed her first series public recitals one year later, playing works by

Handel, Beethoven, Chopin, and some of her own pieces.4 In 1875 the family moved to Boston, where Amy continued to study piano and composition. She made her Boston debut in 1883 and two years later, played her first performance with the Boston Symphony Orchestra, Wilhelm

Gericke conducting Chopin’s Piano Concerto in F Minor, Op. 21.5

2 Adrienne F Block. Amy Beach, Passionate Victorian: The Life and Work of an American Composer, 1867-1944. New York: Oxford University Press, 1998, 1. 3 Ibid., 6. 4 Ibid., 8. 5 Ibid., 30. 10

In 1885, she married Henry Harris Aubrey Beach (1843-1910), a physician, who taught surgery at Harvard University and had a large general practice, in which his clients were mostly

Boston’s social and cultural elites.6 Beach’s husband supported her love of music but requested her to limit the public performances. She also agreed never to teach piano, an activity widely associated with the women working for “pin money.”7 She limited the public performances to two recitals per year and donated the profits to charity. In turn, she devoted herself more to composition than to performance.8 She had only one year of formal training in harmony and counterpoint with Junius W. Hill. Beyond that, she studied independently, analyzing the compositions of master composers and translating theoretical works such as Berlioz’s treatise on orchestration.9

In 1892, Beach achieved her first notable success as a composer with the performance of her Mass in E-flat, Op. 5 (1889) by Boston’s Handel and Haydn Society, which had never performed a piece composed by a woman since its foundation in 1815.10 Following the success of Mass, Beach received important commissions for vocal and choral works. In 1892, the

Symphony Society of New York premiered her concert aria, Eilende Wolken, Op. 18, the first composition by a woman played by that orchestra. For the 1893 World’s Columbian Exposition in Chicago, she wrote the Festival Jubilate, Op. 17. The 1898 Trans-Mississippi Exposition in

Omaha commissioned her Song of Welcome, Op. 42. 11

She became the first American woman to achieve widespread recognition as a composer of large orchestral works. Beach’s national reputation grew with her ‘Gaelic’ Symphony in E

6 Block, Amy Beach, Passionate Victorian, 1998, 42. 7 Ibid., 47. 8 Ibid., 50. 9 Ibid., 54-5. 10 H. E. Krehbiel, “Boston Handel and Haydn Festival.” The Musical Times and Singing Class Circular 31, no. 567 (1890): 295-96. http://www.jstor.org/stable/3363256, 295. 11 Block, Amy Beach, Passionate Victorian,1998, 68-74. 11

Minor, Op. 32 (1897); Violin Sonata in A Minor, Op. 34 (1896); and Piano Concerto in C-

Sharp Minor, Op. 45 (1899).12

Beach’s ‘Gaelic’ Symphony in E Minor, Op. 32 is an important milestone in music history, the first symphony composed and published by an American woman.13 It was premiered on October 30, 1896, by the Boston Symphony with exceptional success.14

Composer George Whitefield Chadwick (1854–1931) wrote to Beach that he and his colleague

Horatio Parker (1863–1919) had attended the premiere of her symphony and much enjoyed it:

“I always feel a thrill of pride myself whenever I hear a fine work by any of us, and as such you will have to be counted in, whether you like it or not – one of the boys15.”16 In 1900, the Boston

Symphony premiered Beach’s Piano Concerto, with the composer as the soloist. It has been suggested that the piece portraited Beach’s struggles against her mother and husband for control of her musical life. 17

In 1894, Beach joined the Kneisel Quartet18 in performing Robert Schumann’s Quintet for piano and strings, Op. 44. In January 1897 she played, with Franz Kneisel, in the premiere of her Sonata for Piano and Violin, Op. 34, which she had composed in the spring of 1896.19

Beach wrote the Quintet for piano and strings, Op. 67 in 1905. During Beach’s lifetime, the work had well over forty performances in many of cities of the United States, was broadcasted

12 Block, Amy Beach, Passionate Victorian, 1998, 75-80. 13 Burnet C Tuthill. “Mrs. H. H. A. Beach.” The Musical Quarterly 26, no. 3 (1940): 297-310. http://www.jstor.org/stable/738767, 303. 14 Block, Amy Beach, Passionate Victorian, 1998, 102. 15 These “boys” were a group of composers unofficially known as the Second New England School, and included not only Chadwick and Parker but also John Knowles Paine (1839–1926), Arthur Foote (1853–1937), and Edward MacDowell (1860–1908). With the addition of Beach, they collectively became known as “the Boston Six”, of whom Beach was the youngest and the only woman. 16 Block, Amy Beach, Passionate Victorian, 1998, 103. 17 Ibid.,132. 18 The Kneisel Quartet was a string quartet musical ensemble established in Boston in 1885, featuring Franz Kneisel (1885–1917), the concertmaster of the Boston Symphony Orchestra of the first violin. It existed until 1917, and in its time became recognized as the leading string quartet in the United States at the turn of the twentieth century. 19 Ibid.,127. 12 over the radio. A large number of those performances were with the composer at the piano, most notably during a tour in 1916 and 1917 with the Kneisel Quartet.20 This was the last season for Beach performed her Quintet with them in Boston, Brooklyn, Chicago, and

Philadelphia.21

Since her husband’s and mother’s deaths in 1910, Beach felt unable to work for a while and sailed to Europe in hopes of recovery. She travelled together with Marcella Craft (1874-

1959), an American soprano who was the “prima donna of the Berlin Royal Opera.”22 After the one-year pause, she restarted her career in 1912 and soon established her reputation as both a performer and composer in Europe.23 Her European debut was in Dresden, Germany playing her sonata for violin and piano with German violist Wolfgang Bulau in 1912. In 1913, she gave a concert featuring her violin sonata, three sets of songs (two of her own and one by Brahms), and solo piano music by Bach, Beethoven, and Brahms in Munich. Later still in Munich, she performed in her Piano Quintet.24 She also received enthusiastic reviews for her “Gaelic” symphony and piano concerto, which were performed in Leipzig, Hamburg and Berlin.25

Beach returned to the United States in 1914, not long after the beginning of World War

I. In 1915, she was commissioned to Panama Hymn, Op. 74 for the commemoration of the opening of the Panama Canal at the Panama Pacific International Exposition in San Francisco.26

She then was resident in Hillsborough, New Hampshire with her aunt Franc and cousin Ethel27, who by then were her closest living relatives and spent time taking care of her cousin Ethel’s

20 Block, Amy Beach, Passionate Victorian, 1998, 129. 21 Ibid.,127. 22 Ibid.,180. 23 Ibid.,136, 183. 24 Ibid.,184. 25 Ibid.,186-187. 26 Ibid.,205-6. 27 Ibid.,219. 13 illness until her death in 1920.28 Beach also spent part of her time in New York and composed at her cottage in Centerville, Massachusetts during a few summers.29 In 1921 she became a fellow at the MacDowell Colony in Peterborough, New Hampshire, where she composed most of her later works, and encountered other women composers and musicians, including Emilie

Bauer (1865-1926), Marion Bauer (1882-1955), Mabel Daniels (1878-1971), Fannie Dillon

(1881-1974), and Ethel Hier (1889-1971). Although they maintained lasting friendship, there were “generational divisions” between the younger women composers and Beach, with some feeling that Beach’s music was “no longer fashionable”.30 After her Aunt Franc’s death in 1925, she sold her house in Boston and moved to New York.31 She then became the virtual composer- in-residence at St. Bartholomew's Episcopal Church and her music was used in services at the church.32

Beach was also regarded as a remarkable music educator during the early twentieth century.33 She involved in some organizations focused on music education and women. She served as President of the Board of Councilors of the New England Conservatory of Music and coached and offered mentorship to various young composers, musicians, and students.34 She also created “Beach Clubs,” which helped teach and educate children in music. In 1925, she became a founding member and the first president of the Society of American Women

Composers. She died on December 27th, 1944.35

28 Block, Amy Beach, Passionate Victorian, 1998, 217-219. 29 Ibid.,221. 30 Ibid.,222-3. 31 Ibid., 247, 255. 32 Ibid, 257. 33 Tuthill, “Mrs. H. H. A. Beach.”, 1940, 307. 34 James D Brown. Biographical Dictionary of Musicians: With a Bibliography of English Writings on Music. Hildesheim, NY: Georg Olms, 1970, 89. 35 Block, Amy Beach, Passionate Victorian, 1998, 233. 14

1.2 Amy Beach’s Compositional Style

Beach’s compositional styles have been discussed in several of academic writings.

Beach’s overall style is characterized by her late-Romantic harmonic language within Classical form. However, she also experimented with a variety of non-triadic techniques, moving away from tonality, employing exotic scales and more exotic harmonies and techniques in her later works.36

Jeanell W. Brown introduced Beach’s compositional styles in detail in Amy Beach and

Her Chamber Music: Biography, Documents, Style (1994). The author discussed the influences of various composers on Beach’s own styles, such as Brahms, Rachmaninoff, Liszt, and

MacDowell. the former composers. She mentioned some similar applications of several works of Beach with summarized Beach’s compositional styles as follows:

The prominent features of Beach’s compositional style can be found in the instruments writing: multiple melodic ideas, pianistic figuration, rapid harmonic rhythm, sections of tonal ambiguity, and dramatic contrasts of dynamics and tempo. Interestingly, her works carry several “trademarks” or “clichés” that personalize her musical signature. The most common of these are trill and tremolo, chromatic scales, and octaves.37

Although Beach’s basic harmonic application is largely of the nineteenth-century practices, she expanded her chromatic languages beyond the practices of her time. Brown mentioned that Beach may have learned the chromatic language mainly through her translation work of Berlioz’s writings and borrowed from Berlioz the idea of third relationships and the use of diminished chords.38 In her early career, Beach tended to compose more conjunct and lyrical melodies in her instrumental works than vocal works. At the turn of twentieth century, the

36 Stephen P Burnaman. “The Solo Piano Music of Edward MacDowell and Mrs. H. H. A. Beach: A Historical Analysis.” DMA diss., The University of Texas at Austin, 1997, 124. 37 Jeanell W Brown. Amy Beach and Her Chamber Music: Biography, Documents, Style. Composers of North America: No. 16. Metuchen, NJ: Scarecrow Press, 1994, 131. 38 Brown. Amy Beach and Her Chamber Music, 1994, 147. 15 melodic styles of her songs gradually became more disjunct, “with frequent change of direction, extremely chromatic, and, when heard without its harmonization, tonally ambiguous.” And in her later compositional period after 1915, her instrumental melodies also became more and more

“disjunct, chromatic and harmonically ambiguous.” 39 She also frequently quoted folk melodies of Scottish, Gaelic, Balkan, Eskimo and Irish origins.40

Although Beach’s rhythmic patterns are not so complicated, she often used cross- rhythms, uneven grouping of notes, syncopations and rhythmic motives.41 On account of the influence by Brahms, Beach had the tendency to give more freedom on rhythms of her compositions, such as the devices of cross-rhythms, and the two-against-three rhythms between singing and piano parts, and different instruments.42 Influence by Liszt and Rachmaninoff,

Beach frequently used “thick block chords” in her instrumental works, which was most commonly found in her piano works.43 Beach was keen of the rich chordal texture and octave doublings in her piano music (Figure 1). This thick choral textures can also be found in the piano part of many of her art songs (Figure 2).

