/ . J. S. BACH: THE OUVERTURE IN B MINOR, BWV 831: A DISCUSSION OF ITS ORIGIN AND STYLE; PERFORMANCE PRACTICE ISSUES AND THEIR APPLICATION TO THE MODERN PIANO. by IWONA KAMINSKA B.M., F. Chopin Academy of Music, Warsaw, Poland, 1992 M.M., University of Nebraska-Lincoln, 1998 A DISSERTATION SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF MUSICAL ARTS in THE FACULTY OF GRADUATE STUDIES (School of Music; Piano Performance) We accept this dissertation as conforming to the required standard THE UNIVERSITY OF BRITISH COLUMBIA October 2002 © Iwona Kaminska, 2002 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the head of my department or by his or her representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Department of The University of British Columbia Vancouver, Canada Date DE-6 (2/88) In Recital Iwona Kaminska-Bowlby, pianist In a doctoral degree recital With Friends, Mari Hahn Adrian Dyck Diederik van Dijk Chris Bowlby and John McMillan Tuesday, March 14,2000 Eight o'clock in the evening at the UBC Recital Hall 6361 Memorial Road This recital is in partial fulfilment of the doctor of musical arts degree program at the University of Brit• ish Columbia -program- Fantasie in f minor, Op. 103, D. 940 (1828) Franz Schubert Allegro molto moderato-Largo-Allegro vivace-Tempo I (1797-1828) ? Iwona Kaminska-Bowlby and Chris Bowlby, pianists Mother Goose, 5 Children's Pieces (ca. 1910) Maurice Ravel I Pavane of Sleeping Beauty in the Forest (1875-1937) II Tom Thumb ID Little Plain Jane, Empress of the Chinese Nodding Dolls IV Conversations of Beauty and the Beast V The Fairy Garden Iwona Kaminska-Bowlby and Chris Bowlby, pianists John McMillan, narrator -intermission- frora Liederkreis, Op. 39 (1840) Robert Schumann In der Fremde (1810-1856) Intermezzo Waldegespr&ch DieStille "'V-r Mondnacht Aufeiner Burg Wehmut ImWalde Friihlingsnacht Mari Hahn, soprano Iwona Kaminska-Bowlby, piano Piano Trio, Op. 121 a (ca. 1816) Ludwig van Beethoven Introduzione: Adagio assai-Thema: Allegretto (1770-1827) Adrian Dyck, violin Diederik van Dijk, violoncello Iwona Kaminska-Bowlby, piano Program Notes Franz Schubert wrote much music for four-hands, the most familiar being the Military March in D. While Mozart wrote some of his piano duets for playing tours he undertook with his sister, Schubert composed his for a more practical rea• son. Lacking the influence and money to hire an orchestra, he knew he and his friends could play chamber music at one of the many Schubertiads. It is not even known if Schubert ever heard one of his symphonies performed. With these limita• tions in mind, it is not surprising to hear orchestral effects in Schubert's piano music. One duet, the Grand Duo in C, was later orchestrated by Joseph Joachim. The Fan- tasie in f minor was written in that most productive and final year of Schubert's all too short life, 1828. The fantasie is different from earlier duets, by its polyphonic construction and use of fugue. Written at the same time as the String Quintet in C and the last, great sonatas, this work is emotional and dramatic. In four movements, the work is played in a continuous flow creating a sense of unity from four dissimi• lar sections. Also binding the work is the reappearance of the opening theme as a counter subject in the closing fugue. Between 1908 and 1910, Ravel produced Ma mere Voye, or Mother Goose for children of close friends, a suite of five movements for piano duet based on the popular children's stories of the same name. During these same years, Ravel saw the death of his father and wrote Gaspard de la nuit, one of his most serious and most technically demanding works of the piano repertoire. It is peculiar that in this same period in his life, the composer produced works of complete diversity. The Mother Goose Suite shows the composer's flair for story-telling and his connection with fairy tales and the magical world of children's imaginations. The idea serving as the framework for the suite was the story of Sleeping Beauty, where the separate movements are as dreams. In the final movement, she awakes to the kiss of Prince Charming, finding herself in a magic garden. At the request of Jacques Rouche, Ravel orchestrated and rewrote the suite into a ballet, adding a prelude and fourin- terludes linking the re-ordered movements together. The orchestrated version was first performed at the Theatre bes Arts on the 28th of January, 1912. "The cycle of Eichendorff is for me, the most romantic