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All Graduate Plan B and other Reports Graduate Studies
5-1970
Graduate Recital
Robert S. Frost Utah State University
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Recommended Citation Frost, Robert S., "Graduate Recital" (1970). All Graduate Plan B and other Reports. 616. https://digitalcommons.usu.edu/gradreports/616
This Report is brought to you for free and open access by the Graduate Studies at DigitalCommons@USU. It has been accepted for inclusion in All Graduate Plan B and other Reports by an authorized administrator of DigitalCommons@USU. For more information, please contact [email protected]. GRADUATE RECTTAL
by
Robert S . Fr ost
Report of ~ recital performed i_n partial f ul fillment of the. requirements for the degree
of
~lASTER OF ~lUSIC
UTAH STATE UNIVE'!SITY LoS" .:-tn , Utah
1 970 ACKN0 1.-n"EDG!1ENTS
I wou l d l il'e to g i ve thanks to members of my conunittee , Professor
Ral ph Hatesky , Dr . Max F. Dalby, and Dr . James P. Shaver, 1-1 i th s pecial appreciation to Professor t,_iatcs ky for hi s ~~uid.:.nce and encourngement in the study of the v i ola as my gr aduate instrument .
I am [;rateful for the efforts spent in my behe l f by Jay 1-lauchl ey , my accompan ist , and Dan Pacl:: , a friend nne] colleague , 1-.1ho served as v i ol inist .
I am most gro.teful and thank ful for my ,_,ife , DonCJ . lier support and patience in helpinb rue fulfill this assignment Here sincerely appreciated .
Robert S . Frost TABLE OF Q)NTENTS
Page
INTRODUCTIOi'! •
THE SUITE
SONATc\ • 8
O'~N C E~TO 14
R.CC!TAL r'ROGR ..\.l ·l 19
PROG RAH fiOTES • 20
Antonio Vivaldi 20
Concerto in E minor for viol tt and pi cmo 22
Johann Sebastian Bach 25
Suite No . 1 for unacconpanied viol A 28
Ho lfg;:mg Amadeu s 1-bzart • 31
D..tet I·~ o. 1 f or violin nnG v i o l n 33
Arthur Honegger. 35
Sonata for viola and piano 37
l3I B L! OGRAP!.;'£ 40
VITA • 4 1 INTRODUCTION
The acqu isitic n of nc·,., skills and the further development of
previous skills has a luays been one of the ide ~ s beh ind the gr ~ du a te
recital. Alo ng with ne\J skills come the knoHl edge ancJ ex r> erience
necessary to affect the individual's own perforrntmce and t he perfonnance
of t ho se Hhom he tea c hes . In music educ o: tion it is diff icul t t o teoch
tha t which one has not vet e xperi enced or mastered and the grr; dU <:) te
r e cital he l ps to fulfill t h e experience r equirenent and give nehr
insights into understunding ll ll a spects of music as a lfistener,
performe r, and teacher.
The gradu Ate recita l trad ition a lly dra\·ls its liternture from a ll
periods and representa tive f or ms . Be cause of the limited amount of
literature available for the viola in some of these periods, it was
ne cessary to u se sone tr E! nscriptions fror.1 the c e llo \Vorks of that
period. The progrnrn Has selected in consultation 1,_, ith 1r..y viola
ins t rueter, Professor Rc?. l ph l·~a tesky, and did confo rm to the e s tab
lishe d standards for g r ~ du ate r eci t ~ l s .
111e recit ~ l report is used as an opportunity for the performer to study in s or.1c detail the evolution of the musica l forms th r! t \..•ere renr csented on his recit ~ l. The stud v of f: orn c.d ds dinension to the o u sic .:m d e nh ~ nces s-ood perf o rmance. Apprcci.:~tion fo r the \.'o r ks of e a c h of the cor:posers i s developed by studying a representative tvork in detail for its music r l structure . In addition to its historic c-~ 1 and t nusicolo g ic ~ l sir nific' nce , the l ife of t he composer i s viewed t.Jit ll i ts .ioys ;;nd sorrous--c:, c h phnsP in some Hc:J.Y Affecting the 2 music t hat \.J"as ·Hri tten .
The development of the music,ol fo ~ m , the life of e~ ch of the
compo sers , and the anal ys i s of the structural fonn of e ::- c h comt;os i t i on are given here as a rec apitul ation of the Gr;:!_duate recital. 3
TilE SUITE
TI1e suit e or p:1rtita had its origin in the music and d.:mces of
the eo.rly sixteenth century. The sui te t-Jas a co;.tbination of six-
teen th century dances , and these dances '~·ere closel y connected Hith
the music of that time . t~sic in the sixte enth century wns l argel y
decora tive and was generally given in '' ••• the form of madrigal s
and d ~ nces perf orl!lcd between the scenes of spoken drm!la."l h.v cn in
the drama , the dances l.Jere close l y connect ed lvith vocal rr.us ic.
" The French d ~ nces of the sixteenth centur y occupied a p ~. rticular
p l ace ; they lvere popul ar everywhere. "2 The most popul ar French dnnces
o f this period lvere the p.:tvane , gclillarde , allemande , courr:nte , and
basse- d t'l nse. The pavane , of Spanish origin, Has executed i n slo\1.~
solemn move ments and ui th dignified g estures . It lvas usu ally \.o.rr i tten
in s l oH dupl e ti r:~ e . The gaillnrde \vas " a 16th century d a nce in mo d erately qui ck triple time, lvith or \V i thout U !1 be£' t . I t t·as exe c ute d Hith exaggerated le.:w s u hich , tov:ard t ile. end of t he. 1 6th ce.nt urv, took on fea tures of gro ss obscenity ."3 1'he a llet"Jande tvas a dance in a moderate dupl e time . 'Ihis d nnce of l?rench orig in used simpl e dance steps o.nd no extr.r ordinory mo t ions. The couran te , also
lnee.kmo.n c . Cannon , Al vin H. Johnson , .:!nd Hilliam G. Ha i te , The Art of !-!usic ( Ne\~ Yorio: Thomns Y. Cro\le ll Company , 1960), p . 221.