Figure 1.1 Beach, Valse-Caprice, Op.4, mm.

39 Ibid., 141. 40 Laurel K Verissimo. “Amy Beach: Her Life, Times and Music.” DMA diss., San Jose State University, 1993. https://search.proquest.com/docview/230720599?accountid=11835, 16. 41 Brown. Amy Beach and Her Chamber Music, 1994, 150. 42 Ibid., 150. 43 Brown. Amy Beach and Her Chamber Music, 1994, 156. 16

Figure 1.2 Beach, Let This Mind be in You, Op.105, mm. 33-37.

Contrapuntal techniques are also used in her instrumental works, as heard in the fourth movement of the Suite for Two Pianos, Op. 70 (1910) and the Prelude and Fugue, Op. 81

(1917) (Figure 3). Beach also used canon in the first variation of The Variations on Balkan

Themes, Op. 60 (1904) (Figure 4).

Figure 1.3 Beach, Prelude and Fugue for Piano, Op. 81, mm. 97-104 17

Figure 1.4 “Variation I” in The Variations on Balkan Themes, Op. 60, mm. 1-10.

1.3 Introduction to Amy Beach’s Selected Compositions

Amy Beach was a very prolific composer. The 152 opus numbers representing diverse genres do not cover several unpublished pieces.44 As one of the most gifted composers in the late nineteenth century, Beach was driven by her gifts and abilities to achieve a level in composing that had not been reached before in the United States.45

Beach wrote a vast amount of solo piano works in different difficulty levels, from the short pedagogical pieces to virtuosic concert works. Beach, as an established concert pianist, composed and performed works with extreme technically difficulties. She often used rapid arpeggios, passages in thirds, parallel octaves and chords, and the melodied that appear in different registers.46 Among Beach’s works for pedagogy, there are two sets written specifically for children: Children’s Carnival, Op. 25 (1894) and Children’s Album, Op. 36 (1897).

44 Verissimo, Laurel K. “Amy Beach: Her Life, Times and Music.” MA diss., San Jose State University, 1993. https://search-proquest-com.proxy.library.kent.edu/docview/230720599?accountid=11835, 16. 45 Ibid., 2. 46 Burnaman, “The Solo Piano Music of Edward MacDowell and Mrs. H. H. A. Beach,” 1997, 126. 18

Children’s Carnival is a programmatic set of six-character pieces and Children’s Album is a collection of five pieces based on dance forms. Since these pieces would be used for teaching the primary-level students, all the pieces in these sets are simple both in musical languages and techniques.47 Beach’s intermediate-level pieces demonstrate some technical difficulties but are overall less challenging than her larger virtuosic works. Bal Masque, Op. 22 (1894) is a waltz which was originally written for piano and was later adapted into an orchestral version. The piece is chromatic and technically difficult in right-hand jumps in tenths with accompanied trills.48 Beach’s virtuosic concert works include the Ballad, Op. 6 (1894), Sketches, Op. 15

(1892) and Trois morceaux caracteristiques, Op. 28 (1894).49 Variations on Balkan Themes, Op.

60 (1904) is Beach’s longest and most technically demanding work for solo piano.50 Composed based on four folk melodies from Eastern Europe, this piece presents unusual chromatic harmony and linear progressions, as well as an unconventional theme-and-variation form.

Beach composed fifteen chamber pieces for a variety of instruments. Twelve of them were scored with piano, seven of which were published.51 The other works were written for instruments other than piano, and three of them were completed.52 The Quintet, Op. 67, Beach’s largest chamber work, is a landmark piece in American chamber music repertoire.53 This quintet is scored for two violins, viola, cello and piano. Beach performed the piano part in the premiere

47 Marmaduke S Miles. “The Solo Piano Works of Mrs. H. H. A. Beach.” DMA diss., Peabody Institute of the Johns Hopkins University, 1985. https://search-proquest- com.proxy.library.kent.edu/docview/303381546?accountid=11835, 124-130. 48 Burnaman, “The Solo Piano Music of Edward MacDowell and Mrs. H. H. A. Beach,” 1997, 129. 49 Ibid., 136. 50 Miles, “The Solo Piano Works of Mrs. H. H. A. Beach.” 1985, 95-6. 51 Jeanell W Brown. Amy Beach and Her Chamber Music: Biography, Documents, Style. Composers of North America: No. 16. Metuchen, NJ: Scarecrow Press, 1994, 165. 52 Ibid., 275. 53 Tammie L Walker. “The Quintet for Piano and Strings, Op. 67 by Amy Beach: An Historical and Analytical Investigation.” DMA diss., University of Illinois at Urbana-Champaign, 2001. https://search.proquest.com/docview/252082985?accountid=11835, iii, 1-2. 19 performance this with the Hoffman Quartet in Boston’s Potter Hall on February 27, 1908.54 This quintet in three movements, begins with a dark and roving slow introduction. The main part of the movement begins with a somber melody played on the first violin. The mood remains dark and mysterious throughout the first movement. The middle movement opens softly with a highly chromatic melody. Although the music never rises to any obvious dramatic climax elatively smooth and steady, it nevertheless burns wand the most part remains rith striking emotional intensity. The last movement explodes with force melody and forward motion. With the reintroduction of the main theme, the music moves toward a dramatic climax.55

Beach’s published chamber works with piano also includes Romance, Op. 23, Sonata,

Op. 34, Three Pieces for Violin and Piano, Op. 40, Invocation for the Violin, Op. 55, Suite for

Two Pianos, Op. 104, and Trio, Op. 150.56 Published in 1920, the Theme and Variations for

Flute and String Quartet, Op. 80 was dedicated to the Chamber Music Society of San

Francisco.57 The work was immensely popular during Beach’s lifetime and enjoyed many publicized performances.58 The theme of this piece is presented by the string quartet and six variations are performed by all five instruments. Each variation has different tonal center, tempo, and meter, bringing out a contrast tempo outline of the alternation between slow and fast. Each variation only presents a part of the theme with different meter and altered rhythm. The key relationships of the six variations are closely related. Beach intends to avoid cadences to some

54 Ibid.,64-5. 55 Walker, “The Quintet for Piano and Strings, Op. 67 by Amy Beach,” 2001, 72-142. 56 Brown, Amy Beach and Her Chamber Music, 1994, 165. 57 Ibid., 286. 58 Carolyn M Treybig. “Amy Beach: An Investigation and Analysis of the Theme and Variations for Flute and String Quartet, Op.80.” DMA diss., The University of Texas at Austin, 1999. https://search.proquest.com/docview/304537833?accountid=11835, 42. 20 extent and unresolved harmonies are frequently used through the entire piece.59 The other two

Beach’s complete chamber works without piano are Quartet for String, Op. 90 and Pastorale. 60

Among all the published over 300 works, art songs occupy the largest percentage.61 After published Four Songs, Op. 1 in 1885, she devoted herself into this genre throughout her entire musical career as a composer. Beach composed 117 songs with piano accompaniment, of which

109 of them were published.62 Kelton divided Beach’s songs into three periods:

The First Style Period (1880-1910) begins with her first published work. The Rainy Day and ends at the time of the deaths of her mother and husband. The Second Style Period (1914-1917) includes songs composed while Mrs. Beach was in Europe. As her “home base” abroad was Germany, these fifteen songs, published by the G. Schirmer Company, show an especial influence of the German Lied, four of them having German texts. The Third Style Period (1920-1941) begins with Mrs. Beach’s first submission of a song to a publisher after four years of having submitted nothing for publication. This period also begins at the time when Mrs. Beach began spending summers at the MacDowell Colony and continues through her last composition. Though I Take the Wings of Morning, opus 152, composed at the MacDowell Colony in 1941.63

The role of the piano is equally as important as the vocal part in Beach’s songs. Beach’s song accompaniments are often technically demanding for pianists, but they always feel “comfortable underneath the hand.”64 The poems she chose to set and was popular adjusted to peoples’ taste and most of the text she chose that deal with nature and love.65 Many prominent singers of her time performed her songs. Although Beach did not specifically intend to endow pedagogical purpose on her art song compositions, many of her songs used as pedagogical pieces66

59 Brown, Amy Beach and Her Chamber Music, 1994, 287-8. 60 Ibid., 275. 61 Brown, Amy Beach and Her Chamber Music, 1994, 111. 62 Mary K Kelton. “The Songs of Mrs. H. H. A. Beach.” DMA diss., The University of Texas at Austin, 1992. https://search.proquest.com/docview/304025876?accountid=11835, 83. 63 Ibid., 83-4. 64 Miles, “The Solo Piano Works of Mrs. H. H. A. Beach,”, 1985,153. 65 Kelton. “The Songs of Mrs. H. H. A. Beach,” 1992, 86. 66 Ibid., 88. 21

Beach composed several of large-scale of choral works Her Mass, Op. 5 was the first one in the genre written by an American female composer, and Beach gained her first acclaim by this work.67 Beach began to compose the Mass in 1886, and the Handel and Haydn Society premiered it in Boston in 1892. The Mass is rich in highly chromatic harmony. It was praised for its contrast in instrumentation and the solos for cello, English horn, and oboe, and harp. It intended for a concert setting but also used in parts in church services.68 Two sacred cantatas are mainly for performance in the church or other sacred settings. The Canticle of the Sun, Op. 123

(1928), and Christ in the Universe, Op. 132 (1931) are among her most well-known and often performed works. Festival Jubilate, Op. 17 (1892) was commissioned for World’s Columbian

Exposition in Chicago. Each of these large choral works are accompanied by the orchestra or organ.69