and depicts much of you," wrote Robert Schumann in his letter to Clara from May 22, 1840. This year, often referred to as the "year of song," was a remarkable point in music history. Schumann was not only a master of melody and counterpoint but also, himself, was familiar with literature, being a writer as well, and had a deeply poetic imagination. The Lieder of Schumann are like portraits of his creative genius and are the summa• tion of a true romantic art. In contrast with the poetry of Jean Paul and Heinrich Heine, that of Baron Joseph von Eichendorff is perhaps the most romantic in mean• ing. The poems themselves are not linked together in a cyclic unifying theme but are separate miniatures. Liederkreis represents the deep happiness that Schumann shared with Clara and he wrote of, "sinking into complete meditation." The dra• matic centre of the cycle is Mondnacht, where one may come to awareness of his life of suffering to come. The Piano Trio, Op. 121a, by Beethoven, is a set of ten variations for piano, violin and cello based on Wenzel Miiller's aria "Ich bin der Schneider Kakadu" (I'm Cockatoo, the tailor-man) from his opera, Die Schwestern von Prag. Most likely unknown to us today, Muller was one of the most popular opera composers in Vi• enna during the time of Beethoven. If one could walk the streets of Vienna around 1795, many townspeople could be heard whistling tunes from this opera. It was not > uncommon for composers to set popular themes of operas to variation, often as ei- :i ther for a small ensemble or for piano solo. Beethoven first sketched this work sometime between 1803 and 1806 but set it aside. He came back to it some ten years later and final published it in 1824. Though the theme is light and humorous, much of this work contains a grave and deeply personal style. Like many of Bee• thoven's late works, the parts interact in a highly contrapuntal manner. A serious introduction counterbalances the carefree nature of the theme. After ten variations and the increasing momentum of the coda, it could be understood why the variations of Beethoven are some of the most celebrated in history. Program notes by Iwona Kaminska-Bowlby and Chris Bowlby A special heartfelt thank you- My thanks goes out to all the musicians who made this recital possi• ble: to Mari Hahn, whose voice helped me to better understand the meaning of Schumann's Lieder, to Adrian Dyck and Diederik van Dijk, whose natural musical ability was both a joy and an inspiration to behold, to my husband, Chris Bowlby for always being there and to John McMillan who, with his charisma, added a special something to make it memorable. My thanks to you all! Die Ahren wogten sachl, Gently swayed the ears of com. Es rauschien leis ' die Wdlder, The woods softly rustled, So sternklar war die Nachl. And the night was bright with stars. I hid meine Seele spannte And my soul spread Weit Hire Flilgel aus. Wide its wings, Flog durch die stillen Laiide, Arid flew over the silent land, Als flOge sie nach Haus. As if it were flying home. vii. Auf einer Burg In a Castle Eingeschlafen aufder Lauer Up there keeping watch, Oben ist der alte Riller; The old knight has fallen asleep; Dnlben gehen Regenschauer, Rnin showers down, Und der Wald rauscht durch das Gilter. And the woods rustle llrrough the iron bars. Eingewaclisen Bart und Haare, Willi his hair and beard grown together as one, Und versleinerl Brusl und Krause, I lis brcusl and his ruff turned to stone. Sitzl er viele hunderl Jahre He has sat for hundreds of years Ohen in der stillen Klause. Up in his silent cell. IJraussen is/ es still undfriedlich, Outside it is peaceful and still. Alle sind ins Talgezogen, All the people gone to the valley; Waldesvogel einsam singen And solitary woodland birds sing In den lleren Fensterbogen. In the empty window arches. Fine ilochzeit fohrt da unlen A wedding party sails below Auf dem Rliein im Sonnenscheine, On the sunlit Rhine; Musikanten spielen munter, Musicians are playing merrily, Und die schdne Braut, die weinet. And the lovely bride weeps. ix. Wehmitt Melancholy lch kann wohl manchmal singen, I can even sing at limes, Als ob ich frShlich sei, As if I were happy, Doch Heimlich Tranen dringen. But secretly my tears well up, Da wird das Herz mir frei. And my heart is set free. Es lassen Nachtigallen, Outside the nightingales Spielt draussen FrOhlingslufi, hi Uie spring breeze Der Schnsucht Lied erschallen Sing out their yearning songs Aus Hires Kerkers Gruft.