2Paul Henry Lang , l·_\.lsic In 1·lc s tern Civilization 3tiilli :1.pel , Ha rva rd Diction.1rv o f i ,u;· ic (Cambridge , Uassachuset ts: ll2.rv.1rd Univcr s i t ~ ' Pr 2. ss , 1 058 ) , p. 290-.--- 4 of Pre nch orie in, lv :::s " ••• a d ance ,.Ji.th juu::> ing move::ten ts a nG l.:ith a gre ~ t v a riety of e v ::> lu tions , .;> cco rding t o the. a bility and f .1 nc:l o f the dcmcer. "4 The courante was usua lly writ ten i n a moder a t e 3/2 or 6/4 tiBe Hith a frequent shift from one meter t o nnothcr . 11\iS shift o f me t er resulted in shifting accents \vi thin the r hyt hr.l Hhich bc c :i me a ty ·-· ica l fea ture of this dance . 'I'he b asse-dan se in contr a st t o the jumping ~ ovements in da nces such .:' S the gD ill a rde. u sed a gliding or lvalking movemen t of the f eet . It had a Glodcrat c tempo and uas \Yritten in duple time . These d ances were a lso fo :md in l:.ng l and, Spain , It ~ l y , and Ge rn ~ ny . The n nmes of the d 2. nces designa ted their chDr a ctc.r a nd made refere n ce to the ir geogrn.phic orig in .. The d ance forms appeared t!lOSt ofte n i n the count r y of the ir orig in; but when the d 2nce be.c "oe the b asis for a n ins·:: r umenta l foro, it quick ly be- c ame an i ntern.3ti o na l property .. In It."l y the dr>nces seemed to be more purel y instrur.1enta.l than i n Fr an ce , and in Geroany the poe tic origin of the d ances Has v e r y no t i ceabl e . TI1e Ger·1 an d .'::. nce.s Here b roken into b :o g r o u ps ; tlte Schreittanz , a slm-1 Ha lking da nce in bin.1ry tir·Ie , a nd the ."l pring t:mz , a lively d0nce in ternary time . In ,1l l the d"mces t he music :. l construc~ion is cl e. ..-. rl y periodic. A period of eight r.1e-1.sures , re ~ ... e ated Hi t h a differ ent c ndence at t he end , constitutes a fin i shed little mu s ic.r l fori'' ·.,·h ich bC:c:1me t he bn.s i s of al l instrut:-t c nt <'"! l :Jnd voc i"! l fo r ns of f u ture c enturie.s. S This combination of d .-mc.e s and r hythms hras known as ear ly as the fifteen tfl century , The ;.eople kncH only tHo sorts o f d;·nces: the 4rbid., p . 193 . SL;o n ~ , p . 246 . 5 s l mo dance in duple ti10e ~ nd the lively dance in triple tine. '!11e dance t>ou l d start slOiv And g raduC>lly becone faster and f aster until the rhythm ,,Jould change into triple time. The Germans and the French stayed \\•i t h the joining of t\.JO dances, h•ll ile i n It ~ ly the dance suite as He kno11 it today "'"s being devel oped. In Ital y a pattern "'" s being est.?bl ished for t he dance suite \vhich h;1d tHo bosic e lcr:1ents: 1. a set order for the dances nnd 2. a suite had f rom t\.JO to five da nces in it . The French and Germans l ater adopted the Italian form and added their 01-m dances as He ll as the Spanish s a raband. The lute p l cyers in the s i xteen th cent ury found a n avenue for development in their d -. nce music. In fnct, " .. . the l arge number of popular dances "'hich are to be met in the music of the seventeenth and eighteenth centuries c an be t r aced back to the lute nusic of the sixteenth century . "6 tJJst of the lute music " • consisted of df'·nces i n highly sty lized form, arranged in groups or suites , Hhich were really collections of d ances rather than c ~ refully pl anncd sequences . .,7 La ter He find lute books \.Jhich contain groups of nssocic:~ted dnnces, and o ften these dances ,.;ere p:::-eceded by a prelude . The delicate and import<="nt operation of tuning the lute " ... evolved into a short i ntrocluctorv piece uhich Hith its simpl e chords r,.-Ne an opportunity to the player to tune up his instrument . "8 This ~vn s the prelude and 6Thcodore ~;it ch e ll Finney , TI1e llistory of l·Jusic (NeH York : Harcourt , Brnce , and Com pany, 1935) , p . 191 . 7 1~oHard D. NcKinney and ~.J . H. Ande r son , Eu~ic in History_ (2nd ed .; i:\e'" Yorl';: J\meric.:-,n Book Com:Hmy, 1957), p . 314 . 8 vmg , p. 247 . 6 late r lost i ts utilitnri ~ n cha r a cter and bec aM e t he stylized opening movement of the sui te."9 E2ch of the d o. nces Has " ••• cha r a cterized b:: a form consisting of tHo more or l ess e qual sections each of Hhic h Has usually repeated and by c ert~i n stereotyped r hythmic patterns dictated by t he d ance steps Hhich s uch music o r i g inally accompanie d ."10 "The whol e col l ection was held toget her through the strict observance of a unity of key for a ll the d ;; nces . "11 By con tr.Jsting d rmce movements such as the p relude-pavane- gail l a rd, t he founda tion of the seventeenth a nd e i ghteenth century suite Has l aid . The t e nn suite t.J .?. S a titl e g ive n l ater tind r ecorded offi cially in the clavier suit es of Johann Froberge r. l 2 These early groups of d ance s ·.~·ere c~l l ed "lesson s " in Engl and , "sonata da c ..-:ne r a '' in Ita l y , " par t ita" in Gen:~.anv . and "ordre" in Fr ance . The lute pl aver's avoid ~ nce of mere repetition l ed to the con struction of the v ariation . Ita lian lute co171 pose rs h c_ d astoun ding technique an d ingenuity in their v ariations.. By oeans of the v a r i a tions po s s ible in the sui te and a l ong Hith other musical fo rms be ing devel oped a t the tine , " .... the. simnl e d ;mce suite l ed directly to the ov er ture a nd S\'17!. .. hony an d t o v a rious chamber nusic ferns of the seven- t eenth nnd ei~{h teenth cen turie£ . nl3 The clavie r suite had i t s beginnings t hrough Joh.:: nn Froberger 9r bid . lOcrmnon , ,Johnson , and Haite, p . 24 L! .• 11 '-'JcKinncy and An der son, p .. 3 1 1 ~ . l2Ape l, p . 717 . l3Lan;:>; , n . 247. (1 616-1667), a Germnn who after visiting various pl aces in Europe ret urned home as one of the cre <1 tors of a new type of suite . " The universally ~ do ~ t e d sequence of al l emande , couronte , saraba nde, gigue (l·:ith occasion;,l doubles) 1·1 as his a rrangement • • ul4 The most cornr:10n dances included in the seventeenth century suite Here the allennndes and cournntes , but by the l ate seventeenth vnd eighteenth centuries the suites Bach (1 685-1750) had taken on a particuL1r form , the same form a o that of Frobcrger . I n nearly a ll h i s suites (Bach ' s) there a r e four specific d onees: the o· oderately sloH Allet!l:'nde in 'J Uadruol e meter; the "nimble" Cour.::nte or Corrente i n triple meter; the gr .?V(! aqd dignified Sarabande in slo~v triple time; and the lively Gigue in n com pound triDl e time such a s 6/8 or 12/8. 'fhese d onees are often preceded by an introductory movement and b etHeen the l ast t \.JO of them ndditional dr,nce s s uch as the l1inuet, Bour(e, or Gavotte a r e frequentl y inserte ct . l5 The char acteristics of the d :::J nces in the suite Here also firmly este. blished . All d ances lven~. in the same key , each dunce h.::td i ts m·m typicAl tempo and rhythmic mo tion Hhich Here m.1.intained uninterrupted 1 and all d ·· nces used the bin.ory fonn. l4 rb i~ .• p . 4n1. 15cnnnQrJ I ,Johnson I JncJ :•,la i tC: t r • 283 • 8 SONATA " By the beginning of the Baroque e r a , the changeover from vocol to instrumental s tyl e had be en fully accomplished, and tvc find instru ment~! con ~ ositions such as tl1e ricerca re a nd canzona existing in their Oim right •. "l The ricercare or fantasy first appea r ed in t he si:cteenth centur y . It conta ined only one theiJe, and t hroug h the man nr_;er.1c nt of this theme a ne \ .' style of music p.:;s bcine devel o ped . This uas the furue. The conzona was a lighter piece uith live lier rhythms , more tone repetitions, a nd a l ess contrapuntal frruneHork . It o ften contained chordal sections . The contrapun t a l sec t i ons uere ma rke d ~'~l l e t ro, and t he h.::~nnonic or chordal sections \ve.re m Adngio . This fo r !!