“Gaelic” Symphony, Op. 32 was premiered October 30, 1896, in Boston, with Emil

Paur70 conducting the Boston Symphony Orchestra.71 It was the first orchestral work by an

American female composer to gain public attention, written at a time when either male or female

American composers were relative in obscurity around the world.72 The “Gaelic” Symphony was

Beach’s response to her contemporary composer Antonín Dvořák (1841-1904)’s advocation for

American composers to explore their musical roots.73 Following the tradition of the structure of a symphony in Classical period, the “Gaelic” Symphony includes four contrasting movements. The

67 Barbara J Reigles. “The Choral Music of Amy Beach.” PhD diss., Texas Tech University, 1996. https://search.proquest.com/docview/304288453?accountid=11835, 68 Ibid., 89-90. 69 Ibid., 97-8. 70 Emil Paur (1855 – 1932) was an Austrian orchestra conductor. He emigrated to the United States and he was the music director of the Boston Symphony Orchestra from 1893 to 1898. 71 Kathryn A Kuby. “Analysis of Amy Cheney Beach’s ‘Gaelic Symphony’, Op. 32.” DMA diss., University of Connecticut, 2011. https://search.proquest.com/docview/915148589?accountid=11835, 5. 72Adrienne F Block and Carol Neuls-Bates, eds. Women in American Music: A Bibliography of Music and Literature. Westport, CT: Greenwood Press, 1979, 79. 73 Kuby, “Analysis of Amy Cheney Beach’s ‘Gaelic Symphony’, Op. 32,” 2011, 22-23. 22 first movement of the symphony begins with much energy, borrowing a melody from her “Dark is the Night,” Op. 11, No. 1 (1890).74 The lively second movement has a graceful theme of a

Gaelic folk song that reappears in variation form.75 The third movement is based on two Celtic folk tunes.76 This movement is unique in its “double construction,” which the two themes are varied and developed independently first and then combined together.77 In the final movement, the melody of the first movement returns in more dramatic expression.

Piano Concerto, Op. 45 was first performed in Boston on April 7, 1900, with the composer as the soloist and the Boston Symphony Orchestra performing under the conductor

Wilhelm Gericke78.79 This work is dedicated to the Venezuelan musician Teresa Carreño (1853-

1917) and was the first piano concerto by an American female composer.80 This piano concerto was composed in four contrasting movements. The first movement is in sonata form and is the longest of the four movements. The “Scherzo” is based on Beach’s art song “Empress of Night,”

Op. 2, No. 3, set to a poem by her husband Henry Beach and dedicated to her mother Clara

Cheney. Similarly, Beach used her own song “Twilight,” Op. 2, No. 1 as the main theme of gloomy third movement. The fourth movement recalls the theme from the third movement while ending with a fervent coda.81 Beach’s other orchestral pieces includes Eilende Wolken, Op. 18

(1892) and Jephthah’s Daughter, Op. 53 (1903) which are for orchestra with voice.

74 Ibid., 31-32. 75 Block, Amy Beach, Passionate Victorian, 1998, 89. 76 Kuby, “Analysis of Amy Cheney Beach’s ‘Gaelic Symphony’, Op. 32,” 2011, 50. 77 Block, Amy Beach, Passionate Victorian, 1998, 89-90. 78 Wilhelm Gericke (1845-1925) was an Austrian-born conductor and composer who worked in Vienna and Boston. He spent two periods in the United States conducting the Boston Symphony Orchestra, 1884–1889 and 1898–1906. 79 Katrina C Rushing. “Amy Beach’s Concerto for Piano and Orchestra in C-Sharp Minor, Op. 45: A Historical, Stylistic, and Analytical Study.” DMA diss., Louisiana State University, 2000, 18. 80 Adrienne F Block. “A ‘Veritable Autobiography’? Amy Beach’s Piano Concerto in C-Sharp Minor, Op. 45.” The Musical Quarterly 78, no. 2 (1994): 395-416. http://www.jstor.org/stable/742549. pianist, singer, composer, and conductor, 396. 81 Rushing, “Amy Beach’s Concerto for Piano and Orchestra in C-Sharp Minor, Op. 45,” 2000, 37-39.

23

CHAPTER II

VARIATIONS ON BALKAN THEMES, OP. 60

2.1 Thematic Origins and Compositional Process

Composed in 1904, Variations on Balkan Themes, Op. 60 was first published in 1906, and a shorter, revised edition of this piece was published in 1936. Beach explained the origin and features of the Variations on Balkan Themes in the preface of the first edition of this piece:

Haunting melodies, reflecting, mirrorlike, the rare beauty and pathos of mountain legend, the tragedy and happiness of a wondrous people and a primitive like. Of unknown origin, these tunes have passed from generation to generation of peasants who cold neither read nor write music. They are to be heard everywhere in the vicinity of the mountains and neighboring villages; sung by the little peasant-girls as they dance, played by the shepherds on their pipes and fiddles, chanted by the soldiers at their bivouac fires, and loved by everyone. For the development of this composition, four themes have been selected, the first and principal one, “O Maiko Moya,” flowing closely the sentiment of the words:

“O my poor country, to thy sons so dear, Why art thou weeping, why this sadness drear? Alas! Thou raven, messenger of woe, Over whose fresh grave meanest thou so?”

In the first five variations and the seventh, this theme is the only on employed. As a prelude to the sixth variation, “Stara Planina,” and ancient hymn to the mountains, is introduced; and as Variation VIII the dance-tune, “Nasadil e Dado” (grandpa has planted a little garden). The tenth variation is preceded by a Macedonian appeal for help, made centuries ago to a neighboring country. The composer gratefully acknowledges her indebtedness to the Reverend and Mrs. William W. Sleeper for the folk-songs obtained during their missionary life in that region; also to them and to Mrs. May Sleeper Ruggles for interesting historical details of words and music.82

In E. Douglas Bomberger’s “Motivic Development in Amy Beach’s ‘Variations on

Balkan Themes,’ Op. 60,” the author discusses with two versions of this piece for solo piano.

He introduced the historical background of the four melodies that Amy Beach quoted as themes in this piece and raised significant concerns facing a solo performer who must choose between

82 Mrs. H. H. A. Beach, Variations on Balkan Themes, Op. 60 (Boston: Arthur P. Schmidt, 1906), Preface. 24 the two versions of the work. Beach got inspiration prior to composing this work from

Reverend William W. Sleeper. During Sleeper’s experience as a missionary in Bulgaria, he collected several Balkan folksongs and played some of the melodies for Beach on the piano.

Beach was intrigued by the exotic sound of the folksongs and decided to use them as the basis for this set of variations.83 Bomberger also listed the four folk songs that Beach got from

Sleeper.

Figure 2.1 Folksong used Variations on Balkan Themes, Op. 60.84

2.1.1 O Maiko Moya.85

83 Bomberger,1992, 327. 84 Ibid., 329-330. 85 According to the common practice, I believe the last note of “O Maiko Moya” should be B (tonic) instead of A (Leading Tone). The author probably typed the wrong note on the sheet music. 25

2.1.2 Stara Planina.

2.1.3 Nassadil e Dado.

2.1.4 The Macedonia Appeal for Help. 26

The multiple themes used in one set of variations reveals Beach’s attempt with innovative compositional techniques.86 However, while four different themes are utilized, only the first folk song, “O Maiko Moya,” is used through the entire piece. The second folk song “Stara Planina” serves as a prelude of Variation VI. The third folk song “Nasadil e Dado” appears at the second section of the long Variations VI and “The Macedonian Appeal for Help” is used only as an introduction to Variation VIII.87

Bomberger claimed that Beach’s Variations on Balkan Themes belongs to the tradition of

“free variations” or “fantasia variations.” According to Robert U. Nelson’s article “variation” in the New Grove Dictionary, the “free” or “fantasia variations” are characterized by freedom from the metrical and harmonic restraints of the theme, frequent used of minor keys, long codas, and the use of motivic development or thematic transformation.88 What makes this work striking is that the former variations are very close to the form and structure of the first folk song. As the piece progresses, however, the composer moves gradually farther away from the initial structure, especially with the introduction of the other three folksongs.

According to Nikolai Kaufman’s article of “Bulgaria: Folk Music,” in New Grove

Dictionary, the interval of augmented seconds commonly exist in Bulgarian folk music.89 The augmented second is also a prominent feature in the first and second folk songs used in this piece. In the first folk song “O Maiko Moya,” the second and third notes form an ascending augmented second. And the first three notes of the second folk song “Stara Planina” seem like the inversion of the first three notes of the first folk song. The second and third notes form a

86 Miles, “The Solo Piano Works of Mrs. H. H. A. Beach.” 1985, 98. 87 See figure 2. 12 88 Robert U Nelson. The Technique of Variation; a Study of the Instrumental Variation from Antonio de Cabezón to Max Reger. Berkley, CA: University of California Publications in Music, 1948, 112. 89 Nikolai Kaufmann, “Bulgaria: Folk Music,” New Grove Dictionary, vol. 3, New York, NY: Grove’s Dictionaries Inc., 2002. 432. 27 descending augmented second interval. Because of the extensive usage of the first folk song throughout the piece, the augmented second interval serves as a prominent melodic motive of this piece. Even in the later variations and the coda, which gradually progress far away from the original theme, the augmented seconds still can be traced in both the melody and accompaniment parts.

Figure 2.2 The First Three Notes in the First and Second Folk Songs.

The Theme (mm. 1-20) begins with a series of block chords whose melody is based on the first folk song. The Adagio malincolico (♩=66) tempo with the characteristic augmented second brings the gloomy and dark feeling. The underlying harmony includes Submediant and

Neapolitan chords which are predominant throughout the theme. The composer also uses extensive tonic prolongation to sustain the tonal center. Variation I (mm. 21-40) includes a tempo change to Più mosso (♩=66) and presents the theme in a canon at the octave in the soprano and tenor parts. In Variation II (mm. 41-60), the tempo is changed to Maestoso (♪=104), and the meter also varies from the original duple meter to triple meter. Although the melody can be found in the top voice, it is wholly transformed in rhythm and texture. Beach applied virtuosic arpeggios, octaves and block chords in both hands, increasing technical difficulty. The first cadence ends with a Picardy third on the downbeat of m. 56 instead of a tonic minor triad (figure

2.3). Beach continues the sixteen-note rhythmic pattern on Variation III (mm. 61-84). The tempo is labeled Allegro ma non troppo (♩=76) with the meter change from triple to the duple meter. She 28 adds a longer codetta (mm.77-84) than the theme and former variations. This variation also ends with a Picardy third in the tonic key.

c#m: V7 I (Picardy third)

Figure 2.3 The Picard Third in the First Cadence of the Variation II, mm. 55-56.

