Nyi's Piano Quintet in E-Flat Minor, Op. 26 (Second Movement) Mihoko Mimi Noda

Home , Balint Vazsonyi, Hans von Dohnanyi

Florida State University Libraries

Electronic Theses, Treatises and Dissertations The Graduate School

2010 The Unfinished Fragment of Ernst Von Dohnányi's Piano Quintet in E-Flat Minor, Op. 26 (Second Movement) Mihoko Mimi Noda

Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY

COLLEGE OF MUSIC

THE UNFINISHED FRAGMENT OF ERNST VON DOHNÁNYI‘S

PIANO QUINTET IN E-FLAT MINOR, OP. 26 (SECOND MOVEMENT)

MIHOKO ―MIMI‖ NODA

A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music

The members of the committee approve the treatise of Mihoko ―Mimi‖ Noda defended on April 29, 2010.

______Carolyn Bridger Professor Directing Treatise

______Evan Jones University Representative

______Timothy Hoekman Committee Member

The Graduate School has verified and approved the above-named committee members.

Dedicated to

All of the people in the world who respect Maestro Dohnányi

iii

ACKNOWLEDGEMENTS

My admiration goes to Dr. Carolyn Bridger, who spent many hours guiding me through my doctoral studies. I would also like to thank Dr. Timothy Hoekman and Dr. Evan Jones. Their encouragement and helpful suggestions are greatly appreciated. I would like to thank Dr. James A. Grymes, for his assistance and inspiration. Without his detailed Dohnányi research and publications, I would not have been able to finish this treatise. I also would like to thank Dr. Sean McGlynn who generously gave me a tour of his house (where Dohnányi used to live), and allowed me to use some of the items from the estate of his step-grandfather, Ernst von Dohnányi, in my treatise. My appreciation goes to my colleagues at Albany State University, and all of my friends in the city of Albany, Georgia, who gave me more confidence as I continued my studies. I am grateful to the staff of the Warren D. Allen Music Library at FSU for their generosity and support. To my children, Megumi and Susumu, I offer my love and gratitude for their continuing patience and understanding. My sisters, Yuko Sato and Chikako Ledbetter, and my brother-in-law Mark Ledbetter, all helped me in so many ways and cheered me on in my studies. It is my mother, Chizu Sato, who provided the wonderful musical home environment that inspired me to pursue music as a lifetime commitment. Words cannot possibly express the depth of my love and appreciation for all she has meant to me.

TABLE OF CONTENTS

List of Tables ...... vi List of Musical Examples ...... vii Abstract ...... ix CHAPTERS 1. INTRODUCTION ...... 1 2. DOHNÁNYI‘S BIOGRAPHY ...... 4 3. DOHNÁNYI‘S WORKS ...... 10 4. MANUSCRIPT FRAGMENT ...... 18 5. THEMATICALLY SIMILAR WORKS ...... 36 APPENDICES A. Formal Outline of Discarded Fragment (Piano Quintet, Op. 26, 2nd mvt.) ..... 50 B. Printed Version of Discarded Fragment (Piano Quintet, Op. 26, 2nd mvt.) ..... 52 C. Copyright permission ...... 66 D. Copyright permission ...... 68 BIBLIOGRAPHY ...... 70 BIOGRAPHICAL SKETCH ...... 73

LIST OF TABLES

1. Dohnányi‘s Entire Works ...... 11 2. Dohnányi‘s Juvenile Works: Chronology ...... 13 3. Dohnányi‘s Chamber Works: Chronology ...... 16

LIST OF MUSICAL EXAMPLES

4.1a. Fragment, opening and two-measure dominant resolution by piano (mm. 1-4) ...... 19 4.1b. Fragment, cadential extension (mm. 21-23) and two-measure dominant resolution by piano (mm. 24-25) ...... 20 4.1c. Fragment, cadential extension (mm. 68-70) and two-measure dominant resolution by piano (mm. 71-73) ...... 20 4.2. Fragment, march-like rhythmic pattern by violin 2 (opening) ...... 21 4.3. Fragment, the first statement (Theme I) by piano (mm. 7-23) ...... 22 4.4. Fragment, beginning of the second statement (violin 1 and viola) and Theme II by piano (mm. 27-28) ...... 24 4.5. Fragment, cadential gesture (pianostringspiano mm. 43-46) ...... 26 4.6. Fragment, beginning of the third statement, Theme II, III, and new melodic material (mm. 49-54) ...... 27 4.7. Fragment, brief march-like rhythm in the third statement by violin 2 (mm. 56-57) ...... 28 4.8. Fragment, climactic part, cadential gesture and extension in the third statement (mm. 65-69) ...... 29 4.9. Fragment, Theme IV and new melodic material by violin 1 in the fourth statement (mm. 82-105) ...... 30 4.10. Fragment, the fifth statement and the last part of the manuscript (mm. 81-105) ..... 32 5.1a. Fragment, main theme (Theme I) a and the beginning of a’ (mm. 7-19) ...... 38 5.1b. Main theme in Cello Sonata, Op. 8, 3rd mvt. (mm. 2-18) ...... 38 5.2. Opening piano part of Cello Sonata, Op. 8, 3rd mvt. (mm. 1-6) ...... 39 5.3. The melodic material in the last part of Cello Sonata, Op. 8, 3rd mvt. and the beginning of the 4th mvt. (mm. 42-46; m. 1) ...... 40 5.4. Variation VIII of Cello Sonata, Op. 8, 4th mvt. (mm. 1-10) ...... 41 5.5a. Fragment, main theme (Theme I) a and the beginning of a’ (mm. 7-19) ...... 43 5.5b. Main theme of Piano Quintet, Op. 26, 3rd mvt. (mm. 1-17) ...... 43

vii

5.6. Beginning of the chorale-like part of Piano Quintet, Op. 26, 3rd mvt. (mm. 47-51) ...... 44 5.7. Funeral march in Sextet, Op. 37, 2nd mvt. by piano (mm.16-18) ...... 47 5.8a. Fragment, main theme (Theme I) a and the beginning of a’ (mm. 7-19) ...... 47 5.8b. Theme II in Sextet, Op. 37, 2nd mvt. by horn (mm. 18-25) ...... 47

viii

ABSTRACT

Ernst von Dohnányi (1877-1960), Hungarian composer, pianist and conductor, was born in Pozsnoy (now Bratislava), Hungary. Dohnányi wrote a total of thirty-eight published and unpublished chamber works including four piano quintets, only two of which are published. The first published Piano Quintet in C Minor, Op. 1, was written when Dohnányi was only seventeen years old, and it was praised by Johannes Brahms. Dohnányi‘s second Piano Quintet in E-flat Minor, Op. 26, was published in 1921 (the exact date of composition is unknown), but the manuscript has since been lost. The only remaining part of the manuscript is an unfinished fragment of the second movement that has been stored in the Special Collections room in the Warren D. Allen Music Library at Florida State University. The manuscript fragment includes the last page of the first movement and some 100 measures of an alternate second movement, titled Andante, alla marcia funebre. Throughout his life, Dohnányi seemed to be almost possessed by the main melodic line that he used in the fragment. This treatise presents an analysis of the unfinished fragment of the Op. 26 piano quintet and a comparison of the fragment with several other similar works.

CHAPTER 1

Introduction

Ernst von Dohnányi Archives

The Warren D. Allen Music Library at Florida State University (FSU; Tallahassee, Florida) is one of three main libraries in the world that preserve manuscripts and memorabilia of Ernst von Dohnányi (1877-1960), Hungarian composer, pianist, conductor, and teacher. Although this library owns a substantial portion of the materials, the composer‘s estate owns the major portion of the collection; the Allen Music Library houses it in the Special Collections area. The remaining two libraries that hold Dohnányi collections are the British Library in London, England, and the National Széchényi Library in Budapest, Hungary. Because Dohnányi had toured England many times, he was well known in that country as pianist, composer, and conductor. A year following her husband‘s death, Mrs. Ilona Dohnányi began sending works from her husband‘s collection to the British Library one- by-one as donations. Consequently, the British Library holds about half of Dohnányi‘s manuscripts. The National Széchényi Library holds about thirty percent of the manuscripts. The estate eventually decided to house the remaining materials locally at FSU. (Ernst von Dohnányi was on the faculty at FSU from 1949 until his death.) The collection of Dohnányi‘s works is one of the major Special Collections in the Allen Music Library at FSU. In addition to the Ernst von Dohnányi Collection, the library houses the Kilenyi-Dohnányi Collection which is library-owned. The family of Edward Kilenyi, Jr. (1910-2000),1 Hungarian-American pianist, donated all items in the Kilenyi-Dohnányi Collection. Kilenyi was the son of Edward Kilenyi, Sr. (1884-1958), a composer known primarily as a teacher of George Gershwin (1898-1937). Like

1 In this treatise, ―Kilenyi‖ will refer to Edward Kilenyi, Jr.

Dohnányi, Kilenyi came to FSU after World War II, and served on the School of Music faculty, beginning in 1953. The families of Dohnányi and Kilenyi have been acquainted with one another since Kilenyi‘s youth. During World War II, Kilenyi served in the military as a Music Control Officer in Europe. While Kilenyi used his position in the American military at the end of World War II to help restore Dohnányi‘s reputation in Europe, Dohnányi in turn used his position and influence on the FSU faculty to help bring Kilenyi to FSU. The Ernst von Dohnányi Collection at the Allen Music Library came to FSU by way of a loan agreement between Dr. Sean Ernst McGlynn, step-grandson of Dohnányi, and FSU. The Kilenyi-Dohnányi Collection was brought to FSU by noted Dohnányi scholar Dr. James Grymes directly from the Kilenyi estate in 2003. The Kilenyi-Dohnányi Collection and the Ernst von Dohnányi Collection have been organized by prominent Dohnányi scholars Dr. Deborah Kiszely-Papp and Dr. James A. Grymes. Future scholars will have to examine both collections more thoroughly, however. The fragment of the second movement of the Op. 26 piano quintet, the topic of this treatise, was found in the Kilenyi-Dohnányi Collection.

