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1996 An Analysis of Witold Lutoslawski's "Variations on a Theme by Paganini" for Two Pianos and an Original Composition "Concerto for Two Pianos and Orchestra". Ling Chao Chen Louisiana State University and Agricultural & Mechanical College
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Recommended Citation Chen, Ling Chao, "An Analysis of Witold Lutoslawski's "Variations on a Theme by Paganini" for Two Pianos and an Original Composition "Concerto for Two Pianos and Orchestra"." (1996). LSU Historical Dissertations and Theses. 6302. https://digitalcommons.lsu.edu/gradschool_disstheses/6302
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Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. AN ANALYSIS OF WITOLD LUTOSLA WSKI'S "VARIATIONS ON A THEME BY PAGANINI" FOR TWO PIANOS AND AN ORIGINAL COMPOSITION "CONCERTO FOR TWO PIANOS AND ORCHESTRA"
A Dissertation
Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Musical Arts
in
The School of Music
by Ling Chao Chen B.M., Pittsburg State University, 1985 M.M., Pittsburg State University, 1987 M.M., Pittsburg State University, 1988 Ed.S., Pittsburg State University, 1991 December, 1996
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. UMI Number: 9712850
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Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. ACKNOWLEDGEMENTS
To fulfill one's dream, not only takes hard work, but also requires the good
luck of having inspiring mentors and supportive friendships. The completion of this
degree study and the satisfaction of the learning process have required as much human
kindness as one can possibly receive in a life time. My deep appreciation to the list of
valuable persons who taught me, inspired me, challenged my thoughts, and blessed me
with friendship is endless. I can never list them all.
First of all, I would like to thank Dr. Dinos Constantinides who taught me the
value of good composition, the significance of self-image; and whose unfailing
guidance, continuous feedback and thoughtful consideration have been the greatest
treasure of my learning process at LSU. Dr. Stephen David Beck's enthusiasm of
teaching in the world of electronic music, computer generated music, and music in the
twentieth century has opened a new door for my philosophical thinking towards music
esthetics. Dr. David Smyth's persistence with courage and grace in pursuing precision
in defining analysis has taught me good writing skills, and most of all, the importance
of scholarly thinking. Also, thanks to Dr. Wallace McKenzie's introduction to the
beauty of American music that has stimulated my interest in a more broad aspect in such
a way that I always try to digest the fascinating American tradition.
Thanks go to the supportive faculty at PSU, where my musical insight was
nurtured. Professor John MacKay's unique philosophical teaching and thinking has
taught me the combination of emotion and logic in musical interpretation. Most of all,
he showed me the importance of music as a whole. Professor Richard Cook's patience
has guided and developed my freedom of thinking and imagination. Dr. Gene Vollen's
confidence in me has given me the tremendous encouragement to challenge the world of
knowledge, and to enrich my mind and the growth of my personality.
ii
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Thanks also go to friends who support me with their kindness and
thoughtfulness. Kenzo N. Chi, an humanistic artist/designer, who is always willing to
support and share her distinctive philosophy of life and living. Cassandra Fulmer is a
remarkable trombonist, whose generosity and enormously caring personality have
cheered me and "lured" me to a positive state from negative distractions. Tina Show
and Nam Young are two outstanding pianists, whose wits are always surprisingly
helpful and supportive and for whom this double piano concerto was written. A
devoted geographer/teacher, Shu-Jiean Hsu, whose sensibility and encouragement have
always confirmed me and reminded me of my ability and capability. Wei-Hsing Chiu,
a sharp computer programmer, whose keen analytical insight always honestly reveals
and solves my problems in terms of the practical world, has helped me open another
door to a more balanced life. Thanks also go to many other friends. It is their valuable
friendship that made me truly understand "a friend in need is a friend indeed."
I owe an immense debt to my family that has been an important "magnet" in my
life, a lighthouse always guiding me from being lost. Thanks to their unconditional
understanding and support I have been able to do what I would like to do in music. I
may never be able to live up to what the tradition has expected of me, yet I have tried
hard to pave my own path with no regret My love and deep appreciation goes to my
siblings back home. And, special thanks to my parents, for their unique philosophy of
life that allows me to have the opportunity to challenge life, to seek my dream, and to
undertake unconditional work. They deserve my deepest appreciation and respect.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. TABLE OF CONTENTS
ACKNOWLEDGEMENTS------ii
ABSTRACT------v
PARTI An Analysis of Witold Lutoslawski's "Variations on a Theme by Paganini" for Two Pianos ------1
CHAPTER 1 Introduction ------1
2 Comparison: Paganini's Theme and Lutoslawski's Two Piano Version ------4
3 Variations I, II, and III ------11
4 Variations IV, V, and V I ------17
5 Variations VII, VIII, IX, and X ------25
6 Variations XI, XII, and Finale ------33
7 Conclusion ------40
BIBLIOGRAPHY------43
PART II An Original Composition, "Concerto for Two Pianos and Orchestra------44 I ------45 II ------101 HI------121
VITA------164
iv
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. ABSTRACT
The dissertation is divided into two parts. Part I is an analysis of Witold
Lutoslawski's "Variations on a Theme by Paganini" for Two Pianos. This consists of a
detailed analysis preceded by a brief introductory discussion of Witold Lutoslawski's life
and musical background. The composer has followed Paganini's model faithfully as far as
the basic thematic material is concerned. However, his addition of supporting harmonies,
imitative and free countermelodies, and rhythmical accompaniments make this setting an
original composition.
This analysis focuses on harmony, dynamics, counterpoint, rhythm, form and
general texture of the piece. The main issues to be discussed are Lutoslawski's
manipulation of the original subject matter, his development and usage of the above
mentioned techniques. In harmony, the usage of polytonality, quartal and whole-tone
harmony, tritone and third relationships are discussed. Graphic analyses illustrate the way
dynamics shape the entire piece. Although Paganini's theme was written for solo violin,
Lutoslawski makes his version extremely contrapuntal by incorporating canon (both strict
and inversion) between and within piano parts. Rhythmically, Lutoslawski follows the
original version, but introduces some syncopations and off beat accents. Tempo, dynamic
markings, texture and density make the piece seem to fall into three parts.