Variation IV (mm. 85-104) begins in B-flat minor, an enharmonic key of A-sharp minor, which it is the relative minor key of C-sharp major, the harmony used at the end of the previous variation. The composer indicates Andante all Barcarola (♪=104). The flow of Barcarole is established by the compound duple meter and the smooth accompanimental texture. This shows a stark contrast from the emotion felt in the previous two variations. Although the D minor key in Variation IV is presented at first in the natural minor form without augmented-second motive, the raised seventh scale degree appears in the following measure, recalling the augmented second

“B flat-C sharp” of the embellishing ascending scale. (figure 2.4)

D minor: i

Figure 2.4 mm. 93-95 in Variation IV. 29

Variation V (mm. 105-144) is a slow variation in two sections. The first section is in G- flat major, which is the first variation in a major key. The second section modulates to its relative minor key E-flat minor. The opening tonality G-flat major shows the chromatic mediant relationship to B-flat major, the tonality of the previous variation. As the enharmonic interpretation, A-sharp major would be the diatonic submediant of C-sharp minor, the key of the theme. Beach also changes the augmented second to a minor third (E double flat-G flat) since the material based on the first folk song is presented in a major key instead of a minor key. (figure

2.5) The first eight measures of the two sections are marked “con mano sinistra,” which means the opening measures are only played by the left hand. This added technical challenge naturally brings out the delayed execution of melodic notes marked with dolce cantabile. Beach also uses the pedal points in the tonic key to emphasize the tonality of both sections.

m 3

Figure 2.5 The Opening of Variation V, mm.105-106.

Variation VI begins with a slow introduction (mm.145-162) based on the second folk song “Stara Planina,” and it ends with a four-measure tremolo. That emphasizes the augmented second between E sharp and D. The subsequent fast section is divided into two sections. The first section (mm. 163-194) is based on the first folk song “O Maiko Moya” in F-sharp minor, and the dance-like second section (mm. 195-226) in the parallel key, F-sharp major. This section is the 30 only part base on the third folk song “Nasadil e Dado,” and it ends on a perfect authentic cadence in F sharp minor.

So far, the variations have been gradually transformed further away from the original theme. From the theme to Variation III, the key travels through diatonic mediant relationship, C- sharp minor to E major and back to C-sharp minor. In Variation IV, the enharmonic submediant key (B-flat minor) of the ending tonality of the former variation and modulates to a distantly key,

D major at the second section. Variation V presents the first folk song and alters the characteristic augmented second into a minor third. Variation VI introduces the two new folk songs. The liveliness conveyed by the melody brings contrast in emotion to the theme and former variations.

After a short introduction, Variation VII (mm. 227-271) presents the first song with the tempo of a slow waltz (Valse lento). The first section is in E major and it modulates to G-sharp minor in the second section, ending with a half cadence before the coda (mm. 262-271). The key of the coda moves back to E major, and variation VIIconcludes with E major in first inversion of the first inversion.

The introduction of Variation VIII, the final variation, (mm. 272-294) is based on the last folk song “The Macedonia Appeal for Help.” This variation consists of two sections. This folk song is decorated with vocal style embellishments, including triples and sixteen notes. The ornaments in ascending arpeggio sound like the overtone series in the beginning measures of this variation. (figure 2.6)90 The key signature of five sharps implies the tonality of either G-sharp minor or B major and the preserving accidents through this part. Variatino VIII modulates to E

90 Bomberger,1992, 339. 31 minor at the end of the first section “Con vigore-Lento calmato” and leads to the second section

“Marcia funerale.”

Figure 2.6 The Beginning of Variation VIII, mm. 272-272.

The funeral march (Marcia funerale, mm.295-368) is based on the first folksong “O

Maiko Moya” and it is the longest section of the entire piece. Although the folksong introduces fresh materials in key, rhythm, and harmony, the unique augmented seconds in the melodic layer can be detected. (figure 2.7) The funeral march softly begins with a slow and melancholic melody in the low register. The texture gradually reaches the clangorous culmination before it reaches the climax and returns to the original register and dynamic. Beach once again applies the pedal point technique to emphasize the tonality. The pedal point in E is first established by the tremolos with a lower neighbor tone D sharp at the low register. This variation modulates to the relative key G major at the climax of this section. The tremolos in E are reintroduced at the conclusion of this variation.

Figure 2.7 The Beginning of Marcia funerale, mm. 295-296. 32

The following coda-like section labeled “cadenza” (mm.362-560) is a modulatory section which leads to the reappearance of the theme at the end. The cadenza begins with an eight- measure slow entrance based on the last folk song “The Macedonia Appeal for Help.” When it reaches the second section “Quasi fantasia” (mm. 369-388), the characteristic augmented seconds from the first folk songs are placed on the top register over a series of arpeggios in the first two measures. Then the augmented seconds responded on the low register in the following two measures. (figure 2.8) Several virtuosic techniques are used in this section, such as block chords, arpeggios, tremolos, etc. The harmony freedom, combined with the pianistic writing, provides a sense of improvisation. Beach also applied a whole-tone scale in thirds (figure 2.9) leading to a passage highlighting the augmented seconds in the octave tremolos at the low register. (figure 2.10) The augmented seconds then shift to the high register with block chords over a series ostinato interval on the middle range. And they head to the virtuosic section which is similar to Variation II labeling “Maestoso come Var. II.” (mm. 389-533) After the extensive virtuosic display of octaves and the block chords with unstable harmony, the cadenza arrives at dominant pedal in C-sharp minor in m. 518 which anticipates the returning of the theme. The

Cadenza plays an essential role in the overall shape of the piece, recapitulating all the main thematic materials used in this composition. This section reinterpreted the first, second, and the fourth folk songs and brings the tonality back to the original key, C-sharp minor. The repeated statement of the theme (mm. 534-100) echoes the opening of the piece. Like in Variations II and

III ,it ends with a Picardy third in C-sharp minor. 33

Figure 2.8 The Beginning of Quasi fantasia, mm. 369-370.

Figure 2.9 The Whole-Tone scale in Thirds at the Cadenza, m. 377.

Figure 2.10 The Augmented Seconds with tremolos between Octaves at the Cadenza, mm. 384-385.

Beach revised Variations on Balkan Themes, Op. 60 in her later life, along with several other works. The revised and shortened version was published in 1936, eight years before her 34 death. The main changes in the revised version are the deletion of the repeats in some variations, truncation of selected sections and reorganization of the variations. Although there are no significant changes made to the earlier structure, in Bomberger’s view, Beach “discarded too much, and in fact, eliminated material crucial to the thematic development of the Variations.”91

Original Version Revised Version Theme The same Variation I The same Variation II The same Variation III Deleted repeats Variation IV Deleted repeats Variation V The same Variation VI Quasi Fantasia The same Allegro all ’Ongarese Variation VII A tempo Variation VIII Variation VII Variation IX, deleted repeats Variation VIII Con vigore-Lento calmato Variation X, shortened Marcia funerale Variation XI Cadenza Deleted Theme Remained the last eight measures

Table 2.1 Comparison of the Original and Revised Version of Variations on Balkan Themes, Op. 60

The comparison of the original and revised version of this work is listed in Table 2.1.

Beach deleted the repeats of Variation III, IV. The original Variation VII and the entire Cadenza was completely deleted. She also gave the new numbering of the variations. She provided the variation numbers to some subsections of the original version, especially in the original Variation

VI and VIII. The application of the last song “The Macedonia Appeal for Help” is significantly shortened because Beach shortened the “Con vigore-Lento calmato” of the original Variation

VIII and deleted the entire Cadenza, both of which are mainly based on the last folk song. The

91 Bomberger,1992, 342. 35 revised version only contains the last eight measure of the returned theme in the revised version.

I discuss both the original and revised versions in my analysis in the following chapter.

2.2 Tonal and Formal Structure

Block puts forward a viewpoint in her review on Bomberger’s “Motivic Development in

Amy Beach’s Variations on Balkan Themes, op. 60.” that Beach may use Beethoven’s Six

Variations, Op. 34 as a model for her own variation set. She claims that “Beethoven’s op. 34 was a work Beach began performing in 1884 and kept in her repertory for her entire career. It was also the only set of variations that she regularly played. Therefore, is was natural that she would turn to this work as a model when composing her own variations”92

A remarkable feature of Beethoven’s Op. 34 is the tonal framework. It is an innovative practice in that each of the six variations is in a different key. Their keys are outlining a descending circle of thirds, from the F major of the theme, through the D major, G major, E flat major and C minor of the following variations. The last variation adds a coda that prepares the return of the home key before the work comes to an end with the repetition of the original theme adding some embellishments. The tonal outline of Beethoven’s variations is listed in Table 2.2.

The themes and variations are all organized with a rounded binary form, and each section modulates to the dominant key in the middle part and back to the tonic in the repeat part.

Beach’s Variations on the Balkan Themes, Op. 60 has a similar tonal scheme to

Beethoven’s Op. 34 and the tonal outline is shown in Table 2.3. The opening and ending themes, and all the variations can be divided into two sections. Beach sets the keys in the same form that moving to a third-related key of the primary key at the beginning of the second section, and then

92 Bomberger and Block, 1993, 369.

36 returning to the key of the first section. A third-related key which modulates to the second section is either in the minor or major mediant or submediant level. After the same tonal structure (C sharp minor-E major- C sharp minor) from the original theme to Variation III, the fourth variation begins with B flat minor in its first section. If respelling B flat minor to A sharp minor, it is the chromatic submediant level to the C sharp minor.