Fragment

The Andante fragment studied here was found in the Special Collections room at the Allen Music Library. It was in a large, white, acid-free envelope in the Kilenyi- Dohnányi Collection and on the envelope was a note written by Deborah Kiszely-Papp:

Piano Quintet in e-flat minor, Op. 26, autograph manuscript fragment: end of I. movement and incomplete, discarded II. movement laballed [sic] ‗Andante, alla marcia funebre‘.

The majority of manuscripts in the Kilenyi-Dohnányi Collection are sketches and photocopies of original manuscripts. The only original manuscripts in the collections are Six Pieces for Piano, Op. 41; Fugue for One Advanced Left Hand or for Two

Unadvanced Hands; the Hungarian text of his symphonic cantata Cantus vitae, Op. 38;2 and the aforementioned incomplete Andante fragment. The fragment is in excellent condition and written on good quality staff paper sized approximately 28 cm. x 33 cm.; it has twenty staves. The first page of the fragment has a page number, 17, and the material on that page consists of the end of the first movement of the Piano Quintet, Op. 26. The Andante starts on the next page, which is numbered 18. The large Roman numeral ―II‖ on the top center of the second page implies that it was intended to be a second movement. Next to the Roman numeral is the indication Andante; alla marcia funebre (walking tempo; like a funeral march). Continuing forward, each page contains three systems, with six staves per system. Each system is in standard piano quintet format: the top four staves are the first violin, second violin, viola, and cello lines; the bottom two staves of the system comprise the bracketed piano part. Each system has four or five handwritten vertical measure lines. The page numbering continues through page 24, where the fragment ends. The ink is still very clear, as though it could have been written much more recently. The movement starts with three flats in the key signature. It starts out sounding very much like a funeral march, dark and heavy. On page 23, however, the key signature changes abruptly to E major, and the piece takes on a lighter, lyrical character. At this double bar, there is a marking of Più animato, con molto sentiment (more animated, with very much emotion). This second section of the Andante continues for approximately 24 measures, where the fragment ends. The fragment does not in any way reflect the second movement of the published Piano Quintet, Op. 26.3 The following chapters will present an analysis of the unfinished fragment of the Op. 26 piano quintet and a comparison of the fragment with several other similar works.

2 James A. Grymes, Ernst von Dohnányi, A Bio-Bibliography (Westport, CT: Greenwood Press 2001), 62. 3 The second movement of the published piece is an Intermezzo.

CHAPTER 2

Dohnányi’s Biography

Childhood

Ernst von Dohnányi was born on July 27, 1877 in Pozsony, Hungary, then the country‘s second largest city after Budapest. After World War I, when Hungary lost part of its territory due to the Treaty of Trianon in 1920, Pozsony became a part of Slovakia. Dohnányi was born into a very musical family. His father, Frederick von Dohnányi, by profession was a mathematics and physics teacher at the Royal Catholic Gymnasium. Frederick, however, was also an excellent amateur cellist,4 and his wife, Ottilia, played the piano. Their daughter Mitzi, Ernst‘s younger sister, also studied piano. The elder Dohnányi taught Ernst to play the piano when he was six years old, and at age seven, he learned to play violin as well. At age eight, he and his sister started taking piano and organ lessons with Charles Forstner, the organist of the Pozsony Cathedral. Forstner also taught Dohnányi the basic elements of music theory.5 After passing an examination at the age of nine, Dohnányi enrolled in the Gymnasium where his father was teaching. His enrollment in the Gymnasium at that young age was very rare because he had not yet finished the required four years of elementary study.6 He graduated from the Gymnasium at fifteen.

National Hungarian Royal Academy of Music

At the age of sixteen, Dohnányi enrolled in the National Hungarian Royal

4 Alan Walker, ―Ernst von Dohnányi,‖ in Perspectives on Ernst von Dohnányi, ed. James A. Grymes, Bio-Bibliography (Oxford: Scarecrow Press, Inc., 2005), 3. 5 Viktor Papp, ―Ernst von Dohnányi: Portrait,‖ in Perspectives on Ernst von Dohnányi, ed. James A. Grymes (Oxford: Scarecrow Press, Inc., 2005), 29. 6 Ilona von Dohnányi, Ernst von Dohnányi, ed. James A. Grymes (Bloomington: Indiana University Press, 2002), 7.

Academy7 in Budapest. At the Academy he studied composition with Hans Koessler,8 and piano with István Thomán.9 In 1895 he composed his Piano Quintet in C Minor, Op. 1. Koessler‘s friend Johannes Brahms (1833-1897) praised the work. Because of this honor, Dohnányi was immediately recognized as a young musician with a promising future. After graduating from the Academy in 1897, Dohnányi gave concerts in Berlin, Vienna, London, and other cities in England, Ireland, and Scotland, establishing himself as a popular young pianist in Europe. He was also gaining wide acclaim as a composer. Dohnányi was awarded the Bösendorfer Prize in Vienna in 1899 for his Piano Concerto in E Minor, Op. 5.10 In 1900 Dohnányi also expanded his tour to major cities in the United States, beginning with his Carnegie Hall debut in March of that year, performing with the Boston Symphony Orchestra. His tour program also included many of his own compositions. Dohnányi became an internationally renowned pianist and composer. As he was becoming more famous, Dohnányi was invited by his friend, violin virtuoso Joseph Joachim (1831-1907), to teach at the Royal Academy of Music in Berlin in 1905. Dohnányi lived in Germany until 1915, but returned to Hungary during World War I to serve in the Hungarian armed forces.11 After coming back to Hungary, Dohnányi started teaching in Budapest at his alma mater, the Liszt Academy, in 1916. The years following Dohnányi‘s return to Budapest from Berlin were extremely productive years. One year, he performed more than 120 concerts, either as conductor or pianist. Bartók remarked, ―Musical life in

7 Later renamed the Franz Liszt Academy of Music in 1907. 8 Hans Koessler (1853-1926) , German composer, cousin of Max Reger (1873-1916). 9 István Thomán (1862-1940), Hungarian pianist and composer, student of Liszt (1811-1886), teacher of Béla Bartók (1881-1945) and Fritz Reiner (1888-1963). 10 Bösendorfer, an Austrian piano manufacturer. Ignaz Bösendorfer (1794-1859), started his own piano manufacturing business in 1828. The company grew rapidly after endorsement from Liszt. Ludwig Bösendorfer (1835-1919), Ignaz‘s son, was known as a charitable person for his donations of pianos to schools and gifted young pianists. The Bösendorfer Prize was established to commemorate the manufacturing firm‘s seventieth anniversary. Seventy-five contestants entered with their piano concertos. Young Dohnányi was chosen as the winner by the audience when the final three concertos were performed by contestants. 11 Keith Alex DeFoor, ―The Symphonies of Ernst Dohnányi,‖ Ph.D. diss. (Florida State University, 1991), 3.

Budapest today may be summed up in one name – Dohnányi.‖ 12 He was considered the most brilliant leader of the Hungarian musical world during this time, and there was no predicting the future decline of his reputation. Dohnányi became the director of the Liszt Academy in 1919. In the same year, he was also elected to the position of president and conductor of the Budapest Philharmonic Society.13 Shortly after his appointment, Dohnányi was removed from the directorship of the Academy, and it was transferred to Jenő Hubay14 because Dohnányi supported Zoltan Kodály15 and other professors whom the Academy had suspended.16 After assuming his new position, Hubay asked Dohnányi to remain in the Academy as a piano professor. However, Dohnányi refused, choosing to concentrate on performing and composing instead of teaching.

The Difficult Years

After World War I in 1918, the Austro-Hungarian double monarchy disintegrated. Hungary lost two-thirds of its territory and one-third of its population by the Treaty of Trianon. This began a period of hardship for Hungary, and a difficult period for Dohnányi as well. In 1931 Dohnányi became Music Director of the Hungarian Broadcasting Society and, simultaneously, conductor of the Hungarian Radio Symphony Orchestra. Because Dohnányi‘s reputation was growing and he was becoming powerful in Hungary, he had many enemies and was singled out for criticism because of professional jealousy.17 He

12 Grymes, Bio-Bibliography, 5. 13 Hungary‘s oldest professional orchestra. The Budapest Philharmonic Society‘s first concert took place in 1853. Dohnányi introduced music of Bartók and Kodály, and kept the position of conductor until 1944; the orchestra disbanded when he left Hungary. The orchestra was not revived until 1960. 14 Jenő Hubay (1858-1937), violinist, studied with Joseph Joachim and was a friend of Liszt. Hubay served as the director of the Liszt Academy of Music from 1919 to 1934. His students included Joseph Szigeti (1892-1973). 15 Zoltan Kodály (1882-1967) was Secretary to the Director at Liszt Academy of Music. He studied composition with Dohnányi when he was at the Liszt Academy. 16 Grymes, Bio-Bibliography, 5. 17 Grymes, Bio-Bibliography, 6.

also became the director of the Academy for the second time in 1934. Dohnányi could not possibly have imagined that the musical activities in which he was involved in the 1930s would later cause his downfall. Even though Dohnányi fled the Nazi regime that had its hold on Hungary, because of his prior position of prestige among the musical and political elite of the time, he was often associated with Nazism and accused of complicitous activities. A letter from Andrew Sík (Minister of Hungary, Legation of the Republic of Hungary in Washington, D. C.) to the chair of the Musicians Chapter of the American Veterans Committee, Leon Goldstein, in New York in 1949 refers to those years.18

Dohnányi was the first conductor in 1939 of the Turul Orchestra. ―Turul‖ was the organization of the Hungarian Nazi University students. Dohnányi‘s compositions were played widely and with favor throughout Germany and he personally made a concert tour of Nazi Germany. Dohnányi is fully considered a Nazi collaborator in Hungary.