The second part of this dissertation is an original composition,"Concerto for Two
Pianos and Orchestra." This three movement work is approximately twenty-five minutes in
length. The tempos of the movements are fast-slow-fast. The entire piece includes
quotations of Taiwanese folk tunes. The first movement's tempo scheme is a palindrome:
(A) J=69, (B) J =144, (C) J=100, (D) J =69, (C') J=100, (B') J=144, and (A') J=69.
It has also elements of a Sonata form regarding thematic materials. A is the introduction,
B includes two contrasting themes, C and D are developmental, and B'-A' is the
recapitulation. The second movement is through composed. It employs quotations in a
v
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. free manner. Movement three is a set of variations using a folk tune as the theme. In
addition to the two solo pianos, the orchestral instrumentation includes the following:
winds (2222), brass (2221), one timpanist, two percussionists, and strings (minimum
88642).
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. PART I
AN ANALYSIS OF WITOLD LUTOSLAWSKI'S
VARIATIONS ON A THEME BY PAGANINI FOR TWO PIANOS
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. PART I
AN ANALYSIS OF WITOLD LUTOSLAWSKI'S "VARIATIONS ON A THEME BY PAGANINI" FOR TWO PIANOS
CHAPTER I
INTRODUCTION
Witold Lutoslawski was bom on January 25th, 1913 in Warsaw. He started piano
lessons at the age of six. Although he took violin lessons later, his first degree at Warsaw
Conservatory was in piano, which he studied with Jerzy Lefeld and completed in 1936. In
the following year, he completed another degree in composition with Witold Maliszewski. *
During the war, Lutoslawski was forced to make his living playing music at
Warsaw's cafes because of the German occupation and the paralysis of official musical life
in Poland. He appeared as a soloist, sometimes as an accompanist for artists such as the
violinist Eugenia Minska, the soprano Ewa Bandrowska-Turska, and the mezzo-soprano Janina Godlewska.2
During this time, much of his piano duo playing was done with his colleague
Andrzej Panufnik, a composer and conductor. Their repertoire consisted of arrangements
of serious works, rather than light cafe music. The Variations on a Theme by Paganinifor
Two Pianos was written for such a collaboration during 1941.
This set of variations has achieved its place in the duo-piano repertoire. Unlike the
free variation sets by Brahms and Rakhmaninov, Lutoslawski's composition follows
Paganini's original variations (from the twenty-fourth Caprice, Op. 1 for solo violin) quite
closely. Each variation is translated skillfully into the keyboard idiom. Lutoslawski wrote
the first piano part for himself, and the second piano part for Andrzej Panufnik.3
The purpose of this essay is to analyze the variations and to explore their
* AWL, Program note in Witold Lutoslawski, Variations On A Theme By Paganini, (Boca Raton, Florida: Masters Music Publications, Inc. 1993). 2 Steven Stucky, Lutoslawski and His Music. (London: Cambridge University Press, 1981), 16. 3 Steven Stucky, Lutoslawski and His Music. (London: Cambridge University Press, 1981), 16-17.
1
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. harmony, melody, counterpoint, dynamic contrast, meter, and texture. The contents of this
essay will compare and contrast Paganini's original variations and Lutoslawski's
transcription and discuss Lutoslawski's harmonization, management of the texture in both
pianos as well as his treatment of counterpoint.
Lutoslawski's variations follow Paganini's model closely. The Caprice, Op. 1, is
a classical variation form, in the tradition of J. S. Bach (e.g. the Goldberg Variations),
Beethoven (e.g. the Thirty-Two Variations), and Brahms (e.g. Variations on a Theme by J.
Haydn), yet he incorporates twentieth century techniques such as the polytonality, parallel
fifths, and tritone relationships which make the piece sound characteristic of Lutoslawski.
He employs such techniques even in the opening theme, the music then quickly progresses
into a light contrapuntal style with a countermelody in Var. I, contrasted by a thicker texture
in Var. II. The counterpoint, parallel motion, and tritone relationships continue in Var. Ill
as well, but the texture is somewhat thicker and the style more legato in character. An F^ at
the end of Var. Ill presents a deceptive cadence leading into Var. IV. This along with a
D in Var. IV represents an added note harmony. In contrast to Vars. IV and VI, Var. V
incorporates less counterpoint and the melodic line is interlocked and divided between both
piano parts.
Var. VI is the only slow variation in the entire work. It is a peaceful interlude that
is isolated from the other variations due to its tempo and the fact that it is almost a complete
recomposition of Paganini's sixth variation. Lutoslawski incorporates strict canon by
inversion in both piano parts throughout; this is the first time that both piano lines intersect
each other's registerally.
To resume to the faster tempo, Lutoslawski employs a two-measure "vamp"
between Vars. VI and VII, which serves as a bridge and sets up a chromatic neighbor
figure in continuous motor rhythm throughout Vars. VII and VIII. He then introduces a
whole-tone scale in Vars. VII, VIII, and XI, which (with additional material) actually
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. produces all twelve pitch classes. In Vars. IX and X, the triplet motor rhythm is reduced to
auxiliary note dyads, meaning there is an alternation between the intervals of a perfect
fourth and fifth. In order to reduce the momentum (which has been building steadily since
Var. VII), the original theme is augmented in Var. X, making it twice as long. Also, the
tritone relationships become more strongly accentuated throughout the variation as part of
the accompanying figure in Piano I. The whole-tone scale which has been built up from
Var. VII is very evident in Var. XI.
In ending the piece, Lutoslawski chooses not to follow Paganini's Finale but
instead restates the original theme in augmented form to serve as a recapitulation.
Lutoslawski then ends with Paganini's original Finale, incorporating it into a coda, thus
producing an exciting conclusion. However, Lutoslawski's addition of supporting
harmonies, imitative and free countermelodies, and rhythmical accompaniments make this
setting a different piece entirely; the following analysis will illustrate this in further detail.
