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"9 MB/J /VO,3£3( COPLAND'S "SINGLE VISION" AND THE PIANO SONATA: A LECTURE RECITAL, TOGETHER WITH THREE RECITALS OF SELECTED WORKS OF J. S. BACH, B. BARTOK, L. V. BEETHOVEN, F. CHOPIN, F. LISZT, W. A. MOZART, J. P. RAMEAU, M. RAVEL, AND F. SCHUBERT DISSERTATION Presented to the Graduate Council of the University of North Texas in Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS By Gregory W. Morris, B.M.E., M.M. Denton, Texas August, 1990 Morris, Gregory W., Copland's "Single Vision" and _the Piano Sonata: A Lecture Recital, Together with Three Recitals of Selected Works of J. S. Bach, B. Bartok, L. V. Beethoven, F. Chopin, F. Liszt, W. A. Mozart, J. P. Rameau, M. Ravel, and F. Schubert. Doctor of Musical Arts (Piano Performance), August 1990, 39 pp., 25 examples, bibliography, 20 titles. Difficulties are encountered in any discussion of Copland's style, for his works cover the spectrum from harsh, dissonant works to folk music. To avoid the task of defining a style which encompasses this array of vastly different pieces, a sharp distinction is frequently made between the abstract and popular works. However, Copland has repeatedly objected to such categorization, claiming that he composed from a single vision. A careful examination of his total output proves the validity of his claim. Many common characteristics are found throughout works from all categories and time periods. These traits include a basic economy of materials, emphasis on thirds, consistent method of development, use of declamation, jazz-influenced rhythms, cyclicism, and a slow/fast/slow sequence of movements, as well as within single movements. This document uses the Piano Sonata as a model of Copland's style, for it exemplifies these characteristics more clearly than any other major piece for piano. By making numerous comparisons with other works, Copland's single vision is revealed. Tape recordings of all performances submitted as sssrtation requirements are on deposit in the University of North Texas Library. 111 TABLE OF CONTENTS Page RECITAL PROGRAMS v LIST OF EXAiMPLES ix COPLAND'S "SINGLE VISION" AND THE PIANO SONATA Introduction 1 History of the "Piano Sonata" 4 First Movement 6 Second Movement 18 Third Movement 26 Conclusion 35 BIBLIOGRAPHY .... 38 IV % rth Texas State University School of Music Graduate Recital GREG MORRIS, Piano Monday, March 2', 1967 5=00 p.m. Recital Hall Sonata in D, Op. 28. D .. Allegro Beethoven Andante Scherzo: Allegro vivace Rondo: Allegro ma non troppo Grande Polonaise brillante, Op. 22 rK.„. Precedee d'un Andante spianato Chopin Sonata . Allegro moderato Bartok Sostenuto e pesante A1legro molto Presented in partial fulfillment of the requirements for the degree of Doctor of Musical Arts presents Graduate Piano Recital GREG MORRIS Monday, June 6, 1988 6:15 p.m. Recital Hall Overture in the French Manner Bach Overture Courante Gavotte I Gavotte II Passepied I Passepied II Sarabande Bourree I Bourree II Echo Sonata in D, K. 576 Allegro Adagio Allegretto Etudes d'execution transcendante Liszt Ricordanza Chasse-neige Presented in partial fulfillment of the requirements for the degree of Doctor of Musical Arts VI TJNIVKk.SII V < )h N( )k lH lKVAC gVT/H presents Graduate Recital GREG MORRIS, piano Monday, February 19, 1990 8:00 p.m. RECITAL HALL Program Gavotte with Variations Rameau "Wanderer" Fantasy, Op. 1.5 Schubert Intermission Le Tom beau de Couperin Ravel Prelude Fugue Forlane Rigaudon Menuet Toccata Presented in partial fulfillment of the requirements for the degree of Doctor of Musical Arts '•NlvfRSni y OF NORTH TEXAS 1890-1990 VI1 raSEESnYDEMMHTEXaS presents Graduate Lecture Recital GREG MORRIS, piano Monday, July 2, 1990 8:00 p.m. Recital Hall LECTURE: Copland's "Single Vision" and the Piano Sonata PROGRAM: Piano Sonata Aaron Copland (b. 1900) Presented in partial fulfillment of the requirements for the degree of Doctor of Musical Arts m NORTH Vlll LIST OF EXAMPLES Example Page 1. Initial falling thirds, resting on lower note, Plano f* Sonata, 1st movement, measures 1-4 7 the Kid (1938), measures 1-2 . 7 c. Statements (1935), "Prophetic," measures 1-2 7 Twelve Poems of Emily Dickinson (1950), "The world feels dusty," measures 1-3 . Piano 7 Variations (1930), measures 1-3 8 Dance Panels (1962), I, measures 69-71 8 2. Thirds in serial compositions. a* Connotations (1962), measures 20-22 b- Nonet (I960), ending 8 C* Qua*"tet for Piano and Strings (1950) 8 3rd movement, measures 52-60 3a. Violin sonata (1943), 1st movement, measures 3-4 k* Third Symphony (1946), 2nd movement, measures 1-2 c" Night Thoughts (1972), measures 1-2 9 9 4. Development of Theme 1. a* Main theme, a + b, measures 1-4 10 b. Development of fragment b, measures 10-16 c. Development of fragment a, inverted, 10 measures 26-33 . 