By World War II, Hungary was completely occupied by the Nazis, who had already controlled the country for some time. The Nazis‘ power extended not only to politics, but also to the music world there. During that period Dohnányi became increasingly more problematic for the Nazis because of his refusal to fire Jewish orchestra members and reject Jewish musicians. In 1944 Dohnányi left Hungary with Ilona Zachár, later to be his third wife, her two children, and their servant.19 Eventually Dohnányi and his family settled in a small village in the mountains of northern Austria, Neukirchen-am-Walde. The next year, Dohnányi learned that his first son, Hans von Dohnányi, who remained in Berlin with Dohnányi‘s first wife, was arrested by the Nazis and tortured to death.20 His second son, Matthew von Dohnányi, was killed by the Russian army in the same year.21

18 Andrew Sík to Leon Goldstein, July 5, 1949. The Ernst von Dohnányi Collection, Florida State University. 19 Ilona von Dohnányi, 126. 20 Elza Galafrés, Lives…Loves…Losses (Vancouver: Versatile Publishing Co. Ltd., 1973), 404. 21 Ibid.

As early as 1945, just after World War II, when Hungary was occupied by the Soviet Union, the British Broadcasting Corporation (BBC), the most trusted news source in the world, reported that Dohnányi had been accused of assisting the Nazis by surrendering his fellow musicians to them.22 Two months later, this statement was proven false by the Hungarian Minister of Justice, who confirmed that Dohnányi had not been accused of any such actions. During the years between 1945 and 1948, Dohnányi was in constant search of a permanent home for his new family and himself. Dohnányi applied to the Home Office of England for permanent residency, as he wished to settle in that country. Though the office accepted Dohnányi, it refused Ilona and her two children because Dohnányi and Ilona were not married at the time. This led him to lose all desire to live in England.23 After staying for seven months in Argentina in 1948, Dohnányi and his family came to the United States, in part due to the efforts of his former student, Hungarian- American pianist Edward Kilenyi, who was also an officer in the United States Army. Dohnányi would reside in the U.S. for the rest of his life.

In the United States

In 1949 Dohnányi, at the age of seventy-two, began teaching on the piano faculty at the School of Music at Florida State University (FSU). Despite his advanced age, he continued actively performing for the rest of his life. A recording of a live performance in 1951 of Dohnányi playing his Piano Quintet Op. 1 with members of the FSU string faculty is in the Special Collections room at Allen Music Library. At that time, he was seventy-four years old and he was still able to play technically challenging passages with immense dexterity and clarity. In 1960 Dohnányi passed away while in New York for a recording session. Though he had earned the reputation of an eminent scholar, composer, pianist and teacher at Florida State, his reputation in Hungary had not recovered after his having been treated

22 Walker, 13. 23 William Waterhouse, ―Dohnányi and Great Britain,‖ in Perspectives on Ernst von Dohnányi, ed. James A. Grymes (Oxford: Scarecrow Press, Inc., 2005), 64-65.

8 as a war criminal in Hungary.24 In 1968, however, ―Dohnányi‘s name was finally removed from the blacklist in Eastern Europe.‖25 Thirty years after his death, in 1990, the Hungarian government recognized Dohnányi‘s remarkable career by awarding him the Kossuth Prize, the highest honor given to one of its citizens.26 Today Dohnányi is considered to have been one of the greatest Hungarian composers, pianists, conductors, and teachers since Franz Liszt (1811-1886). His music enjoys growing appeal internationally, especially in his homeland.

24 Grymes, Bio-Bibliography, 10. 25 Ibid. 26 Ibid.

CHAPTER 3

Dohnányi’s Works

Entire Works

According to Grymes‘s Ernst von Dohnányi: A Bio-Bibliography, Dohnányi composed approximately two hundred works during his lifetime. The genres are broad and varied (Table 3.1). Dohnányi gave opus numbers to only forty-eight of his works and some of these, which have been arranged into different settings from his original scores, share the same opus numbers. His Op. 1, a piano quintet written in 1895 when Dohnányi was a student at the National Hungarian Royal Academy of Music in Budapest, is one of Dohnányi‘s most well known pieces. He dedicated the quintet to his teacher, Hans Koessler. Since Koessler was friends with Brahms, the proud teacher showed the work to the famous composer who remarked, ―I could not have written it better myself.‖27 Brahms even arranged a public performance of the work with Dohnányi at the piano. Both the quintet and the performance were highly acclaimed.28 Dohnányi‘s last composition that has an opus number, Op. 48, No. 2, is an unaccompanied piece for solo flute titled Passacaglia.29 The dedicatee was Ellie Baker, daughter of Dr. John Calhoun Baker, president of Ohio University, with whom Dohnányi had a close friendship. A year after he wrote Passacaglia, he died. Dohnányi had finished Tägliche Fingerübungen für fortgeschrittene Pianisten (Daily Finger Exercises for Advanced Pianists) in January of 1960, just one month before his death. This was actually the final work in his oeuvre, although it has no opus number.

27 Viktor Papp, 32. 28 Ilona von Dohnányi, 20. 29 Veronika Kusz. ―‗Pure Music?‘ Dohnányi‘s Passacaglia for Solo Flute.‖ Studia Musicologia, Vol. 48 (Budapest: Akademiai Kiadó, 2007), 79.

Table 3.1 Dohnányi‘s Complete Works30 Genre Instruments and Category Number of works Total Juvenile Piano Solo 52 30 More than one piano 5 Arrangement 7 Pedagogical work 3 Editorial work 4 Organ 1 1 Chamber music Piano & chamber ensemble 6 2 String ensemble 11 7 Solo instrument & piano 17 11 Two violins 1 Woodwind or brass 2 ensemble Unaccompanied Solo flute 1 Orchestral work Symphony 3 1 Suite 2 Overture 3 Character piece 4 Arrangement 2 Concerto Piano 3 Violin 2 Cello 1 Harp 1 Cadenza31 7 Stage work Opera 5 1 Pantomime 1 Melodrama 1 Ballet 2 Choral work 19 8 Song With piano accompaniment 21 12 With more than one 4 2 instrument

30 The information in this table is from James A. Grymes, Ernst von Dohnányi, A Bio- Bibliography (Westport, CT: Greenwood Press, 2001), 12-69. 31 This category includes cadenzas for all of Mozart‘s Piano Concertos (totaling 27) as one set. Cadenzas for Beethoven‘s Piano Concerti Nos. 1, 2, and 3 are also counted as one set.

Juvenile Works

Dohnányi‘s juvenile works consist of more than seventy compositions32 (Table 3.2). These works were written during the years 1884 through 1894. They already show a variety of genres, including songs, chamber music, and theatrical music, as well as compositions for solo piano and for orchestra. Dohnányi‘s juvenile works do not have opus numbers, nor have they been published. Most of the manuscripts of his juvenile works are preserved in the British Library. The earliest composition for which the manuscript remains is Gebet (Prayer), a sixteen-measure solo piano piece written in 1884 when he was seven years old. There were thirty pieces for solo piano, many of them character pieces such as etude, bagatelle, tarantella, mazurka, scherzo, impromptu and others. In 1885 Dohnányi began composing duos for piano and another solo instrument. Eight of the nine works Dohnányi began to compose that year are for violin and piano, and one is for cello and piano; most are untitled single-movement pieces.33 His earliest chamber music, from 1889, consists of one piano quintet, one string quintet, and one string quartet. A piano quartet in F-sharp minor, composed in 1891, was performed in Vienna three years later with the composer himself at the piano. This performance in Vienna was a significant first step in Dohnányi‘s career as pianist and composer.34 Before the Vienna appearance, Dohnányi had already given his first public performance at his Gymnasium when he was nine years old.35 In 1890, when he was only thirteen, he played his own solo compositions, Sechs Fantasiestücke (Six Fantasy Pieces) and Scherzo (A major), in a recital in Pozsony.36

32 Dohnányi scholars divide his juvenile works from his mature works. The juvenile works, those written before 1895, are not published. All works written beginning in 1895 are considered as mature works. The first published composition, Piano Quintet Op. 1, was written in June 1895. There are some unpublished compositions in the mature works. 33 All nine works were completed in 1886. 34 Ilona von Dohnányi, 13. 35 He played Mozart‘s G Minor Piano Quartet K. 478. 36 This concert featured several performers.

Table 3.2 Dohnányi‘s Juvenile Works: Chronology Piano & Piano Piano & String Orchestral Year Vocal Choral String Organ Opera Solo Instrument Ensemble work Ensemble 1884 1 1885 9 1886 2 1887 4 1888 8 1 1889 2 1 2 1 1890 7 1 1891 4 2 1 1 1 1892 1 7 2 1 1 1 1893 2 2 5 1894 1 3 1 Total 30 14 11 7 8 2 1 1 1

In 1891 Dohnányi wrote his first songs; the first two were with multiple instruments.37 In his juvenile songs with piano accompaniment, he chose poets Eduard Mörike, Heinrich Heine, and Friedrich Rückert. Dohnányi also wrote settings of works by lesser known poets. The year 1891 was quite productive and meaningful for young Dohnányi. From this point on, he extended his compositional genres to choral, operatic, and orchestral works. His first opera, Die Bergknappen (The Miners), is in two acts; the librettist was Theodor Köner. Dohnányi‘s first orchestral work was a single-movement composition titled Overture in B Dur (Overture in B-flat Major).