For purposes of discussion, the variations will be grouped as following: Vars. I, II, III;
Vars. IV, V, VI; Vars. VII, VIII, IX, X; Vars. XI, XII and Finale.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. CHAPTER 2
COMPARISON:
PAGANINI'S THEME AND LUTOSLAWSKI'S TWO PIANO VERSION
Paganini's original theme is a lively unaccompanied dance for violin in the key of A
minor, labeled Quasi Presto. It is divided into two even sections of eight measures. The
first section consists of one four measure phrase played twice, implying tonic and dominant
harmonies in alternation (see example 1). The second part is an eight-bar phrase with no
a> * HHiH i S i S i
a : i
Example 1: Paganini's original theme (mm. 1-4) and implied harmonies
repeat. It opens with the harmonic sequence V/iv, iv, V/III, III in mm. 5-8. Beginning in
m. 9, the harmonic motion progresses through a leading-tone diminished seventh chord,
tonic triad, an (Italian) augmented sixth chord ending with an authentic cadence (see
example 2).
In Lutoslawski's two piano version, the opening theme is labeled Allegro
Capriccioso and a metronomic marking is given (J =ca 144). Melodically, the first piano
follows the original model very closely (compare the two versions in example 3).
Lutoslawski writes out all eight measures instead of repeating the first four bar section.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 5
Example 2: Paganini's original theme (mm. 5-12) and implied harmonies
Because the accompaniment in Piano II is constantly changing, mm. 5 and 6 are displaced
and equal the repeat of mm. 2 and 3 an octave lower (see example 3). In the second part,
Lutoslawski adds dynamics, sub sf, f molto sf and diminuendo, which are not included
in the original theme (see example 3).
Harmonically, Piano I adheres closely to the original theme in the first part, and
Piano II serves as an accompaniment, but in a non-traditional manner. Lutoslawski uses
dissonant harmonies in Piano II to create a mysterious and restless quality. The
combination of Piano I and Piano II produces a feeling of polytonality. For example, in m.
2, Piano II has an chord against Piano I's E major chord; in m. 3, Piano II has a D
major chord with an added sixth against Piano I's A minor chord. The final chord in m. 4
is a pure E major triad—the expected traditional dominant. In m. 8, however, this is
replaced by C major and D major triads (see example 3), whose roots create a stepwise
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 6
Example 3: 1) Original Paganini theme
Allegro caprictioso (J.ca u-0
I
Cf) m-O
n p mm. x - i i = »*p- * - 7 mm. S - J s m m .i - 4
i C I sub.if P f moltosf | mollo A I IS v © K ® © 4C>A 3E ■7T sub. if poootf moltosf n mollo l V__ L_U ...La . ~rr
IP c P E>
risin j step s
Example 3: 2) Lutoslawski's two piano version (example contd.)
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. /
r*
pocosf mollo*/
ascent to the opening polychord of the next section (see example 4). The voice leading and
chord succession are non-traditional, and most dissonances are not prepared and resolved
in the traditional way. The parallel open fifths in the bass at the beginning recur later (see
m-© (D ©
Example 4: Lutoslawski's version Piano II mm. 7-9 rising steps
Piano I mm. 9, 11, 13, 14) and throughout the piece. From m. 9, the tritone relationship,
which plays an important role in the entire piece begins to apply. A series of tritone
relationships are found beginning in m. 9, for example: Piano II major chord against
Piano I A major chord; m. 11, Piano II D*3 major chord against Piano I G major chord; m.
13, Piano II major chord against the F major chord in Piano I and m. 14, Piano II
major chord against the E major chord in Piano I (see example 5). From mm. 9-16, Piano
II provides a stepwise bass line, E^ (m. 9)--D*3 (mm. 10-11)—C*3 (mm. 12-13)--B'3
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Example 5: Lutoslawski's version (Theme mm. 9-14)
(m. 14)— (continuing to the second ending tenor voice, m. 15b)—A (the second
ending tenor voice, m. 16b), and simultaneously, in mm. 15b-16b, the bass line provides
F-E-A as an authentic cadence (see bass outline in example 6). In m. 15a, Piano II has a
G9-b5 against an Italian sixth chord in Piano I. The seventh (B-natural) is retained in the
tonic resolution, which produces a jazzy characteristic (see example 7). Just as the left
hand turned toward C in m. 8, it again shifts in this direction in m. 15a of the first ending.
The repeat in the second part does not exist in the original theme. Lutoslawski concludes
the first ending on dominant, and the second ending on tonic. In m. 12, he begins to
combine the two harmonies of both pianos together. The E*3, in Piano I, (instead of the
original E-natural) together with Piano II's right hand, gives an F*? sonority (see
m. (D © © © (?I£) @)
6 (=augmented sixth, respelled)
Example 6: Piano II mm. 9-16b
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 9
C: 3ZL Z
Example 7: Lutoslawski's version mm. 15a-16a
example 8). The and together are a preparation for the E*5 in m. 13 Piano II. Also,
in mm. 13 and 14, the tritone relationship continues. He uses an F major in Piano I against
a cb major in Piano II, which is different from the original diminished seventh chord; and
in m. 14, Piano I's E major chord sounds against the major chord in Piano II.
m .@ ©
Hi Cc) H © I T.T.
Example 8: Lutoslawski's version mm. 12-13
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 10
Example 9: Reductive sketch of the theme
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. CHAPTER 3
VARIATIONS I, II, AND III
In Vars. I, II, and III, parallel open fifths from the opening theme are constantly
employed in the bass line accompaniment throughout these three variations (see example
10). At the beginning of the second section of Var. I, the open fifths in Piano II move in a
Var. I
m .® © © © (3) (§) © &
TT m T r=tr r Dftdal FRdcJ x chromatic.
Var. II
X i
Var. Ill
K iirtJ irtis
Example 10: Parallel open fifths in Vars. I, II, and III
11
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 12
chromatic descending bass line reaching an F pedal in m. 9 at which point three measures
of tritone polyharmonv (C^=B against F) occur (see example 11). In Var. II, parallel Fifths
freely occur without interruption throughout the variation. In Var. Ill, the parallel fifths
move to the bass line of Piano I and occur throughout the entire variation (see example 10,
Var. III).
