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Paul Wittgenstein's Transcriptions for Left Hand

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Paul Wittgenstein's Transcriptions for Left Hand PAUL WITTGENSTEIN'S TRANSCRIPTIONS FOR LEFT HAND: PIANISTIC TECHNIQUES AND PERFORMANCE PROBLEMS, A LECTURE RECITAL, TOGETHER WITH THREE RECITALS OF SELECTED WORKS OF R. SCHUMANN, S. PROKOFIEV, F. LISZT, M. RAVEL, AND F. CHOPIN Won-Young Kong, B.Mus., M.M. APPROVED: Major Professor Minor Professor Commi ember Dean o e Co ge f Music Dean of the Robert B.'Toulouse School of Graduate Studies 377 PAUL WITTGENSTEIN'S TRANSCRIPTIONS FOR LEFT HAND: PIANISTIC TECHNIQUES AND PERFORMANCE PROBLEMS, A LECTURE RECITAL, TOGETHER WITH THREE RECITALS OF SELECTED WORKS OF R. SCHUMANN, S. PROKOFIEV, F. LISZT, M. RAVEL, AND F. CHOPIN DISSERTATION Presented to the Graduate Council of the University of North Texas in Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS By Won-Young Kong, B.Mus., M.M. Denton, Texas August, 1999 Kong, Won-Young, Paul Wittgenstein's transcriptions for left hand: pianistic techniques and performance problems, a lecture recital, together with three recitals of selected works of R. Schumann, S. Prokofiev, F. Liszt, M. Ravel, and F. Chopin. Doctor of Musical Arts (Performance), August, 1999, 85 pp, 3 tables, 76 examples, bibliography, 56 titles. Paul Wittgenstein (1887-1961) made significant contributions to the piano literature for the left hand through numerous commissioned works as well as his own transcriptions. In the transcriptions, Wittgenstein preserved the texture of two-hand music, aiming for the simulation of the original works. This requires special techniques in the performance by the left hand alone. This dissertation investigates technical means and performance problems associated with the transcriptions as well as Wittgenstein's own recordings of selections from his works. Chapter 1 serves as an introduction, providing a historical overview of the role of the left hand in two-hand piano literature. Chapter 2 gives biographical information on Paul Wittgenstein and discusses the commissioned works. Chapter 3 investigates special techniques in the transcriptions, in the areas of arpeggios, widespread chords, fingering, pedaling, and others. Chapter 4 discusses Wittgenstein's performance style based on his recordings. Chapter 5 presents a conclusion pointing to the benefits of performing left-hand music in two-hand piano playing. Copyright by Won-Young Kong 1999 iii Tape recordings of all performances submitted as dissertation requirements are on deposit in the University of North Texas Library. iv ACKNOWLEDGEMENTS I wish to express my deepest gratitude to my mentor Mr. Adam Wodnicki, for his guidance and valuable insights throughout the development of this dissertation. Special acknowledgements go to other members of my committee: Mr. Joseph Banowetz and Dr. Graham Phipps, for their suggestions and professional expertise. Special thanks to Mrs. Martha Wodnicki of University of North Texas Library, who helped me obtain recording materials. My thanks also to the members of my family and my parents, for their support and unceasing faith in me. Last but not least, to my husband, Hyun-Seung Choo, and my son, Troy, go my deepest thanks for their support, and their acceptance of the considerable inconvenience to their lives caused by my doctoral studies. V TABLE OF CONTENTS Page ACKNOWLEDGEMENTS............................................................................................v RECITAL PROGRAMS First R ecital............................................................................................................... viii Second Recital ......................................................................................................... x Third Recital ............................................................................................................ xi Fourth Recital ........................................................................................................... xii LIST OF TABLES ......................................................................................................... xiii LIST OF MUSICAL EXAMPLES ............ ........................ xiv Chapter 1. HISTORICAL OVERVIEW .................................................................................... 1 Introductory remarks Development of Left Hand in Two-Hand Piano Literature Piano Literature for the Left Hand prior to Wittgenstein 2. PAUL W ITTGEN STEIN ......................................................................................... 17 Biography Commissioned Works 3. KEYBOARD TECHNIQUES IN PAUL WITTGENSTEIN'S TRANSCRIPTIONS .......................................................... 28 Wittgenstein's School for the Left Hand Selected Aspects of Performance Technique in the Transcriptions 4. WITTGENSTEIN'S PERFORMANCE PRACTICE AND STYLE .................... 