Mature Works

It could be said that Dohnányi‘s career as a professional composer began with the composition of his Op. 1 piano quintet in 1895. His first piano concerto, Op. 5 in E Minor, was written in 1897 and won the Bösendorfer Competition in Vienna. His total output of mature works includes about thirty individual works for solo piano, some of

37 Ave Maria for tenor, bass, solo violin and string orchestra; Lied for voice, cello, harmonium, and piano.

13 them arrangements of other composers‘ works. He also wrote works for piano duet, for two pianos, and for three pianos.38 Dohnányi wrote a total of seven concertos: three for piano, two for violin, and one each for cello and harp. By 1914 he had written four concertos, but he did not write any more for thirty-three years until he composed his Piano Concerto in B Minor, Op. 42, in 1947. One of Dohnányi‘s interesting genres is the cadenza; he wrote cadenzas for concertos of Mozart and Beethoven.39 Cadenzas for seven of these concertos have been published: Mozart K. 271, K. 365,40 K. 453; Beethoven Op. 15, 19, 37, and 58. His first comic opera, Tante Simona (Aunt Simona), Op. 20, is one of Dohnányi‘s several varieties of stage works, and was published twenty years after his juvenile opera, Die Bergknappen (The Miners). He subsequently wrote three additional operas: Iva’s Turm (Iva‘s Tower), Der Tenor (The Tenor), and Murányi Vénusz (Venus of Murányi). A melodrama, Hitvallás—Nemzeti Ima (Creed—National Prayer), is for narrator, choir, and piano. He wrote two ballets: A múzsa csókja (The Muse‘s Kiss) and Die heilige Fackel (The Holy Torch). The latter was referred to as an ―opera ballet‖ by Dohnányi‘s second wife, Elza Galafrés, who ―wrote the simple folk tale which could be applied to the music‖ 41 upon which it was based and invented the first choreographic score.

Chamber Works

Even in his youth, Dohnányi was familiar with chamber music. According to Viktor Papp, the youngster was influenced by his father and local musicians who frequently visited Dohnányi‘s house and enjoyed playing in ensembles with his father, an amateur cellist. ―He would nestle into a dark red armchair and watch the players with

38 Dohnányi recorded several of these works with his student Edward Kilenyi, Jr. 39 One of the Mozart concertos is the Bassoon Concerto in B-flat Major. 40 For two pianos. 41 Galafrés, 385.

14 wide eyes.‖42 It seems natural that he wrote over half of his chamber music before his first published work. Chamber works that Dohnányi wrote are mostly for strings or for strings and piano. His only chamber music for wind instruments consists of Fanfare and Hiszekegy (Fanfare and Creed) 43 for brass ensemble; two works for flute, one with piano and the other for three flutes; and the Sextet, Op. 37 (Table 3.3). Although Dohnányi wrote a total of seventeen chamber works for strings and piano, it is interesting to note that there are no works for the standard piano trio instrumentation. More than half of his string quartets were composed in his juvenile period, evidence that he was especially fond of this genre. The premiere performance of his first published string quartet, Op. 7, was highly anticipated, partly because of the success of the Piano Quintet, Op. 1. The review in The Times describes the premiere:

The new work is perhaps not so interesting throughout as the quintet, but it contains much that is charming, and the musicianship everywhere is brilliantly clever.44

Dohnányi‘s career continued to flourish; in 1907, for example, he performed eighty concerts. That same year, the second string quartet, Op. 15, was composed and premiered in Berlin, without the composer present. The third and final of his mature string quartets, Op. 33, was written in 1926.

Piano Quintet

Although Dohnányi‘s chamber music does not represent a large part of his total output, the two piano quintets are considered to be significant works. Piano Quintet in C Minor, Op. 1, was published in 1902. Since then, the work has been known as one of his

42 Viktor Papp, 30. 43 The composition year of this piece is unknown. 44 ―London Chamber Music Union.‖ The Times (19 December 1899), as quoted in Grymes, Bio- Bibliography, 142.

Table 3.3 Dohnányi‘s Chamber Works: Chronology45 String ensemble Piano and other instruments Flute Brass Year Violin String String String String Piano Piano Piano Violin Cello Flute Flute Trumpet Horn Duo Trio Quartet Quintet Sextet Quartet Quintet Sextet + + + Trio Trombone Piano Piano Piano Tuba 46 Timpani 1886 8 1 1887 1888 1 1889 1 1 1 1 1890 1 1891 1893 2 1 1 1894 1 1895 1 1 1899 1 1 1903 1 1907 1 1910 1 1 1911 1 1914 1 1924 1 1 1926 1 1935 1 1958 1 1959 1 Boldface Italics indicate mature works

45 Grymes, Bio-Bibliography, 12-69. 46 Composition year is unknown.

16 most popular works. Nineteen years after he composed the C Minor quintet, the second piano quintet, Op. 26 in E-flat Minor, was written in 1914, a few months after the onset of World War I. After the success of Variationen über ein Kinderlied (Variations on a Nursery Song) early in 1914, the Piano Quintet, Op. 26, followed in the same year.47 It was premiered in November with Dohnányi himself at the piano. The work did not receive much attention when it was first performed.48 Even today, many musicians are not as familiar with this work as they are with the Op. 1 quintet. However, Op. 26 is considered by many to be one of Dohnányi‘s best works. Sir Donald Francis Tovey, the great English music scholar, ranked it ―the most immediately impressive of Dohnányi‘s works, even if we include his orchestral music.‖49 The Piano Quintet in E-flat Minor has three movements: Allegro non troppo, Intermezzo (Allegretto), and Moderato. Although the key signature of the first movement has only three flats and implies E-flat major, the tonality is clearly E-flat minor. This work is cyclical; the theme in the first movement reappears in the last movement. The final movement is written in E-flat minor, but the tonality at the end of the movement changes to E-flat major, the key signature of the first movement. Comparing it to Op. 1, David Grayson describes the Op. 26 quintet as ―emotionally more mature, structurally more complex, richer in its harmonic vocabulary, and exhibiting even greater technical and contrapuntal mastery.‖ 50 Although a few recordings are available, the second quintet undoubtedly deserves more recognition. Possible reasons for its lack of popularity may be the emotional darkness of character and the technical difficulty for string players and pianist.

47 Galafrés, 212. 48 Grymes, Bio-Bibliography, 15. 49 David Grayson, liner notes to Dohnányi Piano Quintets & Kodály Serenade. Centaur Records, CRC 2503, compact disc. 50 Ibid.

17 CHAPTER 4

Manuscript Fragment

The entire original manuscript of the Piano Quintet in E-flat Minor, Op. 26, has been lost.51 The only part of the manuscript that remains is the very last page of the first movement followed by an unfinished second movement which Dohnányi later discarded.52 In her biography, Dohnányi‘s second wife, Elza Galafrés, recalls the years when her husband composed the Op. 26 quintet. By her account, Dohnányi had finished writing the quintet sometime between 1913 and 1914. The work was premiered by the Klinger Quartet in Berlin in 1914 with Dohnányi at the piano,53 and was published in 1921. It is not known exactly when or why Dohnányi failed to complete, and subsequently discarded, this second movement. But one would assume—from one‘s observation of the extant manuscript in which the first page consists of the end of the first movement and the second movement starts on the back-side of the same page—that he began it immediately after he completed the first movement, became dissatisfied with it, and simply removed it and began again. The music of this discarded second movement will be the focus of this chapter. The discarded second movement fragment is written in C minor and, with one exception,54 remains solidly in triple meter that is notated as 3/4. The tempo indication is Andante: alla marcia funebre. It is interesting to note that although Dohnányi wrote and published marches as individual pieces and as internal movements within his larger compositions, he wrote no known funeral marches other than this fragment.55

51 Grymes, Bio-Bibliography, 35. 52 A full transcription of this discarded second movement is attached in the Appendix to this treatise. 53 Galafrés, 212. 54 There is a one-measure meter change to common time in m. 2 and again in m. 4. 55Marsch der lustigen Brüder (March of the Merry Brothers), from Winterreigen, Zehn Bagatellen, Op. 13 (Winter Round Dance: Ten Bagatelles), for piano solo; Humoresken in Form einer Suite, Op. 17 (Humoresques in the Form of a Suite), for piano solo; Serenade, Op. 10, for string trio, first movement; Hochzeitsmarsch (Wedding March), for piano quintet; Magyar induló (Hungarian March), for voice and piano, for mixed choir, for male choir, and for orchestra; and an

18 The movement opens with ff on a two-note gesture (E-flat to G) played in octaves by the first violin, viola, cello, and the piano. The strings prolong the effect by sustaining the G for the entire first full measure and over half of the second. The piano part immediately breaks from the upper voices with an augmentation of the opening gesture in the left hand three octaves lower, and in the right hand, open fifths on E-flat and B-flat resolve to create a major (dominant) triad above the left hand G. Beginning with the pick-up to measure three, the introduction‘s opening gesture is repeated in the strings an octave lower, this time marked p, as if echoing the first statement. This again is supported by the piano‘s restatement, this time with an F-sharp added to the open fifth interval, which resolves to F-natural, further strengthening the argument for a half cadence in the key of C minor. Dohnányi uses this two-measure dominant resolution pattern several times in this movement, making it one of the work‘s salient unifying features (Exx. 4.1a - 4.1c).

Two-measure dominant resolution E-flatG

E-flatG

EMAMPLE 4.1a Fragment, opening and two-measure dominant resolution by piano (mm. 1-4)

arrangement for piano quintet of his own composition for pantomime, Der Schleier der Pierrette, Op. 18 (The Veil of Pierrette). Dohnányi also wrote a march as a part of the second movement of his Sextet in C Major, Op. 37.