Part Tonal Areas Theme F major – C major – F major Variation I D major – A major – D major Variation II B♭ major – F major - B♭ major Variation III G major – D major – G major Variation IV E♭ major – B major - E♭ major Variation V C minor – G minor – C minor Variation VI F major – C major – F major Coda F major – F minor Modified Theme F major – C major – F major Table 2.2 Tonal Outline in Beethoven’s Six Variations, Op. 34

Part Tonal Areas Folksongs Theme C♯ minor – E major – C♯ minor Folksong 1 Variation I C♯ minor – E major – C♯ minor Folksong 1 Variation II C♯ minor – E major – C♯ minor Folksong 1 Variation III C♯ minor – E major – C♯ minor Folksong 1 Variation IV B♭ minor – D minor – B♭ minor Folksong 1 Variation V G♭ major – E♭ minor – G♭ major Folksong 1 Variation VI Quasi Fantasia F♯ minor Folksong 2 Allegro all ’Ongarese F♯ minor – A major – F♯ minor Folksong 1 A tempo F♯ major – A major – F♯ minor Folksong 3 Variation VII E major – G♯ minor – E major Folksong 1 Variation VIII Con vigore-Lento calmato G♯ minor Folksong 4 Marcia funerale E♭ minor – G Major – E♭ minor Folksong 1 Cadenza modulating Folksong 1, 2, 4 Theme C♯ minor – E major – C♯ minor Folksong 1 Table 2.3 Tonal Outline in Beach’s Variations on Balkan Themes, Op. 60 37

The recall of the theme to conclude the piece also follows the design used in Beethoven’s

Six Variations, Op. 34 of variation form. Similar applications of this structure are used in Bach’s

Goldberg Variations, BWV 988 and the third movement of Beethoven’s Piano sonata, No 30,

Op. 109. Both variations begin with a slow and gentle theme and repeat the original theme after a series of variations in the end. The Variation on Balkan Themes applied the same structure, providing the sense of going back “home” after the fantasy-like variations.

Overall, the third-related tonal scheme serves as an essential feature in this piece. Beach not only emulates some compositional layout from previous master composers, especially

Beethoven, but also applies innovative approaches in her own composition this masterpiece. In the following chapter, I will focus on the mediant relationships presented in Beach’s Variation on Balkan Themes.

38

CHAPTER III

ANALYSIS THE MEDIANT-RELATIONS IN VARIATIONS ON BALKAN THEMES, OP.

60

The third-related tonal scheme serves as an essential feature in Beach’s Variations on

Balkan Themes, Op. 60. Table 3.1 summarizes the mediant relationships used in this piece.

Part Key Scheme Theme C♯ minor – E major – C♯ minor Variation I C♯ minor – E Major – C♯ minor Variation II C♯ minor – E Major – C♯ minor C♯ minor – E Major – C♯ minor Variation III i III i B♭ minor – D minor – B♭ minor Variation IV i #iii i G♭ major – E♭ minor – G♭ major Variation V I vi I Variation VI Quasi Fantasia F♯ minor F♯ minor – A major – F♯ minor Allegro all ’Ongarese i III i F♯ major – A major – F♯ minor A tempo I III i E major – G♯ minor – E major Variation VII I iii I Variation VIII Con vigore-Lento calmato G♯ minor Marcia funerale E minor – G major – E minor i III i Cadenza modulatory Theme C♯ minor – E major – C♯ minor i III i Table 3.1 The Key Schemes of Variations on Balkan Themes, Op. 60

In the theme and Variations I through III, the music modulates to the diatonic mediant and returns to the home key. Different from Beethoven’s Op. 34 where the theme and the subsequent variations are arranged in descending thirds, Beach arranges the theme and the first 39 three variations in the same key scheme, i-III-i. Although Variation IV is also based on the first folksong, it is written in a different key, B-flat minor. The root distance between C-sharp and B- flat is an augmented second, a prominent interval of the folk melody. B-flat minor, enharmonically interpreted A-sharp minor, is situated minor third below the home key, C-sharp minor. In the middle part, the variation modulated to D minor, which forms a chromatic third relationship with the home key. Based on the same folksong, Variation V is written in G-flat major, which is a major third lower than Variation IV. This variation modulates to its relative minor in the middle part, and it also shows a third relationship. A parallel key relationship is established in Variation VI as Quasi Fantasia opens in the key of F-sharp minor, the enharmonic key of G-flat minor. In A tempo section, the melody is articulated in F-sharp major in the beginning and heard in the parallel minor, F-sharp minor, in the last two measures of this variation. Variation VII also emphasizes tonic-submediant relationship. It also another variation that interprets the first folksong in a major key. Variation VIII is divided into two sections. Con vigore-Lento clamato primarily features folksong 4 in G-sharp minor, which is in the submediant of the former variation. When the Marcia funerale begins, the first folksong is heard in E minor, the chromatic submediant of G minor. After the modulatory Cadenza, the restatement of the theme brings back the home tonal key, C-sharp minor.

In this chapter, I focus on the analysis the third-relations used in Beach’s Variations on

Balkan Themes. I present three categories according to the applications of the third relations. The most common category used in this piece is the diatonic mediant relationship, i-III-i. The composer also utilizes diatonic tonic-submediant-tonic and chromatic third relationships. An important feature throughout the piece is that Beach uses chromatic mediant chords as structural intermediate chords replacing the traditional predominant chords. 40

3.1 i-III-i Relationship

The i-III-i relationship is most commonly used in this piece. This scheme is used in

Variation I, Variation II, Variation III, the middle section “Allegro all ’Ongarese” of Variation

VI and Marcia funerale of Variation VIII. They also show a significant emphasis of the diatonic submediant area.

3.1.1 Theme and the Restatement of the Theme

Set in a slow tempo (♩=66) and minor key, the first folksong used in the theme consists of four phrases. Each phrase has four measures and ends with perfect authentic cadence. The first phrase introduces the main motive. The first two phrases play an identical melody. In the first phrase, the melody is heard over a tonic pedal. In the second phrase, the same melody is accompanied by a clear tonal progression that ends with a perfect authentic cadence. Because of the lack of strong cadential motion in the first phrase, this opening eight measures form a parallel period. The quick motion from B to B-flat in m.8 r the key to E major, and the first four measures of the third phrase (mm. 9-16) is heard in the relative major. But, the modulation to the relative major does not last long. With the appearance of a D-sharp half diminished seventh chord (m.9, beat 4), the music turns back to the home key, C-sharp minor. The expected cadential point at m.12 is avoided as the dominant note in the bass steps down toward E. A tonal closure follows immediately, and the phrase ends with a perfect authentic cadence at m.16. The last phrase restates the melody used in mm.13-16, beginning from the climax note, E5. The underlying progression is similar to the one heard in the opening phrase. This closing phrase adds a tonic prolongation to the overall tonal structure.

Beach sets the first and second phrases in C sharp minor. The third phrase begins in E major and modulates back to C# minor and ends with the tonic minor key at the last phrase. The 41 frequent use of nonharmonic tones leads to occasional tonal ambiguity. Beach emphasizes the submediant through deceptive motions. In the first and second phrases, Beach used different harmonic progressions on the same melody. The theme begins with the tonic pedal from mm. 1-

6. The seventh scale degree in m.1 and m.5 supported by the viio7 chord. The first phrase ends with VI6, which creates unusual deceptive motion.

1

C♯m: i iv viio7 i iv i viio7 V7 VI6 i ped

5

o7 6 6 7 I iv vii i N i 4 (v) V i (PAC) à EM

The B-natural m. 9 is the sign of the modulation to relative major in the third phrase.

Beach emphasizes the bifocal arrangements between the two relative keys. The subdominant and supertonic harmonies jointly form a predominant area, and the tonic pitches in the melody are supported by submediant chord. This significantly diminishes the strength of the local tonic, E. 42

After highlighting the C-sharp minor, the relative major tonality is emphasized at the dominant- tonic progression in mm.11-12.

9

ø6 7 7 ø4 EM: I ii 5 vi ii vi V I vii 3 ♯ ø4 C m: ii 3 13

7 ø6 6 o 7 V ii 5 VI 4 vii /iv iv V I (PAC)

17

VI6 ii V/iv i N6 V7 I (PAC)

Figure 3.1.1 The Harmonic Analysis of the Theme

The last phrase, the codetta, also brings tonal ambiguity because of the avoidance of tonic, nonharmonic tones and melodic chromaticism. The recurrence of C sharp at the downbeat 43 of m.12 indicates the return of C sharp minor. However, the tonic chord does not appear until the last note of this phrase, and a deceptive progression also emphasizes the submediant at m. 15.

Beach harmonizes the melody with different chords beginning with another submediant chord and theme ends with a perfect authentic cadence in C sharp minor with the embellishment of nonharmonic tones along with.

548

♯ 7 7 o6 7 c m: iv V V /iv (DC) vii 5/iv V /iv

552

V7/iv VI7 iv V7

556

V7 I I (Picardy Third) Figure 3.1.2 The Extension of the Restatement

44

Amy Beach’s Variations on Balkan Themes shows several features of the late Romantic style, such as intense chromaticism, avoidance of tonic cadence and emphasis of mediants.

Because of these features, multiple interpretations of the structural analysis are possible. Using a

Schenkerian analytical approach, I propose three different interpretations of the theme. I use the background-level Schenkerian graphs to explain these interpretations.

The first possibility recognizes the five-line Urlinie in the theme. The scale degree 5 is articulated at the first tone and prolonged through the first and second phrases. Along with the five-line structural melody, the mediant E in the inner voice is prolonged until the advent of the third phrase. Scale degree 4 to 1 lie in the last phrase, and this descent is supported by a perfect authentic cadence. The codetta presents a contrapuntal structure of a three-line Urlinie locally. In the bass, the tonic pedal is heard until the appearance of a subdominant chord. The Bassbrechung is replicated during the codetta. When the codetta begins, the bass again emphasizes the tonic through a shortened prolongation (Figure 3.1.3)

Figure 3.1.3 Background-Level Five-Line Structure of the Theme 45

To some extent, this interpretation raises some questions. An essential aspect is that it diminishes the importance of the scale degree 3. The scale degree � is realized as a tone from an inner voice which is prolonged under the Urlinie, and therefore, it is considered less important than the Kopfton. However, the importance the scale degree � cannot be neglected, because it flags the modulation to the relative major key. Also, this is the first note of the last phrase and codetta and is located at the top of the climax. The scale degree � initiates the most prominent melodic descent int the surface, which starts in m.13 and m.17.

Another interpretation of the theme is a three-line structure. After an initial descending progression from G to C of the first phrase, the scale degree � of the first note of third phrase serves as a Kopfton in this graph. The scale degree � is prolonged until the dominant chord and it is also prolonged in the inner voice from the first note to the modulation to E major. This reading is a rather untraditional application in this analysis because the Kopfton is supported by the mediant instead of tonic. Its association with the scale degree � in the bass is also prominent because of the frequent use of submediant harmony. However, it is supported by the tonic harmony in the codetta, which is in a way giving a “corrected” version of the first melodic descent. (Figure 3.1.4) 46

Figure 3.1.4 Background-Level Three-line Structure of the Theme

The fundamental bass progression is consistent in both readings. The late-romantic style, in which the mediant harmonies are used so prominently, justifies harmonic support of the three- line structure. However, in this reading, the traditional notion of Kopfton, the scale degree �, is overlooked to some extent.