\ from f a st to s l mv ~ nd contrapuntal to hannonic he l ped l e nd co ~n;-. osers toHa rd the sonAt a form . '!be c o..nzonn Has a l so import ..., nt in tl:e early evolution of v i ol i n music because. it prescribed a f a i rly free u s e of i nita tion r a ther than a struc ture like the fut;ue. f. l though the tern sono. t a is opplied to c ompositions of the seven teenth cent ury, i t h ."' S nothing in conmon Hith the son2t a a s \Ve t hink o f it at the time of Beethov en . The sev enteenth century son c: t o rne .: mt a " • • • ' piece to be sounded ' as oppose d to the c antata a ' p i ece to be s ung '."2 In It -:• ly the term s c~n~ta \·l.JS u sed to indic.s. te ins~ : nu~ent r. l cb,:mber music but not a porticular- f om. In lt:ol y " •.• before the end of the ccn tury , the s01~ .1 t .:i t.Jhich l z.Jc K inn e ~· <=~. nd Anderson , L) . 297 . 2cannon, J ohnson , a nd •.· aite , p . 2h5 . 9 had g ro'm out of the ~ •.. c ame to b e knm... -n as the s onata da chiesn, the church son ~ t a •. ,3 At this S ;:J me time the son.:2ta da c acer o or ch&-nbe r sona t2 Has also achi e ving mucl: popul a rity . '!be s on ata da c ame r J. Has actually in the f o r m of a suite c omp rising n c r o up of stylb:ed dances. By the middle of the Ba roque era, ho,vever; ••• the n a ture of the son <> ta de C''mera ( a suite mc.de up of a free l y ordered series of d ::nces) bec, me clec,rly distinct from the sono t a da chiesa (cotnr> rised of alterm:ting s low a nd f a st dance move ir.e nt ~ vithout dance rhythms) , a distinction uhich hecarne even more. marked in later tirnes.4 The early developmen t of the violin and the harpsichord l ed to their use in the instrume ntc.t ion of the trio sonata . The trio sonatas •.• Here uritten for tt-10 melody ins truments of sL'Tii l ar range and a third, supporting thorough-bass part; the fiirct of those issued l e<1v cs a choice bet He en viol ins and cornctti for the u pper parts , lvhile the f i Gured ba :: s Has to be "realized" (or playe d) on " herpsichord with the addition of sone bowed- h a ss instruments , a pr ."l:c tice .h,hich l ,q ter bec ;::: me general. 5 TI1e cornetti mentioned in these early trio son The early trio sonatas lvcre written both in the for~:l of the son:1t.:1 da chiesa n.. nd the sonnta d;1 c amcrH. TI1e trio sonata l L~te r developed int o the so n <~ to. fo1..~ single viol in t1i th h rr r psichord c.. ccot!',- pcm iment. 3Finnc ·' , p. 285 . ~·icl( i. ' ney and c'~ndcrson ' p . 30 5. 5~, p . 299 . 10 Johann I:uhnau (1660-1722) , a German , \vas the first to attach the term son .1 ta to a pi ece for the keyboard . Hi s pi e ces shmv a monophonic r ather then a pol yphonic styl e . P.rca n[; elo Corelli (1653-1 713) , one of the f oremost violin virtuosos of hi s day , used the son.Jta dn chiesrl ilS an avenue for develo pment of h is styl e . In his sonatc1s t he re h•ere four compar a tive ly brief self-contained movelTtents. These \,1ere arra nged in order of slo\I-fa s t - sloH- fast . Each moveiY~ent had a sing: l e theme that lvas a l s o deve looed in :1 slm·.>- f a st rel ati onshi p . h'ith the succession of ~n tries of the thene , the key \Vas c hanged , u su2Jly a fifth hi gher. As the p i e ce returned to the s lohr section , the key a l ::o returned to the origina l. The section of a l ternate entries l ater became knoMl as the exposition. " Although Carelli' s son .:1tas D.re ch.=J r a cleristic of the styl e ond gener.:J l musica l concepts an d me thods of his t ime , they in no sense represent a form Hh ich h ,- d be come stereotyped ... 6 Corel l i h•as a refo:-rner h'ho t ook Hhat he found And devel o ped i t to the ful l est .::.dv~nt.sge . This lo/as particularl y true in his sonatas fo r violin anC f i p; ured bass , ~.;here he .::rnp lified the la n zu ~r;e of t h e violin throu ~h the skill ful usc of doubl e stops , nrpegs:ios and c hor ds , llime nico Sc ar.L"ltti (1 685-1757) a l so C<'l lled his cc m~)ositions son a t as , un d they <1re amant: the c .:1 rlies t ir:1 portont p i eces Hri ttcn for the h:1rps ichord . The Sc.:~r l atti sonut :J had only on2 r,lovetlcnt. It h od .:: birwry structure. Hit:h .: ter.n .:-: ry ke;: pattern. " fart Hay th r ough the 1 st section the l'lU ic modnlo.tcd , either to the relative ---- ~~---- 6Finney , p . ~YO . 11 major or to the domin .:1nt .. "7 In the second section the music evolved through d i st;>ntl y related keys And then returned to the oritinal key for the closing .. Sc~r l R tti ' s senates also served as a beginning of the classic styl e . 'I11ere. h 1 as one illei1 \Vith no cle.:: r cut second theme end no a tten:-· t to develop the theme ~ A noted violinist in his d ay , Giuseppe Ta rtini (1692-1 770) , wa s partial to the b o.roque solo son a ta ~ "As a composer Tartini combined the serenity and dignity of Ca relli with rm added gr.::ce and passion all his Ol·m, and his uriting for the violin \Vas technical l y more a dv.? nced and COID9licv.ted than that of hi s predecessors. u8 His ,, contributions t o the art of violin pl ayin" fom the ba sis of every modern viol ini!:>t's tecl~n ic ... g He imT' rove.d bm·1ing technique , gave corr.m2.nd to sin~lc End double trills , and shm.Jed underst ;- nG.ing of the capacity of the violin os a l yric instrument by ,,oriting 100 sonatas and more than that number of concertos . Ba l dassare Golurpi (1706-1785) used several movet:te nts in his sonntns . He felt this provided rt more diversified r angE· of enotion. His ,.,orlcs st '·n d a t the hal fH DY !>Oint bet He en the one movenent sonata of Scarlptti rnd the fully develO]Jed sonatas of Haydn nn An the sonat:-) developed , e.-1ch composer beg;=m to he l p sol i dify the structure of the sonata nnd to c1dd his 0"-'11 person:J l t ouches . Such is the case Hitt: the sonnt~s of Carl fhillir El:n~nu e l Bach (1714-l?c;S) . ?Ibid. , p . 311. 8Dnvid Euen ( Ed .), The Col'1iletc Boolc of Cl~ss ic nl I-J u ~i c ( ~nc l e\·:ood Cliffs, t:eH Jersey : Prentice-Ji·· J.l , Inc. , 1 965) , p . 15-9-. -- 9Fiuncy, n . 309. 12 '·.'lu:t mnkes these son.'"'tas most s t riking are the i cl iosyn crnsies of Bach ' s ner8on:•l style: The interr u ption of the regul ar motion by unexpected a nc irreg ul arly spaced cae .:::; urel s , the f l exibility of tempo, the unusua l chord prorrres ~ ions min gled with sha rp dissona nces , the a brup t a l tern2tions beb~~ecn mfljor c: nd minor modes , and the me l odic phrases p ivoting upon Hide , unvocPl interva l s . Dach a l so demands gradual inc reases or decr eases in dyn;-:rn ics and 2brupt nl tern;:!.·: ions of l oud and soft to underline nuances and chDnges of fee l itlg.lO These c.lenents added neH structural and emotional dimensions '.·.'hen compa red to those of the previous genera tion of composers . I n the sym/ honies of Johann St ;~ itz ( 1717-1757) a further devel o ped sonata form is found. Here three sect ions are clearly out lined : the exposition , the devcl op•1ent , cmd the reca!J itulation. In the ex l~ osition the first subject is in the tonic; the second is in the dominCJnt or re l ative major . I development section , .9 nd in the recapitul ation the first and second themes a re g iven in the tonic. The sono ta fom as t..re kn o\V it tod ..-: y \va s crystallized in the sona t as of Fr.-mz Joser h Haydn ( 1 732- 1809) end \lo l fg!lng /.madeus i·:Oz a rt (1 756- 1791) . Haydn used t he sonat o form i n his string quartets and svm:1honies. "The tonol desi2. n of t he form \Jas a part of Haydn's inhe rit .:mce; he ndcled to t r. c t o n fl l scheme n elecT ther.tr.tic design . The S(J n tJ t ct for:-:1 bc c .'-' me a structure. in Fil ich cont r c- sts of 11:elodies nnd 11 rhyt hms uent hct nd in h :~ nd hd.th !::ey contrnst." The firs t nnd second themes h£d :-. d istinctive c ho r :-, cter a nd i.'e re \·lrittcn in d i stinctive keys \:'l: ich mcde c ontr :1s tin!j e.pi sodes in the e;:nosition . 