Cadential extension Two-measure dominant resolution

EXAMPLE 4.1b Fragment, cadential extension (mm. 21-23) and two-measure dominant resolution by piano (mm. 24-25)

Two-measure dominant Cadential extension resolution

EXAMPLE 4.1c Fragment, cadential extension (mm. 68-70) and two-measure dominant resolution by piano (mm. 71-73)

In stark rhythmic contrast to the legato sustained notes of the introduction, the second violin, simultaneously, plays a march-like rhythmic pattern which employs repeated thirty-second notes and sixteenth rests alternating with eighth notes, evoking the sound of a snare drum cadence. This figure is performed on repeated Gs in octaves, and

20 spans the four measures of the introduction and beyond.56 The second violin‘s rhythmic pattern changes slightly in m. 5 as it transitions to the main thematic material, which begins in m. 7. Interestingly, in the manuscript there is evidence that Dohnányi initially inserted another single measure of the march-like rhythm in common time at m. 6. However, he apparently changed his mind, erased the meter signature and the extra beat of march rhythm, and continued in 3/4 time for the remainder of the movement. In the two measures that follow, the second violin plays alone, creating a transition into the opening theme of the work. It is important to note that the second violin‘s march-like rhythmic pattern occurs with great frequency and in various iterations throughout most of the movement, and this also becomes one of the work‘s most prominent unifying features (Ex. 4.2).

EXAMPLE 4.2 Fragment, march-like rhythmic pattern by violin 2 (opening)

Formal analysis of the unfinished second movement of Op. 26 reveals a rather sophisticated passacaglia57 whose main theme, Theme I, becomes the compositional foundation of the movement. This theme occurs in its entirety four times—and for half

56 In Europe, snare drums were used during funeral processions to create a mood of somber respect, especially during war time, in the military. 57 Dohnányi composed two passacaglias: Passacaglia, Op. 6, for piano (1899) and Passacaglia, Op. 48, no. 2, for solo flute (1959).

a’

EXAMPLE 4.3 Fragment, the first statement (Theme I) by piano (mm. 7-23)

of a fifth, as this is where Dohnányi abandoned his work on this piece. Theme I consists of two eight-measure phrases— an initial phrase (a, mm. 7-14) which begins on C, followed by a very similar but cadential phrase (a’, mm. 15-23) that is stated a half step higher, on D-flat (Ex. 4.3). Each statement of Theme I is played at least once by each of the instruments of the quintet except the cello and second violin, and serves as a contrapuntal ―ground‖ upon which new thematic material is layered in each subsequent statement. Three new themes are introduced throughout the four complete statements of Theme I, resulting in a dense polyphonic texture. The pervasive funeral-like rhythm

22 added to the first two statements—and briefly but prominently appearing in the third— creates another contrasting layer of sound and establishes the somber character by which this work is identified. What now follows is a detailed description of each of the five statements of the main theme.

First Statement: Theme I

After the brief introduction, the first statement of the main recurring theme, Theme I, appears in the piano in octaves beneath the march-like rhythm continued in the second violin. All other instruments of the quintet are silent throughout this first statement. Marked p, Theme I‘s a phrase begins on a quarter note C which leaps a perfect fifth to G (also a quarter note), and then settles back a half-step onto an F-sharp dotted half note. Separated by a quarter rest, a second, similar three-note fragment follows. This time the leap from C is to B-flat, a minor seventh, which settles back onto A-natural then leaps to E-flat, the highest note of the phrase. The second half of the phrase then descends via three two-note downward leaps in sequence, ending on D- natural, the fifth of the G major chord, creating a half cadence. The second phrase, which, as stated earlier, begins a half-step higher, is a slightly embellished restatement of the first phrase. This time, however, it incorporates a cadential extension using an alternating eighth note-sixteenth rest-sixteenth note rhythmic pattern (m. 21), which ends the statement via a plagal motion in E-flat major (mm. 22- 23). An additional cadential gesture, a reiterated plagal cadence created by a chordal progression in the same vigorous rhythmic pattern over a sustained E-flat pedal tone in octaves (appearing for the first time in mm. 23-24), seemingly solidifies the key of E-flat major, at least momentarily. Dohnányi uses this gesture twice more, in the second and third statements to establish tonal centers. Immediately following the cadential gesture, Dohnányi uses the two-measure dominant resolution (except D-flat replaces the D in the G7 chord) he used in the introduction to reestablish C minor as the tonal center and, along with the march-like rhythm in the second violin, to transition to the second statement of Theme I (Ex. 4.1b).

23 Second Statement: Themes I and II

The second statement of Theme I shifts to the first violin and viola parts, in m. 27. This is the first time these two instruments are heard, except during the brief introduction. The only departure from the original melody occurs on the final note of the statement, where Dohnányi replaces G with G-flat at m. 43. Theme II begins at the same time as Theme I and is given to the piano. Its melody, however, sits atop a progression of dense chords which are in contrary motion to Theme I (Ex. 4.4).

Theme I

The second statement

Theme I

Theme II

EXAMPLE 4.4 Beginning of the second statement (violin 1 and viola), and Theme II by piano (mm. 27-28)

The cello, also heard for the first time since the introduction, is assigned pitches in alternating patterns of sustained notes and the march-like rhythmic patterns of the second violin at m. 27. The second violin‘s march-like rhythm continues, but is

24 interrupted periodically when the cello takes over the rhythm, creating an antiphonal dialogue between the two instruments (Ex. 4.4). Like the first statement, the second begins p and gradually increases in dynamics to ff by its end. However, above the violin and viola parts, which carry the second statement of Theme I, Dohnányi placed espr. (espressivo) to indicate a need for heightened intensity. Theme II, like Theme I, consists of two similar eight-measure phrases. Also like Theme I, the second phrase of Theme II is stated a half step higher. Tonally, Theme II is less stable than Theme I because of the chromatic nature of the fast- moving chords in the piano, which also use the eighth note—sixteenth rest—sixteenth note rhythmic pattern in m. 32 found in the piano‘s cadential extension of the first statement (m. 21). The second phrase ends in the key of E-flat minor in m. 43. Another plagal cadential gesture in the piano immediately follows in m. 43, which temporarily solidifies E-flat minor. It is immediately passed between the other instruments in the ensemble (mm. 44-45), establishing C major as the new tonal center in m. 45. After the C major gesture is repeated twice in the piano part, the part becomes a series of sustained C chords in the right hand above low C in octaves in the left hand alternating with G. With the assistance of the octave G march-like rhythms in the second violin, the movement transitions to the third statement (Ex. 4.5).

C major

EXAMPLE 4.5 Fragment, cadential gesture (pianostringspiano mm. 43-46)

Third Statement: Themes I, II and III

Beginning in measure 49, Dohnányi adds a third layer to the texture of his funeral march with the introduction of yet another melody. A lyrical Theme III is performed by the first violin; Theme II, in octaves, appears in the viola and cello; and the third statement of Theme I, also in octaves and unaltered, appears in the left hand of the piano. Additionally, new material is introduced in the right hand of the piano (Ex. 4.6). But, as it appears to be little more than accompaniment, it will not be given a thematic designation. The march-like rhythm of the second violin is noticeably missing in this statement, appearing only briefly in mm. 56-57 as a bridge between the first and second phrases (Ex. 4.7).

Theme III

Theme II

The third statement New melodic material

Theme I

EXAMPLE 4.6 Fragment, beginning of the third statement, Theme II, III, and new melodic material (mm. 49-54)

Theme III a’

Theme II a’

Brief march-like rhythm

Theme I a’

EXAMPLE 4.7 Brief march-like rhythm in the third statement by violin 2 (mm. 56-57)

As in the two previous occurrences, the beginning of the third statement of the main theme is marked with a p dynamic. However, Dohnányi penned additional markings above the first violin part, instructing that it is to be played espr. dolente (sorrowfully expressive). Also, above the viola and cello parts Dohnányi instructed that they are to be played un poco marc. (a little accented). All three melodies, now moving together, create a densely contrapuntal texture, each part steadily growing to f by the end of the first phrase (m. 56). A brief diminuendo returns all three parts again to p to begin the second phrase, which again grows to f, and immediately proceeds—via a cadential extension of quickly moving ascending and descending runs in contrary motion—to its ff climax in B-flat minor in m. 67, firmly established by a cadential gesture in the piano in mm. 67-68. Also, in the piano,

B-flat minor

cadential gesture cadential extension

EXAMPLE 4.8 Fragment, climactic part, cadential gesture and extension in the third statement (mm.65-69)

beginning in m. 68, Dohnányi returns to the cadential extension he used previously in mm. 21-22 to transition back to C minor (Ex. 4.8 and Ex. 4.1a) Measure 71 begins a lengthy transition to the fourth statement of Theme I. Here, the sharply contrasting texture of the second violin‘s march-like rhythm and Theme I fragments creates a satisfying resolution for the preceding climactic statement.

Fourth Statement: Themes I, III and IV

The fourth statement begins in m. 81 in the viola part as the first two notes of Theme I are played alone. The other instruments of the quintet are silent until m. 82 where they all enter pp beneath the new theme, Theme IV, in the first violin part (Ex. 4.9).