67 Performance Practice of Major Pianists of the Early Twentieth Century Performance Practice of Wittgenstein on His Recordings vi 5. CONCLUSION ..................................... ...... ... r . 80....r... BIBLIOGRAPHY ........................ ........................................................................... 82 viii University of North Texas presents A Graduate Recital WON-YOUNG KONG, piano Monday, June 26, 1995 6:30 pm Concert Hall PROGRAM Carnaval, Opus 9............................... Robert Schumann 1. Preambule 2. Pierrot 3. Arlequin 4. Valse noble 5. Eusebius 6. Florestan 7. Coquette 8. Replique 9. Papillons 10. A.S.C.H. S.C.H.A. (Lettres dansantes) 11. Chiarina 12. Chopin 13. Estrella 14. Reconnaissance 15. Pantalon et Colombine 16. Valse Allemande 17. Paganini 18. Aveu 19. Promenade 20. Pause 21. March des "Davidsbindler"contre les Phiistins - pause - VI1I Sonata No. 7 in Bb Major, Opus 83 ......... ......... Serge Prokofiev 1. Allegro inquieto 2. Andante caloroso 3. Precipitato Presented in partial fulfillment of the requirements for the degree of Doctor of Musical Arts ix University of North Texas presents A Graduate Recital WON-YOUNG KONG, piano Monday, June 24, 1996 6:30pm Concert Hall Annees de Pelerinage, Premiere Annde ......... ... Franz Liszt 1. Chapelle du Guillaume Tell 2. Au lac de Wallenstadt 3. Pastorale 4. Au bord d'une source 6. Valle d'Obermann ---- pause -- Gaspard.......".0. ... de".0. la.... ".".0. nuit 0..... ".".".Maurice Ravel . 1. Ondine 2. Le gibet 3. Scarbo Presented in partial fulfillment of the requirements for the degree of Doctor of Musical Arts x University of North Texas 100% 0azil- I I w a ff/Z I cipis ff I ~ L CoAEEI1 .JVL/J I -3me 3z Ap- 9w presents A Doctoral Recital WON-YOUNG KONG, piano Monday, September 22, 1997 6:30 pm Concert Hall PROGRAM Prelude in C-sharp minor, Opus 45 .................... Fred6ric Chopin Prelude in A-Jlat Major, B. 86 ....................... .. Frederic Chopin Preludes, Opus 28, Nos. 1-12 ....................... .. Fredric Chopin - Pause - Preludes, Opus 28, Nos. 13-24 ...................... .. Fred6ric Chopin Presented in partial fulfillment of the requirements for the degree of Doctor of Musical Arts University of North Texas presents A Doctoral Lecture Recital WON-YOUNG KONG, piano Monday, April 19, 1999 5:00 pm Recital Hall PAUL WITTGENSTE][N'S' TRANSCRIPTIONS FOR LEFT HAND: PIANISTIC TECHNIQUES AND PERFOR'4NCE PROBLEMS - PAUSE - Sicilienne from the E-flat Flute Sonata . ... ....... ,........Bach-Wittgenstein Gigue from the B-flat Partita . ...... ..".....a.. .. .... Bach-Wittgentstein Song without Words, Opus 67, No. 1 ....... ... Mendelssohn-Wittgenstein Isolde's Love Death from TRISTAN AND ISOLDE .. Wagner-Liszt-Wittgenstein Presented in partial fulfillment of the requirements for the degree of Doctor of Musical Arts. The Steinway piano is the instrument of choice for College of Music concerts. xii LIST OF TABLES Table Page 1. List of Left-Hand Works Written for Paul Wittgenstein...................... 22 2. Content of Wittgenstein's Transcriptions Categorized by Type of Original and Effectiveness .................................................................... 36 3. Contents of Wittgenstein's Recordings................................................................ 71 xiii LIST OF MUSICAL EXAMPLES Example Page 1. Chopin, Nocturne op. 55, no. 2, mm. 1-3 .................................................................. 4 2. Chopin, Etude op. 25, no. 7, mm. 1-2........................................................................ 4 3. Liszt, Annies de Pelerinage I, "Vallee d'Obermann", mm. 1-4................5 4a. Liszt, 12 Grandes Etudes, no. 6, mm. 1-2 ............................................................. 5 4b. Liszt, PaganiniEtude, no. 1, m. 6 ........................................................................... 6 5. Weber/ Brahms, Rondo, mm. 1-4.............................................................................. 7 6. C.P.E. Bach, Klavierstcke, mm. 1-4......................................................................... 9 7. Czerny, 2 Etudes, op. 735, no. 2, mm. 27-30........................................................... 11 8. Berens, Training of the Left Hand, op. 89, bk. 2, no. 18, mm. 1-3............... 11 9. Chopin/Godowsky, Etude, op. 10, no. 4, mm. 5-8.................................................. 15 10. W ittgenstein, Finger Exercise, no. 5-1 ................................................................... 29 11. W ittgenstein, Trill Exercise, no. 10a, I Go............................................................. 29 12. W ittgenstein, Finger Exercise, no. 7....................................................................... 30 13. Wittgenstein, Polyphonic Exercise, no.
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