'fhe fin .:1 l c ndcnc e begcm to t ake on in r~ ivillu ::"~l i ty and to bec ome a dist inct closing e pisocie. . The develonment sect i on h'as no l a ncer .'=1 sl1ort s e ction , but lOcannon , John :.;o n, .1 n ct ' 1.:1itc , 1' . 29G. ll Fi.nn cy , p . :lilO. 13 Has noH used to uork out a nd v a r v the subjec t rn.Jtter of t he exjio siti on . In the rcca itul c tion t he second theme returne d to tlte tonic key and tlte closing e p i sode \.J'.:J.S extended i nto a coda . This H son .q t ;~ fonn .:'S Haydn us ed it. 1'-!ozart Has a l so preoccup ied \V ith the perfection o f t he sona t a 11 f o r m. In t his reriod Crt l l e d the Cl 6!.ss icc; l Period" t tlozart lVro te mu s ic t.'hich Cisnl<::.ye<:l " .• an J. bsolute perfection o f structure ."l2 The str ucture of the sonata \.JaS est2blished , a nd it n (•\ ·1 re.nH1i n ed for Ludl·: i g y , n Beethoven (1770-1822) to usc his t alent in e:;;:tending to the fullest the mu s icnl resources of the son;.ta for1.1 , particul .J rly in the de v e lo ~me nt sectio n Dn d in the recapitul ation. The four oover.1ent sonat J or "Cl -<:1ss ica l Sonata" wa s more o ften than no t orgc• nizcd in the folloHing HD Y: 1. A l ong first movement of a CJU ick or moderate speed constructed in sonata form (sometimes the fir't movenent Has preceded by a s lo;1 introduction) . 2 . The second novcment uas a long a n d ex:>ressive s l oH movenent in the aria forr.1 (.ll.nA) , sonata form, or v a riation form. 3 . Tne 3:ayer and perhaps shorter tbird movement Has a m:.nuet or scherzo , trio , .e.nd r.linuet or scherzo r epented C so~e tim es this movement ?.. nd the second n r e i n ter cha nged) . 4. The fourth mo v eme nt 1-1as usua lly long ond in a quick tempo ond brillinnt fin ol e . The form used \Vas either a ronC:o or sonnt:-: form , or in some cases a combin ntion of the tHo kno\m <:!. S the rondo-sonQtn [orm. 14 CONCERTO 1he Herd concerto c ame into being in the l Pte sixteenth century in connection f..Jith the concerted church music. These first conce rtos were vocal compositions tha t were supl)orted by an instrumental accom pani ment , usua lly the org;] n. The e ~ rly church concerto, co11ccrto da chicsa, contrasted the voices alone Hith the organ alone or organ a lone c o ntr.1sted ~vith the voices and orgnn together. The l a bels a tta che d to these eo.rly g roups \ve r e the solo subject a nd the tutti subject . The cha rActeri_stics of this type of conce rto "ere the pol y phonic styl e a nd the a n t i p hon ~ ! t r eatment of phra ses. LAter instru ment s h'ere added to the organ , vn d s ing l e instrunent .1 l movements eme r ged . n1e terminology of pi e c es at this time HBS not decisive; ho ~~·e ver 1 sucit n ames as concerto 1 c .q nzona 1 sonata , and sinfonia we re u sed Hi thout a clear distinc t i on of s tyle and type . By t he 1 ::- te seventeenth and earl y eir.htee.nth centuries a neH form Has develoDing a nd t 2king on particul .::: r me .:~ nin g . " The Ba roque c ompo sers l-:orked out [! tl ent i rel v new node of ins t rumentDl expr ess i on, the stile c nncertPnte, ( for tlle Lntin to strive, to c ontett d) ba sed on the principle of contrc st."l Out of this striving a nd contending of g r o u ps developed tioe 'no C.ern ide;• of the c nnccrto. In t he fiel d of i n strut:!lent;- 1 music the terr.1 co!lccrto gn.inc.d significt• nce os menning contr 1 ;.1 c Kin n e~' an (l .".nLcrson , l' • 29l.J. . 15 concertos beg::n to emer[e. They were the con certo-sinfoni a , t he concerto grosse , an~ the solo concerto . TI1e concerto- s infonia uned " • c o ntr ~st in g t ecl1nique ~sec - t 1ons in tutti -c h a r act c ~ a~d others in a more brillinnt st~ l c ) r ather than con t r .:-.s tinr; instrument.1 l bodies "2 111is styl e preceded the o ther tHo a n r1 contributed to the virtuoso violin styl e . The concerto g rosse H.:tS the cl.::!s s ic <.: l type of B- r oque concerto and \V C' S char.:::c terized b y the use of a small number of solo p l ayers in contr:1 st to the full o rchest r a . TI1e cancerto gros.so Has d ivided into t uo parts; the concertina (usually t\!O viol i ns and c e llo) and the ri; ieno ( the full orchestra). "The c oncertina uas ,used in com bination Hith , or set against , the ripi eno , contrasting color to the princi ol e themes being p rovi (~e d by met1n S of l i rrht .:md shade. n3 It is through t ~ i s type of concerto r;rosco 2s conceived b:-,' Arcon 3elo Carelli (1 653-1713) that the solo concerto began to de velop . The third t ype of concerto , the solo concerto for a sin::; le soloist , u .s: s the l :1 t e st t n devclo:.- and b8er::ne the most po j> Ul.:.lr tyt;e of concerto. It ~:as throu1J h the efforts of Giuseppe Torelli (c. 1660 - 1708) and Antonio Viva l di (c. 1 675 -1 71~1 ) thet this ty •J e of concerto c c: me i.nto full use . Torelli g:1ve the sol o violin equa l im:)o;:-t rmce Hith the orche,;tre , end Vivaldi enl c r ged the solo passages for the violin un til the v iol in bec:;me t he dominont instrument. The violin thus b e c ~ r:1.e the solo instruf!1ent of the o l d concerti na for n . 2 _~ p e l, o . 173 . 3J;;,;en , o . 53 . 16 Viv.1l1'i ..... l so -1dded ~ ne· J style of rhythnic precision ond " • st:" ndarclized the conceeto form into three movements , soPJctimes ex tended by ~m introducti on . u4 Until this tir.tc concertos h'ere h•ritten r~•it-~J either t :tree or four mo v emen t s . This is contrasted to the devel opment of the sonata Hith f our movemen ts . I n cl uded in the three mov c::-~ent f orm of Viva ldi \ ,'US the arrangel.ilcnt of f a s t-slm-1-fast f or the mover.1ents . Viv[' l di \ol El S pnrticul....,rlv noted for his eloquent sloH t he melodies blossom forth rego.rdl ess of s ymme try, obeying onl y the ins tinct \-:h ich h<1d p rompted their crea t ion . Some of the slm-1 movements in the concerti nnd in the viol in and cel lo son :! t ns are a s subline ns anyth ing in music • .. s Hi s nrrnngement of mover:1ents f 2st-sloH-fcts t h as l asted to the present dAy . Viva ldi ' .; style of 1-.•r iting as t>Jell ns his arr nne;ement nnd form of the concerto served os the bnsic structure for future c omposers . In the l .1 te eighteen th century another ch :- nge t ook pl a ce , a nd thnt H.::J.S the inclusion of the son a t a f 0 r m in the first movement of the c oil certo. The second movement bec .---. Jile a l yric 2nd..-mte , and the third rnoven cnt a rondo or roncto- son" t n form . ~·Ji th this ch ~ n ge in the first mover:tent to the sonu t .3 form , the orch -~ str a announcect the opening theme Hi th <1 ftlll tutt i p.:~.ssa.ge . The soloist \.JO uld then enter and re p e ~ t the opening ther'le :1nd c o. rrv out the exposition section ._, ith the orchestr A. After the dcveloprrtcnt section, the recApitula tion W3 S usu.::J.lly shortened . 111e c oncet·to forr.~ ns clo Hgong ,tnwdcus t-:ozm·t ( 1 756- 1791 ) use d it •7 .~ s sini. l.::r but Hith sor:1 e i u portnnt contributions . lie n· de t he L ~J. ~cl:inncy and .\ndcrs on, p . 327 . 5 L\·7Cll , p . 32. 