Theme IV

C# displaced New melodic material

EXAMPLE 4.9 Fragment, Theme IV and new melodic material by violin 1in the fourth statement (mm. 82-105)

The piano is assigned sixteenth-note arpeggios that establish E as the tonal center of this statement. Because of the G-naturals in the first violin and the left hand of the piano part, the modality seems to lead to E minor in m. 83. However, by m. 85, E major is clearly established. A low stepwise melody in half notes and quarter notes in the left hand of the piano beginning in m. 85 and again in m. 93, marked il basso ben marcato (well accented bass), provides a countermelody to the upper arpeggios and to Themes I and IV. Above the piano, the second violin and cello are given slow-moving, predominantly stepwise melodic material, and, like the piano, provide harmonic accompaniment for the new theme. Even Theme I in the viola, which is also marked pp, appears to be slightly subordinate to the new theme (Ex. 4.10). For the first time, the march-like rhythm is missing altogether from this statement. Additionally, Dohnányi labeled the statement più animato, con molto sentimento (more animated, with great sentiment). The melody of Theme IV (violin 1)

30 centers around B—the phrase begins with a downward leap of an octave from a half note high B, then moves in stepwise ascension back to a half note high B at m. 84. Then the melody stays in E major in m. 85. High Bs on half notes occur twice more in the first phrase, including the final note of the phrase. The second phrase, which begins on the final high B of the first phrase at m. 89, is a near-exact repeat of the first phrase for the first four measures.58 In m. 93, the second half of the phrase then uses new melodic material to end the statement. This material then continues for the remaining nine measures of the movement where, at this point, Dohnányi ceased working. In m. 96, the final F-sharp in the first violin is the fifth of the B dominant-seventh chord in the piano, creating a half cadence in E major (Ex. 4.10 on pp. 33-34).

Fifth Statement: Theme I incomplete; Theme IV incomplete

In the incomplete fifth statement of Theme I, Dohnányi continues with only the piano, first violin and cello parts. Nothing more is written for the second violin or the viola after m. 95. An overlap occurs in m. 95 between the strings playing the final notes of the fourth statement of Theme I and IV, the piano begins the fifth statement in octaves in the right hand (see Ex. 4.10 on p. 34). The left hand continues to play accompanying arpeggios establishing E major as the tonal center. Dohnányi abandons the piano line after m. 101, one beat before the end of the a phrase. Theme IV returns in the cello beginning in m. 96. Dohnányi discontinues both the cello and the violin lines in m. 105, and the piece fades into nothingness (Ex. 4.10 on p. 35). Many of the thematic fragments, despite the loss of this movement, do appear in other similar works by the composer. Chapter 5 delves into the analysis of these works, noting similarities and differences between the various melodic materials.

58 In the second phrase, the C-sharp is displaced an octave lower in m. 91.

Theme I a The fourth statement

Theme IV

Theme I a

Sixteenth-note arpeggios (E tonal center)

Theme I a’

B dominant-seventh chord (E major)

Theme IV

The fifth statement Theme I a

(Theme IV)

(Theme I a )

EXAMPLE 4.10 Fragment, the fifth statement and the last part of the manuscript (mm. 81-105)

35 CHAPTER 5

Thematically Similar Works

Although Dohnányi discarded the second movement fragment of his Piano Quintet, Op. 26, it is clear that his choice of thematic material is based on the Hungarian gypsy scale (the interval structure is A-B-C-D#-E-F-G#-A).59 In the published version of the Op. 26 Quintet, Dohnányi replaced the fragment with an Intermezzo, quite dissimilar from the original funeral march. However, in the work‘s third movement, Dohnányi placed a theme very similar to the discarded theme (this movement will be discussed later). One would conclude from this that it was most likely not the movement‘s thematic material in which Dohnányi had lost interest. Also, examination of Dohnányi‘s compositional output reveals his much earlier use (Op. 8 Cello Sonata), as well as much later use (Op. 37 Sextet), of themes resembling that of the discarded fragment in other internal movements of his extended works. This chapter will focus on three such works by Dohnányi, all containing themes that resemble the main theme (Theme I) of the discarded fragment. Brief analytical descriptions will show compositional similarities and differences between them. The three compositions discussed in this chapter are Cello Sonata in B-flat Minor, Op. 8, third movement; Piano Quintet in C Minor, Op. 26, third movement; and Sextet in C Major, Op. 37, second movement.

Cello Sonata in B-flat Minor, Op. 8

Dohnányi‘s Cello Sonata, Op. 8, was written in 1899 while he was visiting London. The work is in four movements, all of which maintain close compositional ties to late nineteenth-century Romanticism. Brilliant, complex piano writing throughout the work attests to Dohnányi‘s superb compositional skill as well as his outstanding ability as

59 In an article in The Southwestern Musicum (June, 1952), Dohnányi explains that Hungarian gypsy music is the origin of Hungarian music; also, Hungarian gypsy music is based on the old Magyar (Hungarian) folk tunes.

36 a pianist.60 Above the dense piano writing, the lush, lyrical melodies of this work are given to the cello in all four movements. This work is also a good example of Dohnányi‘s often-used tritone relationships between the keys of the movements:61 the tonality of B-flat minor of the first movement moves through G minor in the second movement, then to E major in the third movement, and eventually back to B-flat major in the final movement. The first movement, marked Allegro, ma non troppo, is a work of grandeur, punctuated by dramatic bursts of energy alternating with moments of peace and serenity. The second movement is a Scherzo in ABA form, characterized by its playfulness and technical difficulty. Song-like lyricism describes the brief Adagio non troppo third movement. The Tema con variazioni, the work‘s fourth movement, is marked Allegro moderato and uses thematic material from previous movements to support the nine variations of the main theme. It is this work‘s third movement, however, whose melody bears the striking resemblance to the melody of the discarded fragment of Dohnányi‘s 1914 Piano Quintet.

The Third Movement

The third movement of Dohnányi‘s Op. 8 is only forty-six measures long, is in E major, and is written in 3/4 time in ABA form. In addition to its melodic resemblance to the 1914 quintet, it is also a good example of Dohnányi‘s compositional gift for slow lyrical melodies above rich, complex piano parts. The main theme of the third movement of the Cello Sonata belongs exclusively to the cello, and consists of two similar phrases. Phrase a, beginning on B3 on the third beat of measure 2, moves slowly through a series of rises and falls until it reaches its apex on B4, an octave higher, on the first beat of m. 7. It then immediately begins its descent in similar fashion, ending the phrase on B in m. 10, the same pitch with which it began. The second phrase, phrase a’, begins on the third beat of m. 10. A wider leap of an

60 Viktor Papp, 34. 61 Deborah Kiszely-Papp, Ernő Dohnányi (Budapest: Mágus Publishing Ltd., 2001), 12.

37 octave from E4 to E5 interrupts the exact restatement of the theme. Comparing this theme with that of the 1914 Quintet fragment, one can clearly hear similarities between both pieces in the melodic structure, including rhythm, interval progression, and contour. An even more striking resemblance can be found in the relationship between the first and second phrases of each of the works. Dohnányi began the second phrase of the main theme of both of these works as a restatement of the first phrase, but a half step higher (Exx. 5.1a and 5.1b).

a 5

a’ 13

EXAMPLE 5.1a Fragment, main theme (Theme I) a and the beginning of a’

(mm. 7-19)

a’ 9

EXAMPLE 5.1b Main theme in Cello Sonata, Op. 8, 3rd mvt. (mm. 2-18)

38 The piano part is well organized and supports the lyrical melody above, with its slow-moving eighth-note chords in first inversion triads in the right hand over pedal tone octaves on E in the left hand. This piano pedal tone is also reminiscent of the pedal tone (with march-like rhythm) of the second violin in the 1914 Quintet fragment. This brief work has no significant second theme, but rather shifts the focus to the piano on the anacrusis to m. 19, creating a B section. At this point the movement has modulated to the dominant, B major, and the piano is given a short rhapsodic interlude of fourteen measures, ending on m. 32. During this interlude, the cello switches functions with the piano, and, after what at first looks to be the beginning of a new theme (mm. 23- 25), the cello settles into a seven-measure pedal tone on B. This can be heard as another similarity, since Dohnányi also briefly shifted his pedal tone march-like rhythm to the cello part in his Quintet fragment in mm. 30-38. The A section returns at m. 32 with the resumption of the (altered) main theme in the cello. The piano continues with new rhapsodic material beneath, but not until m. 40 is there a clear sense of E major again. Dohnányi begins the third movement with a six-note melodic motive (E, D- sharp, E, C-sharp, D-sharp, B) 62 in the right hand of the piano as the top notes of the

Beginning of ―Dies irae” (top notes)

EXAMPLE 5.2 Opening piano part of Cello Sonata, Op. 8, 3rd mvt. (mm. 1-6)

62 These notes are the same as the beginning of ―Dies irae‖ (Day of Wrath), Gregorian chant with Latin text, used in the Roman Catholic funeral mass.

39 aforementioned first inversion triads (Ex. 5.2). This motive is repeated throughout the work, and at various pitch levels, as well as in fragmented versions using the first four pitches of the motive. Dohnányi uses the four-note fragmented version of this motive again at the end of the movement on pitches B-flat, A, B-flat, and G (mm. 42, 44, 45, 46) as a transition into the fourth movement. These four pitches also become the first four notes of the new main theme of the fourth movement (Ex. 5.3). It should also be noted that in Variation VIII of the fourth movement, Dohnányi places an ornamented version of the melody of his third movement in the piano part beneath the variation theme (Ex. 5.4).63 In this way, Dohnányi permeates the movement with a single idea that is presented in different guises to lend both unity and variety to the work.

Same melodic material as the beginning of the 3rd mvt. piano part 40

EXAMPLE 5.3 The melodic material in the last part of Cello Sonata, Op. 8, 3rd mvt. and the beginning of the fourth mvt. (mm. 42-46; m. 1)

63 Kiszely-Papp, Ernő Dohnányi, 12.

rd Beginning of the 3 mvt. piano part Theme of the 3rd mvt.

