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

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Nyi's Piano Quintet in E-Flat Minor, Op. 26 (Second Movement) Mihoko Mimi Noda 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) By MIHOKO ―MIMI‖ NODA A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music Degree Awarded: Summer Semester, 2010 Copyright © 2010 Mihoko ―Mimi‖ Noda 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. ii 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. iv 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 v LIST OF TABLES 1. Dohnányi‘s Entire Works ............................................................................................. 11 2. Dohnányi‘s Juvenile Works: Chronology ..................................................................... 13 3. Dohnányi‘s Chamber Works: Chronology ................................................................... 16 vi 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 (pianostringspiano 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. ix 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
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