17 beginning tutti section l oneer to enabl e al l the solo themes to e volve in :1 n atur.:- 1 !)r o ~rc:--sion . Al t hough the extempor.:meous c cJ denza was orig inally used by George Frederic Handel ( 1 585-1 759) in his h'orks , i~ oz ~ rt used the cadenza to full advE'l ntage in each of the movements of his concertos. Defore the end of the ~ovement , the cadenz3 was indicated so thnt the soloist could hcve a chance to shoH off his imnrovisatory sk.ills . TI1e c a d e nza ended \Vith o p rolonged trill , a nd t he movement uas then broug ht to an i mnediat e close. J:m ~i rovisation on the part of the player tvas important a t first but l ater the c adenza tva s comDosed a nd written out by the com;>oser , performer , or -1 nother conr ose.r. The concerto i1S used by Hoza rt had a first movement in sonata form Hith a n ela.borate ex;·) osition, deve lopment a nd recapitul a tion . The seCtl nd movement tvas l yric1l in styl e b ased on the s lo ~v movement fort~ of the sonata and occasiona lly tvritten in v nrintion fern. In t·bzart ' s c o ncertos the solo parts Dre f l o rid in style .1nd have a free use of orne.mentation. The sec ?nd movement sometimes had a short c a denza . The fina le t·: :: s in rondo fern or v ariation fern and incl uded a sh'1 rt c ndenza . 11lis Has the finnl to11ch to the concerto and has rcmc1. ined to this d ::c y as the clvss ica l fonn of the concerto. "The concerto H i"\ S the n irror Hhich reflected t ~1 c ever-incre;1 sing technic ~ ! facility o f :1 1) in st ru ;ne nt.~ lis t!: and violini sts in ,""' articul a r . u6 Tlle Cl) ncerto ur:.s originally a ~sc ci e.tr:.:!d Hi t h virt uosity .;1 nd plaved to dis:1 lay the abil i tics o f the •1 e rfomcr . .r\s t he co::. certc h ns evol vcd through the v ~ r i ous :·eriorls of musicn l histor,, , increa sed i~ ·· ort c nce has been 6 Pinnev , p . 307. 18 r;ive.n to the orchestra until tod ay the sol oist and orc~testr a are considered of e0_ual import;- nce . 1l1c dem,'lnds placed on the performa nce ability of the orchestra are just as gre~t as those on the soloist. 19 RECI TAL PROGRAH Utah St at e University De partment of Nusic presents a GRADUATE RECITAL Sunday, July 21, 1968 2:00 p. m. Chase Fine Arts Center, Rehear sal Hall ROB ERT FROST, viola Jay Hauchley , accom?anist - P R 0 G R A H - Concerto in E minor Vivaldi for viol a and piano Largo Allegro (Con Sp irito) Largo (Tranq uillo Alla Siciliano) Allegro Suite No. I •.•••••• Bach for unaccompanied viola Prelude Allemande Courante Sarabande Menuetto I - Nenuetto II Gigue -INTE RMISS ION- Duet No. I • • • • • • ••••••••••••• ~zart for violin and viola Allegro Assisted by Dan Pack, violin Sonata ••••••• Honegger ~n r viola and piano Andante - Vivace Allz;;."tto l PROGRA!-l NOTES Antonio Vivaldi Antonio Vival di, (c. 1675-1741), violinist and compo ser , f amed for the virtuosi t y and lyricism of hi s concertos , was bo rn in Venice , Italy. He "as the son of Giovanni Battista Vivaldi, a violinist at St. ~~rk ' s Cathedral i n Venice . He received his early musical trai ning on the violin from his fat her and Giovanni Legrenzi. Hi s interests al so dir ected hi m to the church, and soraetime befor e 1703 he received his Ho l y Orders. Durint; the time of hi s interest in t he church, he continued his " mus ical activity by per fecting himself as a vio linist and by Hriting a considerable amount o f music.·.! In 1703 he became a teacher of violin , and by 1709 he h?.d been given the position of ~~es tro de Concerti at the Os pedale del l a Pie t~ in Ve nice. It Has at the conse rvator y thfl t Vival di found a marvelous field for musical experiments. Vivaldi wa s pr e-eminently a composer for his own ins t rument , the violin; howeve r, hi s concert os will be found represented in t he literature of nearly eve ry i nstrument in use in his d ay. It was for his concerts that Vivaldi produced many of these concertos. He served in his capacity at the conservator y until 1740 when be left Venice for Vienna, hoping to find a desirable assignment in the court. His ex pectations Here not realized in Vienna, and during the l ast few years of his life be suffered extreme poverty and neglect. He died in Vienna and was consigned to a paupe~ grave. lEwen, p. 83. 21 It is through his concertos tha t we !mow him best and revere him highly--his concertos for solo instruments and orchestra, and his concerti g ross i. His ~vas a varied lyricism particularly e loquent in the slou movements; a robust rhythm that gives his f ast movements an irre sistible drive; and, whether in slou moveU~.ents or fast, a nobility of concept.2 His concertos were usually written in the following way: A three movement form--Allegro, Largo, Allegro. The Al legro movements are divide d into two sections; in the first, the themes are stated, and in the second , the principle theme is developed and the opening theme i s repeated at the end. For many years Vivaldi's mus ic ~..ras remembered simply for the transcriptions made by Johann Sebastian Bach. Today, hoYTever, an increased knmvledge of his 'tvorks h ::l. s l ed to a greater appreciation of his style and compositions. Vival di was a great teacher and a composer in his o~m right. His music shows both the vitality and the nobility that is found in the works of all great composers. 2Ibid. , p . 82 . · 22 Concerto in E l,linor Largo Allegr o (Con Spirito) Largo ( Tranquillo Alla Siciliana) Allegro This concerto is the fifth of the Six Sonatas for Cello and Figured !lass by Vi valdi. The title of Concerto was probably added \.;rhen the composition \vas transcribed and edited by Hilliam Primrose., I t is not a typical concerto in that it has four movements instead of three; ho\-rever, it \vas not uncommon in earl v concertos of this type t o find four movements. Each movemen t is divided into t wo parts -- each of which is repea t e d. In the performance some of these sections were not repeated because it was felt that t he continuity of t he music '""'uld be more easily understood without them. It shoul d be noted also that the work is devoid of cadenzas. The cadenza was not added to the concerto form until the time of Handel. The o pening Largo in 4/4 time begins with solo viol a on the tonic in E minor. The me lodic phrase of six eighth notes and a resolution is begun on an octave jump. The pi ano enters in imitation two counts later on the dominant. The viola carries the phrase u p stepwise and then adds melodic variat ion as the piano carries the original rhythmic theme of five eighth notes preceded by a pickup to the end of the firs t section. In the second section the solo viola announces the theme again, this time on the dominant. The piano continues its use of the original theme as the viola expresses three variations on the theme. The =vement is brought to a close on a tonic E in unison with the piano. 23 The second movement , Allegro, in 4/4 time begins t-~ i th an eighth note pickup into a typiccl B o ro~ u e type passage of s ixteenth notes for t ,;o and a half measures , This is immediately follm•ed by t hr e e and a half measures of staccato eighths over wide arpeggiated int ervals. The accompaniment for the most part i s in stacc ato e i ght h notes . 