The third option accommodates the previous two, using a modified Schenkerian approach. For this model, I propose a three-part Ursatz. I apply the five-line structure to emphasize the scale degree � as the Kopfton and the three-line structure in the inner voice. The codetta demonstrates a motivic parallelism with the prominent three-line inner voice. This graph shows that both the scale degree � and � play essential roles on the theme and reflect the linear progressions of multiple parts.

47

Figure 3.1.5 Background-Level Three-Part Structure of the Theme

The middleground graphs below explain the different interpretations more in depth.

(1) (5) (7)

(9) (13) (15)

48

(17) (19)

Figure 3.1.6 Middleground-Level Five-Line Structure of the Theme

(1) (5) (7)

(9) (13) (15)

49

(17) (19)

Figure 3.1.7 Middleground-Level Three-Line Structure of the Theme

(1) (5) (7)

(9) (13) (15)

50

(17) (19)

Figure 3.1.8 Background-Level Three-Part Structure of the Theme

The restatement of theme at the conclusion of this piece, mm. 534-560, mainly follows the tonal scheme of the theme. Instead of repeating the last phrase as a codetta, a deceptive cadence is applied at the end of the phrase, m. 549. This results in an extension of eleven measures. Again, we hear similar tonal ambiguity as presented in the theme. The melodic material in m. 550 is based on the last two measures of the previous phrase. Beach first presents the melody two times and then lengthens it to four measures, ending with the dominant seventh chord. The repeated theme ends with the Picardy third, which is commonly used in other variations in this piece.

mm. 1-4 mm. 5-8 mm. 9-12 mm. 13-16 mm. 17-20 Melodic material a a b c c (codetta) Phrase length 4 4 4 4 4 Key C♯ minor E major C♯ minor Cadence DC PAC —— PAC PAC

Table 3.2 Structural Analysis of the Repeated Theme

51

mm. 534-538 mm. 539-542 mm. 543-546 mm. 547-550 mm. 551-560 Melodic material a a b c Extension Phrase length 4 4 4 4 11 Key C♯ minor E major C♯ minor Cadence PAC DC PAC —— DC (Picardy third)

Table 3.3 Structural Analysis of the Restatement

Although the composer applies highly chromatic harmony and adds several nonharmonic tones to increase the tonal ambiguity of the theme and the restatement of theme, the basic structure is unchanged. Beach uses different cadences to indicate the phrase endings.

Variations I to III, which are based on the first folksong, still follow the C sharp minor-E major-C sharp minor tonal scheme. Although different decorative elements are added to the surface, with increasing the technical difficulty, these three variations still maintain the basic structure used in the theme. All the variations present a four-phrase structure plus a codetta and emphasize the submediant tonal area.

3.1.2 Variation I

Variation I begins with a canonic imitation of the first and second phrases of the

Folksong I. The first brief cadence appears on the downbeat of the fourth measure but quickly leads to the second phrase with an ascending progression. The composer adds an inner voice in the second phrase to transition to a thicker homophonic texture and presents a clearer authentic cadence at the end of the second phrase. The appearance of B natural signals the modulation to E major. However, the key-confirming dominant to tonic progression emerges later in the phrase.

In Variation I, the third phrase begins with C-sharp minor, as opposed to the relative major in the theme, giving more emphasis to the home key. Approaching the tonic chord in m. 30, Beach 52 applies nonharmonic tones and adds a descending progression in the inner voice, attempting to overshadow the strength of the relative major, E major.

Like the theme, the emphasis on submediant area persists in this Variation. Returning of the tonic, C-sharp minor, even more delayed. No root-position C-sharp minor chord appears at the expected place. The arrival of the tonic is postponed until the final measure of this variation.

The submediant chord is prolonged through the last phrase and forms deceptive cadence. The composer emphasizes the augmented mediant chord and submediant until the advent of a dominant seventh chord at the final tonal closure. The submediant note on the downbeat of the last measure gives added sense weakened tonic. The first scale appears on the third beat, a metrically weaker place.

mm. 21-24 mm. 25-28 mm. 29-32 mm. 33-36 mm. 37-40 Phrase a a b c c (codetta) Measure 4 4 4 4 4 Key C♯ minor E major C♯ minor PAC PAC cadence PAC —— DC (Elapsed) (upbeat) Table 3.4 Structural Analysis of Variation I

53

Figure 3.1.9 Variation I

3.1.3 Variation II

This virtuosic variation is still organized in the basic structure as from the theme. A thick chord texture with constant chromaticism intensifies the tonal ambiguity. The pedal, C-sharp octave placed on the downbeat of each measure, powerfully sustains the tonic harmony until the modulation to the mediant. This variation shows multiple linear progressions in different 54 registers. The melodic notes of the first folksong are articulated on the top voice, separated by stormy arpeggios in the inner voice. The composer changes the rhythm of the melody significantly. She turns the first note G from a half note to a thirty-second note that acts as a neighbor tone to the sixth scale degree, A. Therefore, the characteristic augmented second between A and B sharp is strongly articulated by the dotted rhythm. All the other pitches of the first folksong are placed on the upbeats. In the second phrase, the augmented second interval is played on the second beat and the last sixteenth note in m. 45, interrupted by an ascending arpeggio. The A and B sharp are still placed on the relative strong metric positions in m. 45. The structural notes are also surrounded by many decorative diminutions.

The structural notes of the first folksong are getting more drowned in the third phrase.

Through still organized in E major, the composer places some structural notes on the inner voice instead of on the top voice. She adds pentatonic embellishments around the blocked chords, omitting some important notes of the melody. The melody in the codetta is not anymore the mere repetition of the previous phrase. It introduces some new materials toward the Picardy-third ending. This variation presents the same tonal scheme as the theme. The C-sharp pedal sustains the tonality of the first and second phrases until the end of the second phrase in m. 48.

Meanwhile, the submediant chords in the first inversion are emphasized strongly along with the diminished seventh chords and Neapolitan chords. Beach even applies the combination of the

Neapolitan chord and dominant chord to finish this phrase. Used as a short anacrusis, all the structural notes are not supported by the usual supporting harmonies. The first phrase ends with a perfect authentic cadence in C-sharp minor, but quickly elapses to the second phrase. No clear cadence is used in the second phrase before it modulates to the relative major key. 55

The relative major, E major, arrives with the emergence of B natural. The chromatic descending progression on both hands at the end of m. 48 progresses to the diminished seventh chord over the dominant in E major and leads to a strong tonic arrival at the beginning of the third phrase. The pedal, E octave, serves an essential role to sustain the tonality. Like the theme, no major function is presented in this phrase until the pivot chord modulation back to C-sharp minor. The composer used mode mixtures chords of C-sharp major. The Picardy third, which was used at the ends of previous variations, is now morphed into a key area during the last phrase. Surprisingly, this variation ends with the minor tonic. This variation continues the familiar tonal outline. However, Beach replaces the intermediate harmony with the mediant chord. In mm. 54-55, she applies a secondary dominant chord of E major chord and resolves it to

F major chord, which is enharmonic to E-sharp major chord. This chord is used as the structural intermediate harmony in C-sharp major, instead of the subdominant chord. The Neapolitan chords, once used as a structural intermediate, now is placed under the C sharp prolongation, and supertonic chord under the E major prolongation. In the codetta, she also presents a five-line contrapuntal structure, using the mediant chord as the intermediate chord. (figure 3.1.10)

mm. 41-44 mm. 45-48 mm. 49-52 mm. 53-56 mm. 57-60 Phrase a a b c codetta Measure 4 4 4 4 4 Key C♯ minor E major C♯ major/minor PAC PAC cadence PAC —— —— (Picardy Third) (Picardy Third) Table. 3.5 Structural Analysis of Variation II

56

Figure 3.1.10 Background-Level Five-Line Structure of the Variation II

♯ o7 6 C m: i VI vii i N 4 i ped

VI viio7 i 57

i VI viio7

6 i N 4 V

i viio7 V7 III EM: viio6 /V

EM: I ii6 I ii6 I ped: 58

I ii6 I

V7 VI V7/III

III V7 I (Picardy third) (PAC)

VI III 59

V7 I (Picardy Third) (PAC)

Figure 3.1.11 The Analysis of Variation II

3.1.4 Variation III

Variation III is also based on the first folksong and is organized with the same tonal scheme and structure but with a longer codetta. (Table 3.6) The staccato consonant skips in the high register offer a stark contrast with the previous variation. The folksong is hidden in the top mingled with the consonant skips, and only the general melodic shape is maintained. Many melodic notes are omitted especially at the end of the phrases. The pedal points still serve as an essential way to sustain the tonality, in both the tonal areas, C sharp minor and E major. The elongated codetta uses a chromatically ascending melody instead of the usual descending motion. This leads to the Picardy third ending in C-sharp minor.

The first and second phrases are repeated phrases that begin with the same melody and end with authentic cadences. The Neapolitan sixth chord is used as predominant in both phrases.