EXAMPLE 5.4 Variation VIII of Cello Sonata, Op. 8, 4th mvt. (mm. 1-10)

Piano Quintet in E-flat Minor, Op. 26

Dohnányi was living in Berlin when he completed his Piano Quintet, Op. 26, at a time when his compositions continued to be influenced by the works of Brahms and Strauss,64 but his writing also showed a maturity and sophistication unique to Dohnányi. Deborah Kiszely-Papp describes Op. 26 along with Dohnányi‘s String Quartet in D-flat Major, labeling both as ―the greatest works from his Berlin period.‖ 65

…two distinctive qualities of his mature style: terseness and thematic unity. Both are intensely serious works in three movements that venture into starkly distant tonal areas and

64 David Korevaar, ―Dohnányi‘s Six Concert Etudes, Op. 28: Context and Content,‖ in Perspectives on Ernst von Dohnányi, ed. James A. Grymes (Oxford: Scarecrow Press, Inc., 2005), 130. 65 Kiszely-Papp, Ernő Dohnányi, 14.

41 feature frequent juxtaposition of dramatic opposites. The last movement of both pieces features an interweaving of the themes from the previous movements into a dense contrapuntal outpouring that functions as further development, finally resolving with the opening theme. Every note is essential, and the interweavings of the earlier themes are inevitable necessities rather than mere unifying gestures.66

The Quintet is divided into three movements, with the work‘s first movement marked Allegro non troppo. The playful second movement is an Intermezzo, which is marked Allegretto – Presto. The third movement is a complex blend of contrapuntal writing, chorale-like lyricism, and recurring thematic material woven into a dense compositional fabric. It is also this movement‘s main theme that strongly resembles the melody of the fragment Dohnányi discarded from this same work and replaced with the Intermezzo (Ex. 5.5a).

The Third Movement

Marked Moderato, the third movement, which is loosely based on the nineteenth- century model of sonata form, begins with a forty-six-measure fugal statement of the main theme (Theme I), that functions here as the exposition (Ex. 5.5b). The cello begins the fugal subject on B-flat. The viola interrupts in m. 6 with its tonal answer, transposed up a perfect fourth, beginning on E-flat, creating a contrapuntal duet with the cello. The second violin enters at m. 11 with the theme back in the original key, but placed an octave higher; this is followed in m. 16 by the first violin‘s answer on E-flat, which is also written an octave higher. The piano remains silent throughout the entire fugal section of the exposition.

66 Kiszely-Papp, Ernő Dohnányi, 14-15.

a 5

a' 13

EXAMPLE 5.5a Fragment, main theme (Theme I) a and the beginning of a’ (mm. 7-19)

Similar Similar

EXAMPLE 5.5b Main theme of Piano Quintet, Op. 26, 3rd mvt. (mm. 1-17)

The piano enters in m. 47, immediately after the fugal section has ended, with a chorale-like tune (the movement‘s second theme) over block chords of half and whole notes (Ex. 5.6). The chorale-like part ends on m. 66. For most of the chorale-like tune, the strings are silent except for an overlapping four measures beginning in m. 63—the first violin returns with the main theme (this time starting on A-flat), and two measures later (m. 65), the viola enters playing the first phrase of the chorale-like section.

Chorale-like tune: 2nd theme

EXAMPLE 5.6 Beginning of the chorale-like part of Piano Quintet, Op. 26, 3rd mvt. (mm. 47-51)

In the subsequent development section, beginning in m. 102, the main theme of the first movement is reintroduced in the piano in low-register octaves. The development is atypical, as it treats the first movement‘s theme as well as Theme I of this movement; these themes are repeatedly presented and developed, in a quasi-passacaglia style. The strings return with the main theme in octaves in m. 106 and this section of the development ends in C-flat major in m. 114.

44 The recapitulation begins at m. 197, marked ―Tempo I (Moderato),‖ with an exact restatement of the main theme appearing solely in the cello. At the end of this statement the key signature changes to three flats, but the work remains firmly in E-flat minor until the beginning of the coda in m. 298. Though the melodic structure of Theme I of the third movement of Dohnányi‘s Piano Quintet, Op. 26 is not an exact replica of the discarded fragment, the similarity between the two is obvious. Dohnányi also used similar compositional methods for setting these two melodies. It is clear that Dohnányi had a penchant for juxtaposing themes; in both works, he juxtaposed this melody against new and previously heard thematic materials. Also, in both works, Dohnányi similarly shifted his melody around to various instruments and instrument combinations. Dohnányi, in his discarded fragment, used his theme as a ―ground‖ or returning theme of a passacaglia, always appearing in its original key. Similarly, in the third movement, Dohnányi chose to express this melody through the use of another Baroque practice, the fugal structure. However, he then fit this structure inside the larger, freer sonata form, where it undergoes extensive developments and modulations. One can hear the third movement‘s setting of Dohnanyi‘s theme as a fuller, more complete and thorough realization of his initial idea, which was presented in the discarded fragment of Op. 26. Because this melody was treated in a much more compositionally-complex, lively setting in his third movement, it seems that Dohnányi wanted better for this thematic material than to relegate it to a less complex funeral march.

Sextet in C Major, Op. 37

The unusual combination of clarinet, horn, string trio, and piano constitutes the instrumentation for Dohnányi‘s Sextet, Op. 37, written in 1935. The first movement is a grandiose sonata composed of brilliant themes and features an epic finale. The second movement, discussed in greater detail later, contains a slow melodic theme juxtaposed with a funeral march. The final movement, however, introduces jazzy dance themes and

45 vibrant rhythms, and concludes in a cyclic manner with a recollection of the first movement‘s finale.67

Movement II

Dohnányi wrote an Intermezzo as the second movement of his Sextet Op. 37, which by definition suggests a lighter, often less complex composition appearing between—or connecting—two more substantial movements. Therefore, this melodic movement, marked Adagio at the beginning, stands in stark contrast to the more lively and dense movement that precedes it. The Intermezzo is cast in an ABA' framework with an extensive coda. The A section begins with a chordal theme in the string trio above intermittent rising arpeggios in the piano. The clarinet and horn are silent for the entire fifteen measures of the section. Despite the relatively quiet nature of this section, Dohnányi accomplishes dramatic tension with his theme by not committing to any one tonal center until it finally arrives at F minor in m. 14. Deceptive final chords of the accompanying rising piano arpeggios contribute to the tonal ambiguity. These final chords—in quarter note rhythms—are either chromatically altered or are random-sounding departures from the sonorities established within the arpeggios. The section is brought calmly to a close with an inverted F minor triad in the strings. As mentioned previously, the second movement of Dohnányi‘s Sextet features a lyrical melody juxtaposed with a funeral march (Ex. 5.7). This combination spans the entire B section, which begins in m. 16. This section bears a resemblance to the music of Dohnányi‘s discarded fragment of the second movement of his Op. 26 piano quintet (Ex. 5.8a). Dohnányi marked the B section of this movement Alla marcia quasi l’istesso tempo, ma un poco più animato (like march almost in the same tempo, but a little bit more animated). The chordal march rhythm in F minor (marked p) is given to the piano,

67 The program notes of the Aurelius Ensemble‘s 1998 recital (performed on July 23rd in Killian Hall of Massachusetts Institute of Technology) refer to the main melody of the fourth movement of Dohnányi‘s Op. 37 Sextet as ―a melody in the style of 1930‘s European jazz.‖

EXAMPLE 5.7 Funeral march in Sextet, Op. 37, 2nd mvt. by piano (mm.16-18) ( P) 1948 Alfred Lengnick & Co. Ltd. Reproduced by permission of G Ricordi & Co. (London) Ltd, a division of Universal Music Publishing Grou

EXAMPLE 5.8a Fragment, main theme (Theme I) a and the beginning of a’ (mm. 7-19)

EXAMPLE 5.8b Theme II in Sextet, Op. 37, 2nd mvt. by horn (mm. 18-25)

( P) 1948 Alfred Lengnick & Co. Ltd. Reproduced by permission of G Ricordi & Co. (London) Ltd, a division of Universal Music Publishing Group

47 which begins the section. The funeral march grows steadily louder, reaching ff by the end of the statement. The first statement of the slow, lyrically arching melody (Theme II) (Ex. 5.8b) begins two measures later in m. 18 on F, and is given, in octaves, to the clarinet and horn while the strings remain silent. Marked mp marcato, the melody begins softly, growing to ff by its end. After the second statement by the strings in m. 25, the piano begins the third statement of Theme II in m. 33. The climax of the third statement of Theme II—as well as the B section of the movement—occurs in m. 41, following a strong authentic cadence which involves all of the instruments playing ff and returning to F minor. At this point, the piano resumes the march beneath the strings, which finish their march below sustained F and A-flat in the clarinet and horn, respectively. Also, in the span of two measures (mm. 41-43), the section quickly diminishes in volume from ff to p. The A' section begins in m. 45 with the return of the trio melody of Theme I (this time in F minor), which is played by the clarinet, horn, and viola. Underneath, the violin and cello take on the rising arpeggios formerly given to the piano, and the piano now plays sixteenth-note descending arpeggios. Though it is five measures longer than the first section, the return includes essentially the same material, and, at its end, flows immediately into an extended coda in 65. At the coda, the funeral march, which is presented by the piano, returns briefly beneath an imitative statement of the first three measures of Theme II by the violin and cello followed by the paired clarinet and horn. This is immediately followed by another brief restatement in the clarinet, horn, and viola, of the final four measures of the movement‘s opening trio theme. Underneath, the piano resumes its sixteenth note arpeggios, and at the end, the movement slows to its peaceful conclusion, marked ppp. Comparison of this section of the Intermezzo with Dohnányi‘s earlier discarded fragment reveals similarities that should not be overlooked. First of all, the melodies of both works, though not identical, are significantly similar. In both melodies, Dohnányi drew long, twisted melodic lines in long note values that leap and then fall back by half- steps as they create climactic arches which settle into slow, lyrical descents into

cadences. Secondly, and perhaps most obviously, Dohnányi juxtaposed the melody with a continuously-sounding funeral march in both works. In the fragment, Dohnányi gives the rhythmic funeral march figuration to the second violin, where it remains except for brief exchanges with the cello (mm. 36-38).68 In the Sextet, the march is introduced in the B section of the Intermezzo, where it is carried at first by the piano, relinquished to the string trio in the middle, and ultimately returned to the piano. Despite this difference in treatment, however, it is clear that Dohnányi reserved the funeral march idea for similar melodies. Aside from its obvious evocative function, in both examples it seems that he intended for it to provide both contrapuntal contrast to the lyricism above it and harmonic stabilization beneath the tonally ambiguous melodies. Why Dohnányi abandoned the incomplete second movement of his Piano Quintet in E-flat Minor is not known. It possibly indicates his dissatisfaction with the way the piece was taking shape, or merely a change of mood. Some other circumstance, perhaps political, may have caused him to abandon this movement. However, as can be seen in the three pieces shown here, the basic melodic material was already a part of Dohnányi‘s mental repertoire. The second movement of Op. 26 may never have been completed, but the melody was never abandoned.