'Ihe t heme is introduced again in the ninth measure fo llowed by a va riation pattern of six t eenths for thr ee measures. The clos ing me.:1 sures of t hi s section use a syncopated variation to the original eighth note pattern bringing the section to a close in the rel ative ke y of G major . The se cond section begins with the original theme nm• in G major a nd is immedi ate! )' pl ayed agnin a second higher. A transition phrase of three me asures l e ads into the original theme again, this time on the t onic, This is follot-~ed by a deve lopment of the sixteenth pattern for s ix measures and the second section i s b r ~u ght to a close by the sta t ement of the eighth note staccato passage, The l yric third movement in 12/8 time begins on the dominan t of E minor. This movement has a delicate interpl ay of rhythmic a nd harmonic prog ressions b e t~,reen the solo and accompani ment . This move- me nt represents the fine l yric qualities that came to be associated with the slo whole movement is based on the combination of two rhythmic elements . The first is a dotted eighth followed by two thirty-second notes and an eighth ••~ This pattern is immedi ately followed by a quarter and an e i ghth. ,f ,~The melodic progres sion is of equal importance to . the rhythmic figure, Starting on the dooi nant with the dotted eighth, the thirty-second note is a third higher and then descends a second. The melody descends a second aga i~ leaving the last eighth of the 24 pattern on the dominant . TI1e qua rter- and-eighth r t1ythm i s al so pl ayed on the dominant. These t1w el ements of rhythm ::: nd me lody a re used effective ly t o add t he ri!jht feeling t o the s low movement , a nd lead to the closing t onic chord . The Allegro fourth movement i s ~ Johann Sebastian Each Johann Sebastian Bach (1685-1750) 1oas born at Ei senach , Germany . His father, Johann .AJ:abrosius Bach , ~.. , as court mus i cian to Duke Johann Georg , and instructed young Sebastian in the fundamentals of violin and viola pl aying. After the death of Sebastian's mother in 1694, his f ather. remarried; and for economic reasons young Sebastian uas sent to an older brother's ho me to live . Johann Christoph, the older brother, was an organist at St. ~1i ch ae l ' s church in Ohrdruf, and instructed Sebastian in the cl avier and organ. By the age of 15 years Sebastian was on his own and took opportunity to travel to surrounding to1ms to hear noted musicians of the day. His first a ppointment as organist was at the church in Arnstadt in 1704 , where he drew these comments from his s uperiors : He" • •• confused the congregation by accompanying the hymns Hith curious v2.riations and irrelevant arrangements."! In 1707 he married his cousin Harie Barbara and moved to Heimar where he accepted a new position. He stayed at Heimar for nine years and was eventually promoted to the r ank of Konzertmeister. His worl< at Weimar represents his first period of composition. It ~;as there that Bach became a pre-eminent organ virtuoso and ~;rote many of his master ~urks for the organ. ~bst of his sonatas and concertos were written during the time loscar Thompson (Ed.), The I nternntional Cyclopedia of Music and Nusicians (8th ed.; Ne10 York: Dodd, t1ead, Company, 1958) , p. 89. 26 that he Has Kapellmeister at Coethen (1717-1723) . It was during this time that his Hife Narie died. , Sebastian soon remarried to Anna l·lagdal ena in December of 1720. Thirteen children Here born t hrough this marriage. In 1723 he moved to what was to be his remaining post at St. Thomas ' church in Leipzig. Here he was to maintain the musi c by writing music for Leipzig ' s l eading churches and directing i t , pl aying the organ, and teaching a class of boys in Latin and music. His creative. output ,.;as prodig ious--this wa s lvhere he wrote most of his important cantatas for the c hurch as well as many mo t ets, Mass es , and passions . 1be Chorale preludes, trio sonatas, sever al preludes a nd f ugues , nearly all the Clavier Concertos, a nd the Gol dber g Variations ;vere al so \rrit ten durine; this final per iod. His last work , the Art of Fugue , •.Jas not completed because of blindness and f " iling health and " an operation upon his eyes, perhaps in Jan . 1750, ••• gave a brief pr omise of being successful but the mighty machine had at l ast run down; and Bach died, after a paralytic s troke, on J uly 28, 1750."2 He was buried in an unidentified gr ave in St. John's churchyard at Leipzig. It was not until He ll into the nine teenth century that Bach's vast significance to music began to be r ealized. Such lack of recog nition was due to two reasons : (1) His works, in the main, \Vere purely inaccessible outside the smal l circle in which he happened to be living . Only ni ne or ten of his works and some of them quite small were printed during his lifetime. No score of his was published before he was forty-one ye ars of age, and even during the first half 2Ibid., p. 90-91. 27 century a f ter his dea t h none of h i s works were published. (2 ) If his wo rks were accessible they would have recei ved l ess than thei r due recognition because hi s own i deal in music was l arge l y al ien to the spirit of the new age. Bach ' s greatness was reveal ed in the extent t o wh i ch he expr essed the spirit of his mm age. Hi s compos i tions ma rk an e poch. His origi nal ity and fecundity of thematic invention are as t ounding; t he master y of his polyphonic art remains a marvel of the ages. His style is elevated , and of sustained harmony; the mone ntum of his grand fu~ues is inexorable • . . • " 3 3Nicolas Slonimsky ( Ed .), Baker' s Biogr aphical Dictionar y o f M.tsici a~ (5th ed . ; Ne1v York : G. Schi rmer , 1958 ) , p . 67. 28 Suite No . 1 Prelude Allemande Courante Sarabe! nde Hinuetto-l'iinuetto I I Gigue Tn i s suite is the firs t of s ix originally written for solo violoncello and l ater adapted for the vi o l a by Louis Svecenski. Besides the t ypical movements of the Baroque suite, t he Allemande, Courante , Sarabande, and Gigue , this suite has the inclusion of a Prelude a nd t\w ~Ji nuettos . The inclusion of the Prelude is a standard practice in this set of suites , but the Hinuetto is often repl aced by a Bouree , Gavotte , or Laure i n t he other suites. All the dances are in one key- -G major--with the exception of the Ninuetto II, which i s in the key of D minor. The Prelude written as an introductor y pi ece has only one section to i t and is not repe ated . The o the r dances are in a bina r y s t r ucture with eac h sect i on r epeated . In the interes t of time some of the sections we re per formed without repe ats. The Prelude in a moderate 4/4 time begins with smooth arpeggi ated chords. This is done first on the tonic in G major and progresses through the sub-dominant, dominant-seventh, and tonic chords for the first tour measures. The rhythmic motion is maintained t hroughout with groups of four sixteenth notes. The motivation of harmony continues through stepwise movement leading into a new arpeggiated section. The Prelude is brought to a close through a chromatic passage starting on the D string and progressing an octave and a half 29 over a ground bass of open D to a high G major arpeggio . This leads directly to the final tonic chord. The Allemande i n a mo der.ate 4/4 time " as pl ayed s lightly sl01;er than the opening Prelude. The style is mostl y l egato with a few staccato notes included on single eighth notes and on a dotted eighth and sixteenth note pattern. The dance begins i n G major and through scal e type movement of notes modu l ates to the key of D ma jor (dominant) by the end of the f i rst section . Beg inning the second section in D major, the section carries the dance form to the end through a contin uation of scal e movement and arpeggiated forms back t o t he original key of G ma jor. The Courante is a compl ete change in style and mood from the previous dance . 111e Courante is a 1 ively dance in 3/4- time. Here the style is much more marcato Hith the beginning me l od ic idea being introduced through f our accented eighth notes . Following the same pattern as that of the Allemande , the first secti on ends on the dominant, and the second section begins on the dominant and ends on the tonic. The slow Sar abande in 3/4 t i me makes much more use of doubl e stops and embellishments such as grace notes and trills. Although not long , it requires a great deal of bowing and musical skill to perform this movement convincing ly. The Hinuettos form a ve ry f ascinating part of this suite . i·.lhile it is most traditiona l for a ll movements to be in the same key, it is here in the Hinuetto II that Bach t ake s opportunity t o introduce the key of D minor. In all othe r cases the second section would be in the domin ant or D major. The minor key here helps to g ive a subdued 30 fl avor to the second ~1 inuetto that gives qu ite an el oquent contrast when a D. C. i s t aken to t he ~li nu e t to I. The Gigue combines s t accato and legato elements together in a typical 6/8 dance r hythm t o bring t he Su ite I by Bach to a bright and live l y conclusion. 