10 5. Theme 2, measures 58-61, 64-66 11 6a. Theme 2 expanded, measures 90-95 b. Organ Symphony (1924), 3rd movement,* 12 measures 1-8 ... 12 7. "Piu largamente," measure 123 13 8. Allegro" section, measures 133-136 13 9a. Dance Panels (1962), I, measures 23-27 . 14 IX Example Page b* Quiet City (1939), measures 14-17 14 10 fo F h" P"° f l"te and Piano (1971), measures 1-5 14 b- Music for the Theatre (1925), III, measures 1-5 . 14 lla* Piano Variations (1930), var. 14, measures 6-9 b. Symphonic Ode (1929),'measures 1-4 15 ~c, Short Symphony (1933), measures 1-6* .' 15 d, Statements (1935), "Dogmatic," 16 measures 24-27 . 16 Piano Sonata, recall of opening motive 17 13. 1st movement, measures 15-16. Arpeggios 18 14. 2nd movement, measures 1-6 19 15. Wedge motive, measures 1-2, 7-9, 10-13, 14 -19 19 16. Repetition and addition. a* Music for the Theatre (1925), I, measures 16-20 .... ' b- Symphonic Ode (1929), measures 8-11* ." * 20 C* Sonata for Violin and Piano (1943), 1st* 20 movement, measures 3-10 20 Twelve poems of Emily Dickinson *M ' Going to Heaven," measures 2-11 e. Dance Panels (1962), VII, measures 1-10* 21 21 17at.' S°W P ' for Piano and Sfrin.c . Quartet (1950), 2nd movement, measures 67 21 74 22 18a. Wedge motive, measures 54-55 b. Measure 71 25 c. Measures 90-91 . 25 25 19. Trio section. a. Measures 191-193 b. Measures 201-204 . 26 26 20. 3rd movement, measures 1-2 26 21. 3rd movement, measures 6-12 27 Example Page 22. Piano Sonata, 3rd movement, measures 19—23 . 27 23. Two-part contrapuntal writing. a- Two Pieces for String Orchestra (1928), I, measures 25-30 .... 28 b- Sonata for Violin and Piano (1943), 3rd* movement, measures 27-30 28 c- Third Symphony (1946), 3rd movement, measures 12-17 29 d* Quartet for Piano and Strings (1950), 3rd* movement, measures 41-45 29 e- Connotations for Orchestra (1962), measures* 182-184 29 24. Bell effects. a- Piano Sonata, 3rd movement, 2nd theme, measures 46-48 29 k* Piano Fantasy (1957), ending 30 c- Duo for Flute and Piano (1971), 2nd movement, measures 1-3 30 25a. Ostinato in original form, measures 34-36 30 b. Ostinato as melody, measures 53-71, 79-83, 99-103 [ # 31 c. Ostinato as accompaniment to Theme 2, measures 136-138 31 XI Introduction Any writer discussing Copland's music, particularly his style, is faced with a difficult task. The composer has covered the spectrum from dissonant avant-garde works to simple folk music which appeals to the most uninitiated of listeners. Because of this array of vastly different pieces, the temptation is strong to speak of different styles, to categorize his output and deal with each group separately. Usually a distinction is made between the "serious" concert music and that which, by Copland's own admission, was written to appeal to the widest possible audience. The inference is that the latter category is not as serious and is lacking in substance. Some have turned to a chronological approach as a means of categorization. Julia Smith divides Copland's life into three style periods (French-Jazz, Abstract, and American Folksong) with further sub-divisions.1 Considering that her book was written in 1955, she probably would be forced to add at least one more period today. Although these approaches are not entirely without merit, they—like most easy solutions—contain serious 1* Co!^ai955K' Aaron ^P-iand (New Yo^kl mTtton and flaws. This is obvious with the chronological method. Copland has repeatedly demonstrated the ability to move from one "style" to another with ease. Vitebsk (1928), a tiio based on a Jewish melody and containing quarter tones and harsh dissonances, came in the midst of what Smith terms the French-Jazz period. The serial Quartet for Piano and Strings was written in 1950, during the American Folksong period. This particular year is an excellent example of the chronological method's shortcomings. It is the date of composition for three distinctly different works: Old American Songs. Twelve Poems of Emily Dickinson, and the quartet. Old American Son<?s are arrangements of five original folk songs. The song cycle based on Dickinson's poems is tonal but decidedly not folk oriented. The quartet is even further removed, being a twelve-tone serial work. The general distinction between the "serious" and the popular has its problems as well. The first is practical. Many pieces do not clearly fit into either category, but contain elements of both. Indeed, few of Copland's works are untouched by the popular jazz style. The second problem is created by the composer himself. He has repeatedly objected to such divisions, emphasizing that he took all of his work seriously.
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