The third phrase directly modulates to the relative major without a pivot chord, and the E major pedal confirms the key for four measures. The tonicization of G-sharp followed by the tonicization of C-sharp leads the tonality back to the home. The melody becomes increasingly chromatic, concealing the melodic notes of the folksong. In the last phrases features the major 60 tonic and the minor tonic alternate, ultimately leading to the Picardy third ending. The chromatic third relation between the major tonic and the submediant, A-major chord, is prominently featured. The submediant chord marks the midpoint of this extended codetta. The first four measures feature a chromatic descending line in the melodic line, and the last four measure combine consonant skips outlining the major tonic progression with the chromatic line. The composer emphasizes the subdominant in this codetta. More than any other endings heard so far, the composer strongly highlights a plagal motion at the end. The last two measures show alternating major triads, C-sharp major and B-sharp major. Following the established overall tonal plan, the composer conceals the structure notes of the first folksong in the chromatic surface. The pedal point still plays a vital part in sustaining the tonic the mediant and submediant harmonies. Compared to variation II, this variation has a more definite breaks between the phrases.

mm. 61-64 mm. 65-68 mm. 69-72 mm. 73-76 mm. 77-84 Phrase a a b c codetta Measure 4 4 4 4 8 Key C♯ minor E major C♯ minor IAC Plagal motion cadence IAC IAC —— Major and (Picardy Third) minor tonic

Table 3.6 Structural Analysis of Variation III

C♯m: i i N6 III V7 i (IAC) i ped

61

i i VI N6 V7 i (IAC)

EM: I viio 7 I viio 7 I viio 7 I V7 V7/III ♯ 7 I ped C m: V /V

V7 i V7 I (IAC)

6 o7 6 o7 6 VI vii /iv iv 4 vii iv 4 i ped. 62

I I I (Picardy Third) (Plagal) Figure 3.1.12 The Analysis of Variation III

3.1.5 Variation VI: Allegro all ’Ongarese

The Allegro all ’Ongarese of Variation VI is another one that is organized by the tonic- mediant-tonic relationship (F-sharp minor – A major – F-sharp minor). Variation VI consists of three sections, and Allegro all ’Ongarese is the second section. Based on the first folksong, this section shows more freedom than the former variations. Only a trace of the first folk song melody can be heard because the composer omits many recognizable melodic motives from the first folksong. However, the prominent augmented second interval is still present in the first four phrases. The augmented second in F sharp minor is between D and E sharp. The composer marks this interval with staccato eighteenth notes on the first measure. At the beginning of the second phrases, the addition of a neighbor tone, F-sharp, puts the augmented-second motive in the grace-note figure. A direct modulation to the relative major, A major, begins the third phrase with a sudden register shift. However, it quickly modulates back to F-sharp minor when the

Neapolitan sixth chord in F-sharp minor appears four measure later. The Neapolitan chord still serves as a predominant chord on the following phrase, and this phase ends with an imperfect authentic cadence. Another direct modulation to A major follows, which also quickly moves back to F-sharp minor. A surprise chromatic mediant (C-major chord) is added immediately 63 before the return of F-sharp minor key. However, there is no resolution to tonic, F-sharp minor.

The dominant area is prolonged until the end. The last dominant seventh chord leads to the tonic prolongation in F sharp major in the following section, A tempo. This variation presents stronger cadential gestures and overt phrase breaks. The prominent features include bold direct modulations, Neapolitan and German diminished third chords.

mm. mm. mm. mm. mm. mm. mm. mm.

163-166 167-170 171-174 175-178 179-182 183-186 187-190 191-194 Phrase a a’ a’’ a’’’ b c b’ c’ Measure 4 4 4 4 4 4 4 4 Key F♯ minor A major F♯ minor A major F♯ minor cadence PAC IAC —— PAC —— IAC —— HC Table 3.7 Structural Analysis of Variation VI: Allegro all ’Ongarese

♯ 6 6 7 F m: i i N i 4 V i (PAC)

6 o3 7 4 6 ,i i N Ger V ii 2 i 4

i (IAC) viio7 i N6 V7 i 64

i N6 viio /V V7 i (PAC) AM: I ii7

I F♯m: N6

6 7 6 I 4 V i (IAC) AM: I viio 5

o4 o4 6 ♯ o4 I vii 3 I vii 2 I 4 iii ♭VI F m: vii 2

V7 V7 (HC)

Figure 3.1.13 The Analysis of Variation VI: Allegro all ’Ongarese 65

3.1.6 Variation VIII: Marcia funerale

Marcia funerale of Variation VIII is the most extensive section in the entire piece.

Marcia funerale is divided into two sections. The composer again uses the tonic pedal on the low register in the opening. The first six measures for an introduction where the dotted rhythm creates a solemn and grave atmosphere of the funeral march. The prominent augmented second between C and D sharp is heard in the second measure. With the increasing dynamic and tension, this section reaches the climax at the first measure of the repeated phrase c’. A descending melodic line following the climax reaches the coda, where folksong 4 and 1 are featured. The first section of Marcia funerale follows the tonic-mediant-tonic scheme. The introductory six measures show a slow ascent through series of dotted-rhythm motives. In the following measure, the melody from the first folksong is heard an octave higher than m.1. At the end of this phrase, a three-measure transition is added, which consists of ascending dotted rhythm motives. These motives are like the ones used in the opening six measures. The function of this added measures is to transfer the register one octave higher. The D natural at the end of a’ phrase indicates the b phrase is modulating to the relative major. With a shift of the pedal point to G, this modulated phrase now shows dotted rhythms in both melodic and accompanimental layers. The G major persists until the parallel minor is used in the second measure of the next phrase. The Neapolitan chord in E minor is used at the downbeat of the following phrase, and the key modulates to E minor. In the subsequent part, A’, the composer adds tremolos on both hands to build a thicker texture and dynamic intensity. The texture becomes more complex with the addition of are faster subdivisions, triples, and arpeggios. The tonality also grows more ambiguous as E-sharp forms an augmented sixth chord against the pedal G. The augmented sixth interval does not resolve as expected and moves abruptly to the second inversion F-sharp dominant seventh chord. The 66 chromatic descending bass, from C sharp to B, added under this F-sharp dominant seventh chord.

As F-sharp steps up to G, an augmented dominant triad, B-D#-Fx (G) is reached with fortesisimo dynamic. This augmented dominant of E minor, home key, moves deceptively to C major6 before it resolves to the tonic E minor. The Neapolitan chord in E minor serves as a predominant chord that leads to the coda in E minor. The coda can be divided into two phrases because they use different folksongs as melodic materials. The dotted rhythm and the pedal point in E return.

The coda uses the last folksong followed by the first folksong. When the latter seven measures recall the first folksong, the composer thins the texture; the tremolo is only used in the left hand

E pedal with sustained chords in the right hand.

In the new version, Beach changes the keys of this section to E flat minor and G flat major. However, the structure maintains the same as the previous version.

Part Intro A mm. mm. mm. mm. mm. mm. mm. mm.

295-300 301-304 305-307 308-310 311-314 315-318 319-322 323-325 Phrase a a’ Trans a a’ b c Measure 6 4 3 3 4 4 4 3 Key (Old) E minor G major E minor Key (New) E♭ minor G♭ major E♭ minor (1)

Part A’ Coda mm. 326-329 mm. 330-333 mm. 334-337 mm. 338-344 mm.345-350 Phrase a’’ a’’ b’ c’ Measure 4 4 4 7 4+11 Key (Old) E minor G major E minor Key (New) E♭ minor G♭ major E♭ minor (2) Table 3.8 Structural Analysis of Variation VIII: Marcia funerale

67

Introduction (6) 295

Em: i ped

A a (4) 299

a’ (3) 303

Transition (3) a (4) 307

68

a’ (4) 312

b (4) 316

GM: I ped

c (4) 320

A’ a’’ (4) 324

(Gm: i iv) Em: N V i ped

69

a’’’ (4) 328

331

b’ (4) 334

c’ (7) 337

+6 4 + 6 6 Ger Em: V 3/V V VI 4 i

70

340

Coda (4+11) Folksong 4 (4) 343

Em: N V i ped

346

a (7) Folksong 1 349

71

353

357

Figure 3.1.13 The Analysis of Variation VIII: Marcia funerale

3.2 I-vi-I Relationship

Variation V uses the other kind of diatonic mediant relationship: tonic-submediant-tonic.

This is the first variation where the first folksong is used in a major key. The tonic G flat is a major third lower than the tonic of the previous variation, Bb minor. This variation begins with parallel first-inversion triads outlining the major pentatonic scale. After this introductory chord planing, the tonic pedal point on G flat begins. The melodic materials come from the first folksong, but several pitches in the folksong melody are omitted. Also, the rhythm is significantly altered. For the first time, the composer changes the augmented-second melodic motive to a major third interval, E double flat-G flat. However, she brings the original form back in m.7 by turning G-flat into an upper neighbor and places F right after. The usual repetition of the first phrase is replaced with a new phrase, where a series of ascending trills plays the motivic intervals. At the very high register, the trill passage turns into an improvisatory descending run.

The music directly modulates to E flat minor in the third phrase. The last phrase modulates back to G flat major and ends with an authentic cadence. The third and last phrases are repeated, 72

adding trills in the top melodic layer. The codetta also features improvisatory writing, this time

in double thirds.

In this variation, Beach uses chromatic mediant chords as structural intermediate chords

instead of traditional predominant chords. As shown in the background (figure 3.2.1), this

variation presents a five-line Urlinie. After the modulation to E-flat minor on the third phrase,

Beach applies two chromatic mediant chords in G-flat major in the last phrase, which serve as

intermediate chords. The D major seventh chord in m. 127 is enharmonic to E double flat

seventh chord, and therefore, it is the flat submediant chord in G-flat major. Accordingly, she

applies an A-major seventh chord in the following measure. This chord is an enharmonic

spelling of B double flat, which is the flat mediant chord in G-flat major. She uses these two

chromatic mediant chords as the intermediate area. The third and last phrases are repeated. After

the perfect authentic cadence in G flat major, the flat submediant chord and flat mediant chord in

G flat major reappear in the codetta. The untraditional intermediate chords lead to the dominant

seventh chord, but this variation ends with a diminished seventh arpeggio without a clear

cadence.

mm. mm. mm. mm. mm. mm. mm. mm. 123-126 127-130 139-144 105-106 107-110 111-114 115-118 119-122 (131-134) (135-138) Phrase Intro a a’ Trans a’ ||: b c :|| Codetta Measure 2 4 4 4 4 4 4 7 Key G♭ major E♭ minor G♭ major G♭ major cadence —— —— PAC PAC —— PAC —— Table 3.9 Structural Analysis of Variation V 73

Figure 3.2.1 Background-Level Five-Line Structure of the Variation V

Introduction (2) a (4)

G♭M: V7 I ped

a’ (4)

V7 I V I V7 74

V7 I V7 I (PAC)

Transition (4)

V7 I VI7 I VI7 iii

a’ (4)

I V7 V7 I iii6

75 b (4)

I (PAC) E♭m: i (ii)

i (viio 7) i (viio7)

c (4)

i G♭M: ♭VI

♭III V7

76

b (4)

i (PAC) E♭m: i (ii) i ped

i (viio 7) i (viio7) i c (4)

G♭M: ♭VI ♭III

77

V7 I (PAC)

Codetta (7)

G♭M: ♭VI ♭III

III

viio 7 Figure 3.2.2 The Analysis of Variation V 78

3.3.1 Variation IV: i-#iii-i

Written in B-flat minor, the melodic material of the Variation IV also comes from the first folksong. Beginning in B flat minor, the smooth melody is set in the Barcarole rhythm of compound duple. The prominent augmented second is demonstrated between G flat and A natural in the melodic line of the first phrase. Unlike the former variations, this variation modulates to subdominant, E-flat minor. In this subdominant key, the augmented second motive is heard between C-flat and D. The tonic in E-flat is prolonged on the downbeat of the following three measures, and this phrase ends with a half cadence.