31 \Vo lfgang hnadeus Uozart 1>/o l fgang Amadeus Hozart (1756-1791 ) , tl1e son of Leopo l d t1oz art, a noted violinis t and teacher , was born in Sal zbur g , Austria. Holfgang displ ayed extraordinary mu sical poHers f r om his earliest chil dhood , and at the age of six he began making publ i c appear ances throughout Europe. Some o f his earl y accomplishme nts included the publication of four v i ol in son.0 tas Hhen he uas eight, and the perfonnance of hi s firs t symphony when he was nine. As llozart matured in years , the nove l ty of hi s genius was no lon ~e r able to secure appointments for him, and he found it necessary to secure. employment in his native home of Sal zburg. In Salzbur g , Mozart knew little more than humil iation and frustration, and wh ile empl oyed by the Ar chbishop of Salzburg he uas subjected to personal abuse. Embarking on neH travels to Germany and France in 1777 and 1778, the mature l1:lzart f ound thnt even ~>ith his unconrnon powers he had lost the capacity to excite the admiration of hi s audiences . He returned to Sal zburg a dejected man compelled t o resume his pr evious drab ever yday existence. The success of an oper a in 1781 convinced t~zart to again l eave Salzburg and seek a new post. His new horne was in Vienna }~rriage of Figa ro and Don Giovanni, gave him the p r esti ge necessary to find a wanted position in Vienna . He was appointed c ourt composer 32 and chamber musician to succeed Gluck . His n eH appointment, desired as it uas, uas at a greatly r educed s al a r y , and t his did little to solve his p ressing financial problei!ts . During the l ast t\VO yea rs of his life ~bzart often found it necessary to appeal to friends for financial a ssistance. Although :~ 1ozart was sick in body and broken in spirit, some of his gr eatest r:tusic ,.,as Hritten in the last year of his life. He d ied in Vienna De cember 5, 1791, and ~vas buried in t he pauper's section of St. Na r k's Cathedral l the pl ace of burial. l-bz~rt Has a corn.!>oser ~ Yho tvrote nost successfully in many different forms. He Has equally at home in symphony and concerto, in diver- tirne nto and quartet, in opera and mass, and in sonata and trio. There \>laS no field of nusic tha t Has not enriched ;md changed through him. No other com!)oser since his time dedicated hiosclf uith such intensity and with such equal creative pm.;er, to e very branch and for!!l of musical composition. At the sane time, there was no f acet, no nuance of human enotion t h a t he d id not c a rry over i nto his music . !-I.e Has the a potheosis of techniques and structures develo ned before him ; he was the inception of idioM procedures, human artd spiritual values crystallized after his death.l If r.:bzart >:·.'as t he most versatile of all cnrnf) oSers 1 he uas also the most universal. !-lany musicians and music lovers today feel that t.Jestern music reBched its mo s t sub lime expression in the music of 1./olfgang Amadeus M>zart. lEwen, p. 214. 33 Duet l'o . 1 K. 423 Allegro 1his duet was the first of t \m duets composed by Hozart in 1783. 1hese Here also the only duets that were composed for the violin and the viola Hithout piano accompaniment. The violin is r;iven the pre dominant role of introducing and motivating the thematic material. The viola adds the harmonic interest and does have oppor tunity par ticularly in the development section to play a more important role in the development of the t heme . The use of double stops is mini mal and occurs most frequent ly at the end of long melodic sections . IVI:i tten in the key of G major , the duet folloHs the lines of the cl c. ssical sonata form. The firs t theme is given in the tonic key with the viola pl aying harmonic and rhythmic counterpart s to the me lody in the violin. A modul ation to the dominant (D major) int roduces the second theme in the violin. The viola is g i ven the theme four measures later for a brief statement. 1he sixteenth note arpeggios and scale patterns that follow in the violin a re accompanied by a simple eighth note figure by the viola. An extended closing of five measures brings the first section to a close in t he dominant key. 1he development section, which begins in the dominant key , evolves through the keys of D major, D minor, E major, A minor, B major, and A minor. The viola acts as a harmonic counterpart for ten measures at which time the change to D minor takes place. From then on the violin and viola become equal on alternating arpeggiated passages. The return to the key of D major brings a return to the initial role 34 of e~ch instrument and brings the development secti•:m to a close. 111e recap itulction of the fir s t t heme , ;,gain in the key of G ma jor, is exact for t\venty measures . An expanded section of five measures leads into the final section of the first theme naY.' stated in the tonic . This section Has used in the exposition to nodulate t o 1:he dominan t ke.y . The second theme i s a l so stated i n the tonic and has t~ Arthur Hon"gger Arthur Honegger (1892-1955) was born in Le Havre, France, Hhere his SHiss f ather Has a coffee i.mporter. His life was full of nusical experiences having begun hi s first formal training at the ZUrich Conservatory (1909-1911) in Zurich , Switzerl and. He subsequent! y studied at the Paris Conse rvato rie (1911-1 913) and then privat ely under Vincent d 'Indy and Charl es Haria Hidor. Ho negger first became kn01-m as a member of a school of young composers knm:·m as the "French Six". This group included besides himsel f , Darius t·:Iilhaud , Georges Auric , Louis Durey , Franci s Poulenc , and Ge rmaine Taillefer re .. The creation of "Les Six " was not due to the compo sers but to a French criti c named Henri Co llet , who u pon revi e~rin g a n al bum of piano pieces by these composers 1 ikened t hem to the more f amous Russian School, "The Five." Although Honegger was one of t he group of young Parisian composers , he was never in sympathy wi t h their aims and outlook and « a s of all t he s i x , the one lea st classifiable as typically Parisian. The worl He wrote large wor k s such as operas, symphonies, s ymphonic poems , and oratorios. Two of his mo re important wo rl David (1921) and Pacific 231 (1924\ were premiered in the u. s. in the middle twenties with much enthusiasm. He also wrote extensively for the theater having created 13 full stage works, 12 ball ets, incidental music for 20 pl ays, and music for 31 motion pictures. 36 Honegger wrote 5 symphonies and "as curtail ed in his serious writing by failing health a feH ve a rs be fore his death . He died in Pa r is Nov ember 7, 1955. "His style and idiom are essentially French and his fondness for the big forms eman ates en tirely from d'Indy, who i mpressed u pon him the necessity and i mpo rtance of a strict consideration to form ."l He att ached mu ch imnortance to questi ons of nusical structure and to a COI:tpl ex polyphonic styl e . "Hi s pol yphony is hardl y traditional being i ntensely chroma tic , the counterpoint has a constantly changing harmonic implication which g ive s a f e e ling of restl essnes s ."2 He inclines toHards grave and tragic subjects and staturesque forms , with a l yricism that takes his themes high up and l ets them poise and soar over a moving accompaniment . He had a concern for 1 ines , the combination having to form a perfectly solid block at every moment when viel.