In addition to parallel fifths, tritone relationships also represent a development of
ideas (i.e. of Lutoslawski's ideas, not Paganini's) from the theme. For example, in Var. I,
there is a collision between the F and C*5 triads in m. 9 which is reminiscent of m. 13 of the
theme. This collision not only happens between the two pianos but also within Piano II
itself (see example 11). This tritone relationship continues throughout the first part of Var.
II between the two pianos (see example 12), where the and Q# neighboring harmonies
of Piano I clash against the G and D harmonies in Piano II. In Var. Ill, tritone-related
Theme m. (T |) Var. I m .® S~ X 1 t
Example 11
harmonies occur on the final beats of mm. 1,3, 5,7, 10, and 11, cadencing on F^> (see
example 13), which serves as a connecting added note harmony between Vars. Ill and IV.
rn~ (D © (& ® © d> 9v* ------
;-ft. ,T.T.
Example 12: Var. II
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 13
Example 13: Var. Ill
Although Lutoslawski employs non-traditional harmonic progressions throughout
Vars. I, II, and III, there are many other elements that have also been changed. These
changes may represent Lutoslawski's interpretation (or re-reading) of Paganini's original
version. Sudden changes of dynamics which include a wide range of crescendos,
diminuendos and accents as well occur frequently throughout Vars. I and II. Var. Ill,
however, employs only one dynamic level ( f f ) throughout the entire variation.
For example, the character of Var. I is not only lighter with staccato triplets but is
also very contrapuntal in texture. It is the first time that the two pianos have independent
contrapuntal lines, and most of the time, their lines are in contrary motion (see example
14). This counterpoint continues in Var. II between both pianos (see example 15),
m-© © (3) ® ® ® © ®
I 1
II
® ® © ©
Example 14: Var. I
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nv © Q CD ® © (9 <3> ® (3> ?------M.±.i $ £ i k $ I
11
t x » a .
Example 15: Var. II
although here the connective lines move in parallel motion. There is a change in tempo
(Meno tnosso J =ca 100) and the texture becomes denser due to the thirty-second-note
chords in Piano I. As in Paganini's original theme, Lutoslawski writes out the repeat for
the first section, using contrasting higher octave registers throughout the rest of the
variation with the exception of the last measure. This heavy texture is actually increased in
Var. Ill in both piano parts with f f throughout. Here, the melody is transferred to Piano II
in the upper register, and at the same time, Piano I becomes an accompaniment. The
syncopated rhythms here will become more prominent in later variations (especially Vars.
VI, VII, and XI).
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 15
Var. I
Chromatic
Var. II
@ @ © © © ( £ ) ©
Example 16: Reductive sketches of Vars. I, II, and III (example contd.)
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Van III
m. Q
£s£ W.T. Tj 3id:
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. CHAPTER 4
VARIATIONS IV, V, AND VI
In Var. IV, Piano II retains the primary melodic role. This role shifts to Piano I in
Van V and returns to Piano II in Var. VI. Melodically, Vars. IV and VI are highly
contrapuntal. In Var. IV, the melody (played by Piano II) is supported by counterpoint in
contrary motion (played by Piano I). Also, in Var. VI, the two lines are a strict canon by
inversion (see example 17). Var. IV is in a fast tempo (J =100) and is articulated staccato.
This is the opposite of Var. Vi's slow tempo (J>=80 ) which is very lyrical in character.
r r
Example 17: Var. VI—strict canon by inversion
17
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Between these two contrapuntal movements is the chordal Var. V. The loud
dynamic level of Var. V (/and louder) stands out against the two softer variations
surrounding it. Var. I V's use of crescendos and diminuendos create a smoother dynamic
change, although the fp (m. 13), which is a sudden change of dynamics, is also employed.
In Var. VI, the dynamic level does not exceed p . Also in Var. V, a new rhythmic pattern,
, is used instead of the nearly continuous sixteenth-note motion in both Vars.
IV and VI.
Polyharmony continues to be a feature in these three variations. In Var. IV, Piano
I's arpeggios along with Piano II's melody project the tonal center of A minor. The lower
D (mm. 1-2,5-6) and lower (mm. 3-4,7-8) behave as "added notes" contradicting the
harmonic structure of the original theme (a simple alternation of tonic and dominant) (see
example 18). Piano I's right hand serves as a countermelody, embellishing Piano II's
melody in contrary motion (see example 19). Beginning in m. 9, Piano II continues the
original theme and its implied harmonies, as shown in example 20. Piano I's right hand
maintains its countermelody role, however, the left hand's accented arpeggios create
polychordal effects against Piano IPs harmony. These polychordal effects are realized in a
very contrapuntal manner (see example 20), and end with a strong tonic cadence.