When the melody goes to the third phrase, it modulates to D minor, which is the doubly chromatic mediant of B-flat minor. The tonic chord is prolonged with surrounding neighboring harmonies, the supertonic and seventh-diminished chords. The Barcarolle rhythm is maintained in the left-hand accompaniment, and the melody in the right hand receives a series of chromatic ascending runs between chords. The key modulates to the home key, B-flat minor, this time without transitioning through subdominant. A German diminished third chord in the second ending moves to cadential six-four, then to the dominant seventh chord. The dominant seventh chord resolves to the tonic, but the tonic, B-flat minor, quickly becomes the dominant of the subdominant. Subsequently, it tonicizes the subdominant, and the variation ends with a plagal cadence.

A remarkable aspect of this variation’s tonal structure is that the subdominant chord (E- flat minor) is used as the neighboring to the chromatic mediant chord (D minor). Use of the subdominant key as adjunct motion to the chromatic mediant is consistent with the general emphasis of mediant areas in this piece. Figure 3.3.1 shows a five-line background structure also accounts for this variation. The raised third scale degree (D natural) used in the Urlinie. The 79

Bassbrechung shows the raised third-degree as the intermediate harmony. The subdominant key, which was the first modulated key, is echoed in the plagal cadence at the end.

Figure 3.3.1 Background-Level Five-Line Structure of the Variation IV

mm. 85-88 mm. 89-92 mm. 93-96 mm. 97-100 mm. 101-104 Phrase a a’ b c c’ (codetta) Measure 4 4 4 4 4 Key B♭ minor E♭ minor D minor B♭ minor B♭ minor cadence —— HC —— PAC Plagal Table 3. 10 Structural Analysis of Variation IV

a (4)

B♭m: i viio i N6

i ped

80

a’ (4)

i V7/VI VI E♭m: i

i i III VI V (HC)

b (4)

4 Dm: i iv ii 3

i viio 7

81

i (IAC)

c (4)

B♭m: V7 viio /V

c’ (Codetta) (4)

i V7 i viio /iv

iv i i i (Plagal)

Figure 3.3.2 The Analysis of Variation IV 82

3.3.2 Variation VI: A tempo: I-III(♭)-i

In the original version, the Variation VI includes three sections: Quasi Fantasia, Allegro all ’Ongarese, and A tempo. In the revised version, however, she splits the three parts into three variations. Therefore, the A tempo is labeled as Variation VIII in the revised version. A tempo is based on the third folksong, which is the shortest one among the four folksongs Beach used in this piece. Unlike the somber character of the first folksong, the third folksong is in a more uplifting and dynamic spirit. Beach uses the sixteenth notes in both hands enhancing the flow of the melody. Written in F-sharp major, the staccatos and the interval progression mimicking hornpipe music add liveliness. The folksong is imbedded in the texture. With gradually increasing dynamic, the same melody is repeated in a higher octave. A chromatic mediant key, A major, is used as the next key area. At the return of initial key, the parallel minor, F-sharp minor is used. F-sharp minor is the enharmonic key of G-flat minor, which is the chromatic mediant of

E major, which is the key of the following variation. In sum, this variation begins with F sharp major and ends in its parallel minor, F sharp minor. The composer also modulates in the middle part to a chromatic mediant key, A major, which is the diatonic mediant of the key in the concluding section.

mm. mm. mm. mm. mm. mm. 195-198 199-202 211-214 215-218 219-222 223-226 (203-206) (207-210) Phrase ||: a b :|| a’ a’’ b’ b’’ Measure 4 4 4 4 4 4 Key F# major A major F# minor cadence —— PAC —— PAC —— PAC Table 3. 11 Structural Analysis of Variation VI: A tempo

83 a (4)

F#M: I I I I

b (4)

I viio /vi vi I6 V7 I I viio /vi

a (4)

vi I I

b (4)

I I I6 V7/vi vi I6 84

V7 I I V7/vi vi V7/vi ii V I V7/♭III

a’ (4)

AM: I ped

a’’ (4)

I V V I V7/N ♭III b’ (4)

V7 I I V I

85

b’’ (4)

I I6 vi I

Ii vi I V I F#m: III viio I V/V V7 i (PAC)

Figure 3.3.3 The Analysis of Variation VI: A tempo

86

CHAPTER IV

CONCLUSION

Variations on Balkan Themes, Op. 60 not only reflects Amy Beach’s great interest in folk music but also demonstrates her extraordinary musical style. As a composer who grew up in the late nineteenth and early twentieth centuries, Beach’s music displays many characteristics of the late Romantic period. What makes Variations on Balkan Themes, Op. 60 extraordinary is that the composer employs four different folk melodies as thematic materials instead of one. Each variation has its own distinct tempo, texture, and style, but all of them are closely connected by the used of mediant harmony. This thesis investigates the various of mediant-relationships in

Amy Beach’s Variation on Balkan Themes. In this longest and most technically demanding solo piano work by Beach, her creative ways of using chromatic mediants are the most remarkable compositional features one can study. Possibly Inspired by Beethoven’s Six Variations, Op. 34,

Beach applies various mediant relationships to frame the tonal structure of the variations and also uses mediant harmonies to form intermediate harmonic region that proceeds the structural dominant. Although Beach sets each variation in different key just as Beethoven did in his Op.

34, she sets the middle section of each variation in a diatonic or chromatic mediant relationship.

As demonstrated in Chapter Three, i-III-i relationship is the most commonly used tonal structure.

The sections based on the first folksong: the theme, the restatement of the themes, Variation I, II,

III, the middle section “Allegro all ’Ongarese” of Variation VI and Marcia funerale of Variation

VIII are all organized with the tonic-mediant-tonic relationship. Variation V is organized by the other kind of diatonic mediant relationship, tonic-submediant-tonic. Two variations modulate to the chromatic mediant area in the middle section. Variation IV modulates to the #iii, a chromatic mediant to the initial key B-flat minor. The tonal structure of A tempo in Variation VI opens in 87

F-sharp major at the beginning but concludes in the parallel minor, F-sharp minor. Modulation to

A major follows in the third phrase, which is a chromatic-mediant to the primary key, but a diatonic-mediant in relationship to the ending. Variation VII moves from a major key to the minor mediant key.

I also used a modified Schenkerian approach to demonstrate the mediant relationship in some variations. Although Beach uses the subdominant chord as intermediate harmony in the theme and Variation I, she used the diatonic or chromatic mediant to establish the structural intermediate harmony in the subsequent variations.

Many scholars have studied Amy Beach’s compositions and her significant contributions as a one of a handful of well-known female composers. Her philosophy of music education and compositional styles. Although the research on Beach’s music has been productive, there are still a considerable number of her works that deserve more scholarly attention. Amy Beach is less known as established composer outside the United States, and her works are rarely performed.

This thesis hopes to bring more focus to her creative artistry. While Schenkerian analysis has traditionally been used for Classic- and Romantic-period music, this project uses a Schenkerian approach to analyze music written in a later Romantic style. Schenkerian analysis can unveil compositional details in the works that are beyond the traditional tonal system. I intend to explore more works by Amy Beach and her compositional techniques after finishing this thesis. I will also continue to modify Schenkerian approaches to accommodate analysis of the tonal and centric music of the early twentieth and beyond.

88

APPENDIX

1. Sheet Music Editions

There are four versions of Amy Beach’s Variations on Balkan Themes, Op. 60. The original version was written in 1904 and published by Arthur P. Schmidt Company in 1906. The revised version was written in 1934 and released in 1936. Beach also adapted this piece to an orchestral version in 1906. The two-piano version was based on revised edition was released in

1937.

2. Discography

There are six recordings collected in five albums, including four solo versions, one two- piano version and one orchestral version. All four solo versions were recorded by female pianists.

The earliest recording was on Virginia Eskin’s album Amy Beach, Arthur Foote: Music for Piano (CD – Northeastern #223, 1987). It was recorded at Wellesley College, MA in 1984.

Eskin recorded the 1936 revised version that lasted about fifteen minutes. It is the fastest performance among all the recordings of this piece and the only recording of the revised version available.

Joanne Polk also recorded this piece on her album Amy Beach: By the Still Waters (CD –

Arabesque #Z6693, 1997). By the Still Waters, Op. 114 is a solo piano piece by Amy Beach published in 1925. Joanne Polk is known to the public for her complete recording collection of solo piano works by Amy Beach on the Arabesque Recordings label. Amy Beach: By the Still

Waters was her first recorded album in the Amy Beach series. Polk performed the original version from 1906 and her interpretation lasts about thirty minutes. 89

This piece is also included on Mary Louise Boehm’s album Three American Romantics

(CD – Albany Music Distribution #293, 1998). Baum performed the original version from 1906 and the recording lasts about twenty-seven minutes.

Kristine Johnson recorded four albums of Amy Beach’s piano works. They are Amy

Beach: Piano Music, Vol. 1 - The Early Years (CD – Guild #7317, 2007), Amy Beach: Piano

Music, Vol. 2 – The Turn of the Century (CD – Guild #7329, 2009), Piano Music by Amy Beach -

Vol. 3, The Mature Years (CD – Guild #7351, 2011), Piano Music by Amy Beach - Vol. 4, The

Late Works (CD – Guild #7387, 2012). Kristine Johnson graduated from the University of North

Texas and the University of Missouri-Kansas. She is known for recording unknown pieces of classical music and recorded the first recordings of many works. Many of her recordings of the

Amy Beach piano music series were recorded for the first time. Variations on Balkan Themes,

Op. 60 is included in her second album. Johnson performed the original version from 1906 and it lasts about thirty minutes.

Album Music by Amy Beach (CD – Centaur Records #2990, 2009) collects two adapted versions of Variations on Balkan Themes, Op. 60, a two-piano version and an orchestral version.

The two-piano version, played by Christopher Atzinger and Kathryn Ananda-Owens, lasts about twenty minutes. The orchestral version, conducted by Hector Valdivia and performed by the

Moravian Philharmonic Orchestra, lasts about twenty minutes.

90

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