-Jed vertically . At those mo me nt s when the texture was thin , Ho n egger depended l argely on rhythm to mainta in his inte r est. Honegger Has the logician of "Les Six". He felt it more logical for b al ance if the second subject reappeared before the firs t in the reca pitula tion section. This " f ac ade design" A B G B A, he deve loped and adopted consistentl y in his sonat as and symphonies. "Of the young music >rritten in the 1920's, that of Honegger is t he only kind uhich does not date, and one c nn pl ay any of it without a ligning it with any s pecific period except t he last thirt y year s in general, "3 ! Norman Demuth, Husical Trends in the Twentieth Century (Live r pool, London, Prescott: Rackliff Publishing Co r porat ion Limited, 1952), p. 96, 2rbid., p. 98. 3Jb'id., p. 105. 37 Sonata for Via la and Piano And ante- Vivace Allegretto mo lto moderato Allegro non troppo This sonata, written in 1920, sho~vs many of the characteristics that became an integral part of Honegger ' s style. The first and third movements are i ntensel y chromatic whil e the second movement i s more s olemn and subdued. There are sever al instances ~·! here the viola part is written very high over the a cc ompanimen ~ part icul arly in the first and third movements. There are a l s o sections in each movement where the melod ic ideas seem to take a second pl ace to the rhythmic pul se. Particularly interest ing in this sonata is the fact that each of the three movements has a mood that makes it distinctive from the other s . In many respects t he melodies resemble three different periods of composition. The first movement is representa tive of the atonal system wi th its wide inter vals and st rong rhythmic pulse. The second displays the simplicity of a beautiful folk song . The third movement theme, although treated chromatically, is quite typical of a Baroque theme. The first movement is actually nade up of six sections--three sets of Andante-Vivace combinations. During the first Andante the two major themes are introduced, the first theme by the pi ano alone and the second by the viola alone. At the first Vivace the rhythm of the second theme is changed as it is int roduced by the piano. The viola entering in measure eight states the same melody but a third higher. This theme consists of many augumented intervals as 38 '"'ell as seconds and sevenths. After eight measures t he viola and piano arc in unison on the second theme and this l ends into ne.H rhythmic and melodic ideas for both the viola and piano. In the second Andante section the first theme is pl ayed ti·Jice by the piano Hith the viol a carrying its deve lopment until the l ast seven measures when it states the first t heme for the first time. The third theme, based sonmvhat on the second theme Hi t h a n e~v rhythmic figure , is begun illlJ:lediately by the piano in t he second Vivace. The viola develops the theme and goes higher and higher as the rhythmic drive of the theme pushes both the soloist and accompaniment to the restatement of the second theme . Here the original second theme of eight measures is stated three time s, each time descending a fifth until i t reaches the final And ante section. The first t heme i s presented again i n a different key by t he pi ano and the viola is g iven one l ast chance to give the first theme . A short coda of ten measures states the second theme as it Has found in the opening Vivace. The second movement gives t he solo viol a a chance to express the opening theme by itself. The viola begins immediately to state the first theme while the pi ano maintains a simple accompaniment, The theme is presented three times with the second time being used to vary the statement. The third statement of the theme leads to a new section, the Et>co Piu Allegretto, Hhere the piano introduces the second theme and the viol a develops it. This is the only section in the sonata Hhere a specific key signature is given-- Key of A major. · Returning to the Tempo I, the piano states the original theme and is folloHed in the ninth measure by the viol a stating the theme in the original key. The viola proclaims the thematic material tHice more to bri ng the second movement to a close. 39 l-lithout a break , the third mover.~ent , Allegro non troppo, bee;in s 1~rith a majestic tHo measure int roduction by the pi ano . Th i s same int r odu c tory figure is r epeated f our time.s as t he solo viol a sta tes the first ther.1e . As the viola compl etes the f irst statement , the pi ano takes the theme a nd develops it before the vioL1 restates the theme a second time in the origina l key. A piano s o lo of eight measures states t he second theme and after an introductory phrase by the viol a , the second theme is stat e d in t he same key as the pi ano. A brief sta teme nt o f the firs t t heme brings a r hythmic deve lop ment of t he second theme i nto being. The fir st t heme is developed follol-J i ng this section by pl ay ing its t heme a major thir d l oHer and then again a fifth loHer . The section a f i fth lo1ver i s in a major mode Hhereas t he original theme is i n A mi nor mode . A res tatement of t he second theme a thir d higher tha n the o r igin a l sta rts t he movement t m-1ard its final c l inax. The inclusion of f our me nsures of double s tops is t he tran s ition that brines the firs t t heme back again an octav e higher an d i n the origina l key. The find statement marked Po co Allargando a nd pl ayed soste nuto brings the movement and the sonata to a brilliant close on a susta ine d C t wo octaves above middle c. BIBLIOGRAPHY Ap e l, Hilli. Harvard Dictiona ry of Husi.c . Camb ridge , l·lassachusetts: Harv ard University Press, 1 958 . Bl om, Eric ( Ed .). Grove's Dictionary of ~1usic and Nusicbns. New York: St. Ha rtin ' s Pres s Inc., 1 955 . Cannon, Beekman C., Alvin H. Johnson, and Hilliam G. Ha i te. The Art of 11usic. New York : Thoma s Y. Cro«e ll Company , 1960. Demuth , Norman . Nusical Tre nds in the Twentieth Century. Liverpool , London, Prescott: Rackliff Publishing Corporati on Limited, 1 952. Ewen , David ( Ed .). The Complete Book of Cl a ssicnl l·lus ic. Engl e\o!Ood Cliffs , NeH Jersey: Prentice Hall Inc., 1 965. El>en, David. The Complete Book of 'IWentieth Century ~1usic . Engl ewood Cliffs, NeH Jersey: Prentice-Ha ll Inc. , 1952 . Finney , Theodore l1i tchell. The History of Hus ic. New York : Harcourt, Brace, and Co~pany, 1935. Lang , Paul Henry . Bus ic in \!estern Civilization. NeH York: W. \V . Norton & Company , Inc. , 1941 . McKinney, Howard D., and 1>7 . R. Anderson . }:!Usic in History . 2nd ed. ; New York: Americ an Book Company , 1957 . Finche r1e, }~ r c. Vivaldi: Ge nius of the Ba r oque. New Yo r k: W. W. Norton & Company, 1957 . S1onimsky, Nicol as ( Ed .). Baker's Biogr ,.phica l Dictionary .of ~Jusicians. 5th ed.; New York: G. Schirmer, 1958. 1hompson, Osca r (Ed.). The Int er n ~tio n a l Cyclopedia of ~Jusic and }:!Usician s . 8th ed.; Ne« York : Dodd, Mead, Conpany, 1958 . VITA Robert S. Frost Candidate for the Degree of Master of Nusic Report: Graduate Re cital Hajor Field: !,!usic Education Biographical Information: Personal Data: Born at Albany , California, September 18, 1942, son of Irving Condie and Sarah Bernice Frost; married Dona Rae Ferguson Sept ember 17, 1963; three children--Kelly Ann , Douglas, and Carlene. Education: Graduated f r om Eas t High School, Denve r, ColorDdo, in 1960; received The Bachelor of Fine Arts degree from Utah State University in 1964. Completed requirenents for the }Jaster of Music degree at Ut ah State University in 1970. Professional Experience: Te acher of instrumantal mu s ic in the Cache County School District, l96il to present .