Example 18: Var. IV
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1
I
Example 19: Var. IV
Example 20: Var. IV—polychordal effects in a contrapuntal manner In Var. V, the neighbor note figures and the implied harmonies of Paganini's original version are shared between the two pianos. The three upper lines of the theme are conventional (tonal), but harmonies with the bass line of Piano II asserting the key of F major (see example 21). This poly harmony becomes more intense from mm. 9-15. Here the low bass line is doubled, Piano II's right hand follows Paganini's original harmonies, but the bass line adds a series of falling fifths implying a different analysis, with each chord acting as an altered applied dominant to the next as detailed in example 22. The prominent tritones continue from Var. IV Piano I's left hand E-A& (mm. 3-4,7-8) and between the two pianos as shown in example 23. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Example 21: Var. V—melody shared by both pianos in different registers Example 22: Var. V—falling fifths and altered applied dominant chords © © © <§> © © © © © V ■*- <• n. T-T' *• / r - T ' r -1 v ' ■r.T- r .r . -r.t. Example 23: Tritones in Var. IV Repeats are written out in Vars. IV and V for different reasons. In Var. IV, it is to provide two different endings for Piano I's right hand in the high register; while the left hand remains in the same arpeggiated pattern (see example 24). In Var. V, it is for the higher register of Piano I's right hand, and the lower register in Piano II's left hand (see example 25). Also, note the similarity between the melody which begins on the second beat of m. 14 and that in mm. 7-8. Unlike mm. 7-8, in which the melody goes up, the Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 21 I Example 24: Var. IV (mm. 3-4,7-8,14-16) Example 25: Var. V (mm. 1-8) (example contd.) Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. ?? melodic figure in mm. 14-15 contrapuntal surrounds an A, which is positioned at a cadence point (see example 24). This leads to the next variation (Var. V) whose melody hovers around an E, with upper and lower neighbor tones (see example 25). Paganini's Var. VI is forte, and gives no indication of a slower tempo. However, Lutoslawski's Var. VI serves as the slow movement of the entire work. It sounds isolated from the rest of the variations because of its tempo and character. The tempo change (poco lento J*=80) and the soft and smooth legato line give it the character of a slow movement or a peaceful interlude. It is also the first time that two piano lines cross each other. In mm. 5b-10, there are hints of the whole-tone scale and modes (see example 26). Mm. 5b- 10 serve as a preparation for the whole-tone scale in the next variation. At this point, Lutoslawski's Variations depart most strongly from the controlling overall tonic, A minor. The move to E*3 (a tritone distant) reflects the continuous emphasis on tritones in the local polyharmonies but now on a grander scale. E*3 at the end is a connection to the two- measure vamp. Melodically, this variation is in parallel thirds throughout. % Example 26: Var. VI Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 23 To prepare for the next variation, Allegro molto ( J =100), Lutoslawski uses a two-measure "vamp": it consists of a chromatic figure in triplets in the right hand of Piano II against its left hand (polyharmony) (see example 27), which serves as a link between Vars. VI and VII, and it also serves as a modulation for the key of E*3 in Var. VII. The key returns to A minor later in Var. VIII. t simile Example 27: Vamp {Allegro molto J =100) Var. IV cd © @ <$ ® ® @ cia c?)(j9 Example 28: Reductive sketches of Vars. IV, V, and VI (example contd.) Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 24 Var. VI m. G — D Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. CHAPTER 5 VARIATIONS VII, VIII, IX, AND X After the slow tempo of Var. VI, Var. VII returns to a faster tempo of Allegro molto ( J =100). A two-measure vamp located between Vars. VI and VII, a very important feature, serves as preparation for Vars. VII and VIII. This triplet chromatic pattern (the right hand of piano II) against an E*3 open fifth (the left hand of Piano II) continues throughout Var. VII. In Var. VIII (piano II), it is replaced by a diatonic triplet pattern (see example 29). This feature eventually develops into a quartal pattern of alternating fourths and fifths pattern in Var. IX (see example 30). Var. VII Piano II: Chromatic Var. VIII Piano II: Diatonic W Example 29: Vars. VII and VIII 25 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 26 m f Example 30: Quartal figure in Var. IX Harmonically, Var. VII features the whole-tone scale in Piano I mm. 3 and 4. Although whole-tone segments appear earlier in the Theme mm. 9-13 Piano II and Var. Ill mm. 5-8 Piano I, they were not prominent. Piano II continues this whole-tone texture from mm. 5-12 as the bass moves from (m. 5) to (mm. 6-7) to B (mm. 8-9) to (m. 10) and to E^ (mm. 11-12) (see example 31). In mm. 9-10, as the bass returns to E*3, I 1 I 1 Example 31: Whole-tone feature in Var. VII Lutoslawski employs a chromatic pattern B-C-D^-D-E^ (see example 31). Against this whole-tone figure in Piano II, he creates a tritone relationship in Piano I, which produces a whole-tone "canon" in both pianos (mm. 5-8) (see example 32). From mm. 9-12, the melody moves back to the tonic. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Example 32: Var. VII—whole-tone canon and tritone relationships In Piano I, the first section of Var. VIII follows the original harmonic structure closely (i-V-i-V). Harmonically, in the second part, mm. 5-8, the two pianos correspond to each other closely reproducing the sequence implied by the theme. However, from m. 9 to the end, Lutoslawski begins to emphasize the tritone relationship between the two pianos and within Piano II itself (see example 33). In mm. 11-12, the chromatic figures in Piano II conflict with the whole-tone features in Piano I (see example 33). Example 33: Tritone relationships and whole-tone features in Var. VIII mm. 9-12 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 28 In Var. IX, the triplets are reduced to auxiliary note dyads (see example 30) to accompany the theme in Piano II. Harmonically, the two pianos correspond to each other in this variation. In the first section, the harmony is again a simple i-V-i- V alternation, but the jazzy syncopations and s f dynamic accents give the variation a fresh sound. In the second part mm. 5-8, the harmony falls into the auxiliary note resolution pattern. In mm. 5-6, Piano I employs, harmonically, the pitches G-D in the right hand and A-E in the left hand. The right hand combination of G-D switches to the left hand in mm. 7-8. As the left hand takes over the G-D the right hand changes to an F-C pattern (this occurs also in mm. 7-8). Two bars later, in m. 9, the right hand F-C moves to the left hand. This entire progression is heard beneath the A minor descending scale passage of Piano II. Also, in mm. 9 and 12 of Piano I, the right and left hand are exchanged, thus simultaneously supporting the chromatics of Piano II in m.I2. This chromatic scale reaches the tonic A in Var. X, which is the tritone of E*3, and begins the theme of Var. X. Also, the pitches D- A (m. 12 of Var. IX Piano I left hand) continue and expand into a pedal tone in Var. X that supports its melody in Piano II (see example 34). Example 34: Var. IX Piano I mm. 5-12 Compared to Vars. VII and VIII, Var. IX is more active in its articulation, with staccato all the way through. It also has huge dynamic changes ( sf-p), while Var. VII and VIII are more legato and softer in dynamics. The texture of Var. VII is thinner and the range is smaller, but Var. IX has the thickest texture and the highest range, while Var. VIII has the lowest range. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. In order to slow the momentum (which has been building steadily since Var. VII), the original theme (which is in Piano II) is presented in augmentation, thus doubling the length of this variation. The repeated section is written out. The accompaniment in Piano I, as mentioned earlier, is a continuation from Var. IX with the alternation of perfect intervals (fourth and fifth) throughout the entire variation. The harmony implied by the theme (Piano II) is the same as the original in A minor (i-V-i-V), but Piano I sets the pedal tones D (mm. 1-6,9-14), F (mm. 7,15-16), A and C (m. 8) against it (see example 35), again, as in earlier Variations. Example 35: Pedal tones in Var. X The second part of this variation begins in m. 17, where polychords occur. The harmony of the augmented theme (in Piano II) changes to A major (V/iv) against Piano I's left hand A minor chord alternating with an major chord, again displaying the familiar tritone relationship. The theme, in m. 20, deviates slightly from the original. The preceding four bar phrase is transposed to G in mm. 21-24. In mm. 24 the theme deviates slightly from the original as it did earlier (see example 36). From mm. 25-32, Lutoslawski changes the theme into 3 + 2 + 3 bar groups. Although the theme is changed from the original, the harmonic structure remains similar to that of the previous two phrases (mm. 17-24). The pedal tone is moved from G to F and its tritone-related B triad is in Piano I's left hand (see example 37). Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Example 36: Var. X—theme deviation and tritone relationship T.T. Example 37: Var. X—3 + 2 + 3 bar groups Dynamics gradually build up from a soft beginning, rising steadily from m. 8 to ff at the end. Piano II's theme, most of the time, stays in the high register. Piano I's accompaniment is more contrasting. From m. 24 (in Piano I), the right hand moves an octave higher, and from m. 25, the left hand pedal note moves an octave lower, reaching the highest and lowest notes in this variation. For its articulation, the theme is lyrical, but the accompanying part in Piano I is very active with accents and staccatos. The dynamics reach f f and the meter changes (4/4) for the next variation. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 31 Var. VII: m. © ® © @ ® ® 0® @ © © © r— CKramata'e. Var. VIII: Var. IX: m. © ^3. Var.X •C O j 8 --- _ J Example 38: Reductive sketches of Vars. VII, VIII, IX, and X (example contd.) Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 32 Var. X: F ffedol “A — (— X) fbJekV rf-t/ng 3nds T-T- A Pado.1 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. CHAPTER 6 VARIATIONS XI, XII, AND FINALE Thematic material in Var. XI is again a departure from Paganini's original. The high E's stand out from the melody (m. 1), but except for the arpeggiated figure in m. 2, this does not closely resemble Paganini's music. The tempo marking, Piu mosso, is faster ( J =144) than previous four variations ( J =100). The dynamic level stays loud (ff) in the first half which has a repeat sign, but it drops in the second half to allow dramatic swells. The polychords and tritone relationships continue in this variation. The composer highlights the tritone relationship in both piano parts, thus creating strong polytonal effects. Another important feature is the whole-tone scale, which was actually introduced earlier in Var. VII. This whole-tone scale is projected by triads ascending stepwise from D to G$ (m. 1). Also, it serves as a bass foundation while the tritone relationship is presented on the top (see example 39). Dense polychords occur in m. 5, above a whole-tone scale in £ I \ I _Q ±_ - M f - Example 39: Whole-tone scale and tritone relationships in Var. XI Piano II's left hand G - A - B - which turns into a five-note grouping of sixteenth notes (based on the whole-tone pattern) in m. 6 (see example 40). Mm. 7-8 are an exact repeat 33 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. of mm. 5-6, only transposed a major second lower with a 3/4 meter change for the next phrase (see example 40). The whole-tone scale continues but moves to Piano I's left hand • T. © © 8 - - (J.T.- Example 40: Var. XI mm. 5-8 against a tritone relationship in Piano II, which ends the variation with a glissando from E to A. The original theme is then stated in augmentation, in Piano II, beginning where the glissando from the previous variation ended (see example 41). © © © v>V — — v" V vk -r.f. -r.f. T.T. T-T. *------w.t. ----- Example 41: Var. XI mm. 9-12 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Before reaching Paganini's original Finale, Lutoslawski highlights the original theme for sixteen measures in what amounts to an additional variation. This theme is played by Piano II, with the repeat written out In the accompanying part in Piano I, A minor and C$ major neighboring chords alternate in triplets throughout mm. 1-2, then change to D major and major neighboring chords alternating triplets in mm. 3-4; then it repeats the same thing throughout m. 8. Simultaneously, the downbeat pedal chords, F major (m.I), D major (m.3), F major (m. 5), D major (m. 7) are sustained for two measures each (see example 42). (Jrds again) Example 42: Var. XII mm. 1-8 From m. 9, a similar structure continues. The low tonic pedal tone in Piano I is sustained in mm. 9-10, mm. 11-12, then diminishes to one measure. In m. 13, a chromatic ascent begins, reaching C in m. 15, then continuing chromatically to the dominant in m. 16. The accompaniment remains in triplets, now scattered throughout the various registers. The theme remains in Piano II but changes slightly in mm. 11-16, at first introducing only a few chromatic tones, then departing quite radically in the final bars to settle on the melodic tritone D - (see example 43). Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. resoiaKenS ^ icm' »V» d rr? * 1* ^ 'rwie Chrffmunc ascent Example 43: Var. XII mm. 9-16 In Paganini's Finale, the implied harmony is i - V/iv - iv - vii°7 (mm. 1-4), and is repeated exactly in mm. 5-8. It ends with an eight-measure cadential tonic: A major appears as a picardy third. However, in Lutoslawski's piano version, this Finale material is used in abbreviated form as a coda which remains in A minor. Figures like Paganini's arpeggios appear in Piano I, and the triplet accompaniment shifts to Piano II. The tritone A-D^ occurs prominently in mm. 17 and 19, between both pianos and within Piano II itself. The basic harmony is tonic but with a chromatic scale woven through the whole coda in Piano II (see example 44). This brief Coda provides the climax of the whole piece. A crescendo moho intensifies the already/orre dynamic level, with added sfffxn mm. 9, 11, 13, 14,21-24, and the tempo increases once again on the final page. Besides these, the glissandi in mm. 1,4-5, 8-9, and the unmeasured tremolo with fff on mm. 21-22 really reach its high point and close the piece with great excitement. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. o / Paganini's Finale: m. CD © M. iv r @ © Lutoslawski's Coda: A.ncora piu mosso co n p e a . crescendo motto K: \ crescendo motto a: : Example 44: Paganini's Finale and Lutoslawski's Coda (example contd.) Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 38 (rhmma-tlc. ) Var. XI: I. Crd A 3 ^ ) -*• V«r-2L W.T.i. + Cc B £ raS#A*) = Ca»«plefa. AH »C^n»ni«S‘c notes Example 45: Reductive sketches of Vars. XI and XII (example contd.) Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 39 Var. XII: w . (D Ancenx. PiiunetfO Scort«T"npyataa in d fln w it Rd»t -bone. © © © © J Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. CHAPTER 7 CONCLUSION As mentioned previously, Witold Lutoslawski's Variations on a Theme by Paganini for Two Pianos, adheres closely to Paganini's version. However, Lutoslawski's work is no mere transcription. His addition of supporting harmonies, imitative and free countermelodies, and rhythmical accompaniments make this setting a different piece entirely, as shown earlier in the detailed analysis. This essay has provided an in-depth discussion of Lutoslawski's use of harmony, counterpoint, and rhythm/texture and other aspects as well. The implied harmony of Paganini’s original theme was the source for Lutoslawski's two piano version, and from this theme Lutoslawski derived visions for later development Lutoslawski accompanies the opening theme with polyharmony in both piano parts. From this nucleus grows an array of polychords and bitonality that are presented in many fashions throughout the entire composition. Also, the sequences of falling thirds and rising steps in the accompaniment to the theme recur later in the piece. The sequence of falling thirds develops into rising thirds in Vars. Ill, X, and XII, foreshadowing the tonal departures to and D found later in Var. IV. The emphasis on falling fifths along with sequences of a dominant 7-#5 is of particular interest in Vars. V and VIII. Also, the use of parallel motion--particularly parallel fifths—occurs in the harmonization of the theme and is employed throughout the entire piece. In the opening theme, Lutoslawski introduces important tritone relationships which are prominent features in Vars. I, II, III, and IV. These tritone relationships create polychords in both pianos, and foreshadow the large- scale departure to in Var. VII and the Coda, thus projecting a tritone relationship of A- E*3. This tritone relationship builds intensely from Var. VII, and is thus interwoven with whole-tone harmony in Vars. X and XI. This whole-tone harmony is first officially 40 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 41 introduced in Var. VII, but it is obliguely suggested in the opening theme and Vars. Ill and VI. The tritone relationships and whole-tone harmony climax simultaneously in Var. XI. Lutoslawski's counterpoint is highly structured. He achieves an effective balance through the use of parallelism and contrary motion in the melodic lines. In Var. VI, he employs a strict canon by inversion and gradually builds adding a triplet rhythm in Var. VII and quartai dyads in Var. IX. These factors, along with others, gradually create greater tension as well as thicker texture. Since Lutoslawski employs Paganini's original theme and follows its model faithfully, some features of the rhythmic structure are similar to the original. However, Lutoslawski's incorporation of displacement and syncopation creates complex rhythmic details. In an effort to express mood and color, Lutoslawski has created an untraditional type of modulation in Vars. V, VI, and VII. Although it presents aspects of a bitonal setting, it most assuredly offers the listener a modulating flavor. The modality in Var. VI, for example, exemplifies a strong sense of transition. Lutoslawski also achieves color and mood in the variations by altering the melodic material from its original form. Examples of these alterations appear in such places as Var. IV, mm. 7-8, 14-16, and Var. XI, m. 3. In Var. XII, he not only substitutes the original opening theme for the original Var. XII theme, but he also lowers some of the pitches a half step (examples: A*3 instead of A- natural in m. 11, instead of E-natural in m. 12, and instead of B-natural in m. 14). In addition to these changes, Lutoslawski also employs added-note chords throughout the entire work. Texture and tension are increased gradually with dynamics and other features, bringing the piece to its final climax. The graph below diagrams the overall shape and climax of the piece: I II III IV V VI VII VIII IX X XI XII Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 42 In the graph, one can easily see how the materials Lutoslawski employed relate as a group. The light contrapuntal texture from Var. I gradually intensifies, leading into the fortissimo chordal Var. III. Despite the continuation of counterpoint in Var. IV, the dynamics diminish to create a second section that builds up through Var. V. Var. VI brings a drastic change in dynamics which totally change the character of the variation, making it extremely contrapuntal, slow in tempo and legato in style. This movement, unlike the others, functions to relieve tension and create a sense of peace. Returning to a faster tempo and a vivacious character, a new section begins with Var. VII. Lutoslawski uses a two- measure vamp to introduce new material, consisting of a triplet rhythm which continues throughout Var. VIII. This figure is reduced to neighboring note dyads in Vars. IX and X, but their rhythm remains propulsive. The dynamics continue to be somewhat soft in Var. IX, but there is a gradual crescendo leading into and continuing throughout Vars. X and XI. The dynamics in Var. XI are intensified even more by the whole-tone scale and tritone relationships. The glissando at the end of Var. XI brings out the recurring theme in augmented form which Lutoslawski inserts to relax the tension. Finally, Paganini's Finale appears as a Coda thus creates an exciting conclusion. In terms of the compositional procedure, bitonality, tritone relationships, whole- tone scales, chromaticism, counterpoint, texture, register, dynamics, rhythm, and articulation are all important factors and are interwoven throughout the composition. Lutoslawski's set of variations, like the free variation sets by Brahms and Rakhmaninov on this famous theme, has achieved its place in the duo-piano repertoire.4 4 Steven Stucky, Lutoslawski and His Music. (London; Cambridge University Press, 1981), 16-17. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. BIBLIOGRAPHY Austin, William W., Music In The 20th Centurv. from Debussv through Stravinsky. W. W. Norton &Company, Inc., New York, 1966. AWL. Program note in Witold Lutoslawski: Variations On A Theme Bv Paganini. Masters Music Publications, Inc., Boca Raton, Florida, January, 1993. Cope, David, New Directions in Music. Sixth Edition. Brown & Benchmark Publishers, Madison, Wisconsin, 1993. Griffiths, Paul, Modem Music. The Avant Garde Since 1945. George Braziller, Inc., New York, 1981. Kaczynski, Tadeusz. Program note of “Witold Lutoslawski’s Variations On A Theme By Paganini” in PNCD045, Polskie Nagrania Recording, Poland, 1989. Machlis, Joseph, Introduction to Contemporary Music. Second Edition. W. W. Norton & Company, New York. London, 1979. Nordwall, Ove., ed., Lutoslawskv. Edition Wilhelm Hansen Stockholm, 1968. Stuckenschmidt, H. H., Twentieth Centurv Music. World University Library, McGraw- Hill Book Company, New York, 1969. Stuckv, Steven, Lutoslawski and His Music. Cambridge University Press, London, 1981. ______. "The Music of Witold Lutoslawski: A Style-Critical Survey." Ph.D. dissertation, Cornell University, May, 1978. 43 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. PART II AN ORIGINAL COMPOSITION "CONCERTO FOR TWO PIANOS AND ORCHESTRA" A. INSTRUMENTATION 2 Flutes (FI) 2 Percussionists (Perc): 1 Piccolo (Picc) Perc 1: Wood Block (WB) (Flute 2 interchanges with Piccolo) Wind Chimes (WC) 2 Oboes (Ob) Triangle (Tri) 2 Clarinets in (Cl) Suspended Cymbal (SC) 2 Bassoons (Bsn) Concussion Block (CB) 2 Horns in F (Hm) Tambourine (Tamb) 2 Trumpets in C (Tpt) Perc 2: Bass Drum (BD) 2 Trombones (Tbn) Triangle (Tri) 1 Tuba(Tba) Wind Chimes (WC) 4 Timpani (Timp) Wood Block (WB) 2 Pianos (Rio) Suspended Cymbal (SC) Violin I (Vln I) Concussion Block (CB) Violin II (Vln II) Viola (Via) Cello (VC) Double Bass (DB) NOTE: 1. The score is in C. 2. There is no pause between Variations in the third movement. B. FOLKTUNES USED: I 44 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. CONCERTO ■ferTOOPIANOS^i ORCHESTRA S c o r e , in f , A jqgio 6J=6 Clarinet B a sso o n * "Trumpet From bone I tmyas) i fercussion ,;j z A A n a io c L ^ > n a n o X RanO H ArWifl Us&m V iolin X V iolin U V io la . Daiole Bass 45 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Vln X Vln H. Via. VC D8 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 47 Bsn H r n TpC Ibn Rio x VC DB Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 48 ^)Vajrccc/»r«<*> Aiutcz. mas Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 49 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 50 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 51 1*0 FI l• mj | t £ Cb E n r -4k. ii Cl s to r Bsn Hm Tpc Tbn W f7g— . 1J-- ' — * | a ” lr0 ______f h.L , t fere t*-" -K [ k ^ j~- y 1 y‘~' - _ _ L ." I k?. to--- —----- Bio I V/n I Vr\3t Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 52 R Cb Cl Bsn I Hrn - t o - ^ . . >J* -----' r Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 53 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 54 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 56 Pi I { 1 - r * | I tiros, I -p- . 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Further reproduction prohibited without permission. 153 SB *.».».«»f i------F< *' I'-... " ' I/ ^ 1 . 1 1 1 ! 1 1 t^-1 ‘ = •v at ob r I 1 2( | -5------a 1 -0 _ . 1 2 {«> I" Kf.y,., v . Bsn 11 ^ ... -vi.- 2t (( 4------Hn\ J 1 I | t) ■ cj—1 « ? ■ •-«. Ttn ') 1 i I i 1 21 - 1 ' i i Tba — i______— i------j_____ r■-i ■ j------=■ - p----- rH----- Tr----- = r i / -TtJrb 1 ------1 —‘"X J 1 lXj---f ^ 3^ » ‘“'i T Hr-1 + - r 1 + ' 1 v 1 + j - r -h 4 l&£vl£ Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 154 Vlv"i 3E. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 155 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Vfcr.Z P.\* Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 159 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 161 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission 162 mo X Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 163 m v •&' S7?f*t *&- Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. VITA Ling Chao Chen, a native of Taiwan, was bom in the city of Kaohsiung in 1959. After the elementary school and private studio teaching, Chen came to United States in 1981 to advance her studies in Western music. She completed both bachelor of music in 1985 and master of music in 1987, in piano performance at Pittsburg State University. The major professors included John MacKay and Susan Machant. In 1988, Chen completed a master of music in Theory/composition with Richard Cook as well as a Piano Technology Certificate. In 1991, she received an educational specialist,a post master degree in Community College and Higher Education at Pittsburg State University, Pittsburg, Kansas. Upon graduation from PSU, Chen furthered her studies at Louisiana State University under the professorship of Dinos Constantinides, where she will receive a doctor of musical arts degree in December 1996. Chen is a member of the following professional organizations and honor society: American Music Center, Society of Composer, International Alliance for Women in Music, National Association of Composers USA, Piano Technicians Guild, and Phi Kappa Phi Honor Society. Her music has been performed in Pittsburg, Kansas; Baton Rouge, Louisiana; Houston, Texas; as well as her native Taiwan. She has received commissions by the following: the Houston Chinese Adult Choir, Houston Chinese Youth Orchestra, Baton Rouge Children’s Choir (composer in residence 1995-96), and with Paul Tsai, who is the most famous operatic singer from Taiwan. She has also received commissions from numerous performers. As a music teacher, Chen has maintained a studio of teaching piano, composition and theory. A member of the Piano Technicians Guild, she is also an experienced piano technician in piano tuning, repairing and rebuilding. 164 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. DOCTORAL EXAMINATION AND DISSERTATION REPORT Candidate: Ling Chao Chen Major Field: Music Title of Dissertation: An Analysis of Witold Lutoslawski's "Variations on a Theme by Paganini" for Two Pianos and An Original Composition "Concerto for Two Pianos and Orchestra" Approved: Major Professor and Chairman Graduate School EXAMINING COMMITTEE: Date of Bxamination: July 24, 1996 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.