68 Only during the fourth statement of the fragment‘s theme is the funeral march completely missing.

49 APPENDIX A

Formal Outline of Discarded Fragment (Piano Quintet, Op. 26, 2nd mvt.)

Intro. Statement Trans. Statement Trans. Statement Trans. Statement Statement (Incomplete) I I II II III III IV V

(blank from Measure Nos. 1-6 7-24 25-26 27-46 47-48 49-70 71-80 81-95 95-105 m.106)

(blank from Thematical Vl. Theme I Theme Theme V m.106) Material by I III Instrument Vl. March March March March March March March (blank from m. 96)

(Fragment II m. 56 & 70)

Vla. Theme I Theme II Theme I (blank from m. 96)

Theme V Vc. March Theme II (blank from (blank from (Fragment) m. 102) m. 106)

P Theme I Theme II Theme I Theme I Theme I (left hand) (Fragment) (blank from m. 102)

Key C minor C minor C minor E major Unstable (Predominantly)

51 APPENDIX B

Printed Version of Discarded Fragment (Piano Quintet, Op. 26, 2nd mvt.)

65 APPENDIX C

67 APPENDIX D

69 BIBLIOGRAPHY

Books, Articles and Dissertations:

DeFoor, Keith Alex. ―The Symphonies of Ernst von Dohnányi.‖ Ph.D. dissertation, Florida State University, 1991.

Dohnányi, Ernst von. ―I Interviewed Ernst von Dohnányi.‖ By Joan Holley. The Southern Musicum (June 1952), p. 9.

______. Message to Posterity from Ernst von Dohnányi. Translated by Ilona von Dohnányi. Edited by Mary F. Parmenter. Jacksonville, FL: H. & W. B. Drew Co. Ltd., 1960.

Dohnányi, Ilona von. Ernst von Dohnányi, A Song of Life. Edited by James A. Grymes. Bloomington: Indiana University Press, 2002.

Galafrés, Elza. Lives…Loves…Losses. Vancouver: Versatile Publishing Co. Ltd., 1973.

Grayson, David. Liner note to Dohnányi Piano Quintets & Kodály Serenade. Centaur Records, CRC 2503, compact disc.

Grymes, James A. Ernst von Dohnányi, A Bio-Bibliography. Westport: Greenwood Press, 2001.

______, ed. Perspectives on Ernst von Dohnányi. Oxford: Scarecrow Press, Inc., 2005.

Kiszely-Papp, Deborah. Ernő Dohnányi. Budapest: Mágus Publishing Ltd., 2001.

______. ―Transcending the Piano: Orchestral and Improvisational Elements in Dohnányi‘s Piano Music.‖ In Perspectives on Ernst von Dohnányi, ed. James. A. Grymes (Oxford. Scarecrow Press, Inc., 2005), pp. 85-112.

Korevaar, David. ―Dohnányi‘s Six Concert Etudes, Op. 28: Context and Content.‖ In Perspectives on Ernst von Dohnányi, ed. James. A. Grymes (Oxford. Scarecrow Press, Inc., 2005), pp. 125-138.

Kusz, Veronika. ―‗Pure Music?‘ Dohnányi‘s Passacaglia for Solo Flute.‖ Studia Musicologia, Vol. 48 (Budapest: Akademiai Kiadó, 2007), pp. 79-99.

Mintz, George Jacob. ―Textural Patterns in the Solo Piano Music of Ernst von Dohnányi.‖ Ph.D. dissertation, Florida State University, 1976.

70 Papp, Viktor. ―Ernst von Dohnányi: Portrait.‖ In Perspectives on Ernst von Dohnányi, ed. James. A. Grymes (Oxford. Scarecrow Press, Inc., 2005), pp. 29-44.

Walker, Alan. ―Ernst von Dohnányi.‖ In Perspectives on Ernst von Dohnányi, ed. James A. Grymes (Oxford. Scarecrow Press, Inc., 2005), pp. 3-28.

Waterhouse, William. ―Dohnányi and Great Britain.‖ In Perspectives on Ernst von Dohnányi, ed. James A. Grymes (Oxford. Scarecrow Press, Inc., 2005), pp. 59- 70.

Online Sources:

Aurelius Ensemble. Dohnányi Sextet, Op. 37. http://wwwrcf.usc.edu/~echew/projects/AureliusEnsemble/1998/98program1/doh -sex.html (accessed February 13, 2010)

Bálint Vázsonyi. Dohnányi, Ernő. http://www.oxfordmusiconline.com.proxy.lib.fsu.edu/subscriber/article/ (accessed July 28, 2007)

Bösendorfer. The History of a Grand Piano. http://www.rodoni.ch/busoni/cronologia/Note/boesendorfer.html (accessed July 11, 2008)

Budapest Philharmonic Orchestra http://www.viparts.hu/filharmonia_en.html (accessed August 13, 2007)

Dies Irae http://www.newadvent.org/cathen/04787a.htm (accessed April 18, 2010)

Fact Sheets on Hungary. Ministry of Foreign Affairs Budapest, ―A Brief History of Music in Hungary.‖ http://www.mfa.gov.hu/kum/en/bal/Ministry/about_hungary/ (accessed July 6, 2008)

Fact Sheets on Hungary. Ministry of Foreign Affairs Budapest, ―One Thousand Years of Hungarian Culture.‖ http://www.mfa.gov.hu/kum/en/bal/Ministry/about_hungary/ (accessed July 6, 2008).

Sound Recordings:

Dohnányi, Ernst von. Dohnányi Piano Quintets No. 1 & No. 2. Lydia Artymiw, David Ehrlich, Akemi Takayama, Doris Lederer, Clyde Shaw. Centaur Records, CRC 2503.

71 ______. Dohnányi Songs Complete. Ingrid Kertesi, Márta Gulyás. Hungaroton Records Ltd. CD13213.

______. Piano Quintets. Mayumi Seiler, Ralph de Souza, Douglas Paterson, Jane Salmon, and William Howard. Hyperion CDA 66786.

______. Serenade for String Trio, Sextet. Spectrum Concerts Berlin. Naxos CD 8.557153.

______. Sonata for Cello and Piano. Maria Kliegel, Jenő Jandó. Naxos 8.554468

______. The Two Piano Quintets. Gregory Ellis, Elizabeth Charlson, Simon Aspeli, and Christopher Marwood. CD DCA 915.

Scores:

Dohnányi, Ernst von. Concerto für Pianoforte und Orchester, Op. 5. Ludwig Doblinger.

______. Passacaglia, Op. 6. Ludwig Doblinger.

______. Quintet in E-flat Minor for Pianoforte, 2 Violins, Viola and Violoncello, Op. 26. Ernst Eulenburg, Ltd.

______. Ruralia Hungarica, Op. 32/b. Edition Musica Budapest, 1958.

______. Serenade, Op. 10. International Music Company.

______. Sextet in C Major, Op. 37. Alfred Lengnick & Co. Ltd.

______. Sonata in B-flat for Violoncello and Piano, Op. 8. Masters Music Publications, Inc.

______. Symphonische Minuten, Op. 36. Ernst Eulenburg, Ltd.

72 BIOGRAPHICAL SKETCH

Originally from Japan, pianist Mimi Noda received her B.M. degree in piano solo performance from Kunitachi College of Music in Tokyo. After graduating, she was invited to be the pianist for the Japanese Choral Association (one of four professional choral organizations in Japan), a position she held for six years. In 1998, she began her graduate studies at The University of Georgia School of Music in Athens, Georgia, studying with Dr. Evgeny Rivkin. She served as a graduate assistant in the opera department, received the Director‘s Music Excellence Award, and was selected winner of the annual UGA concerto competition. Ms. Noda received her M.M. degree in Piano Performance: Chamber Music/Accompanying in 2000 from UGA. From 2000 to 2002, Ms. Noda was Senior Staff Accompanist at Texas Tech University School of Music in Lubbock, Texas, where she performed with faculty and guest artists, and toured throughout the Southwest. She has recorded Parquet Musique pour Clavecin by Mary Jeanne van Appledorn for Contemporary Record Society (CD 0276), and Concertino for Trumpet and Tuba by Jacques Castérède for MSR Music LLC. (DDD 1020). In 2002 she began pursuing the doctoral degree in Piano Performance: Chamber Music and Accompanying at Florida State University in Tallahassee, Florida, studying with Dr. Carolyn Bridger. During her tenure at FSU, she received a Tallahassee Music Guild Scholarship and a Florida-Japan Institute Scholarship, and was inducted into Pi Kappa Lambda National Music Honor Society. She also served as a graduate assistant in accompanying, and a teaching assistant in the Japanese Language Department. Ms. Noda joined the faculty at Albany State University (Albany, Georgia) as Assistant Professor of Piano in 2009.