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A STUDY OF SELECTED TWENTIETH-CENTURY STUDENT WORKS FOR PIANO AND ORCHESTRA, WITH APPLICATION THROUGH AN ORIGINAL COMPOSITION: THREE ESSAYS FOR PIANO AND ORCHESTRA by KARL E. RUBRECHT, B.A., M.A., M.M. A DISSERTATION IN FINE ARTS (MUSIC) Submitted to the Graduate Faculty of Texas Tech University in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY Approved Chairperson of the Committee •~f ^^-^^ f—^.^ •" • —tt'——^^ I r »—1—r- f • vnft—fc^ u ~ jg—^'-t-* Accepted Dean of the Graduate School August, 2003 Copyright 2003, Karl E. Rubrecht ACKNOWLEDGMENTS First and foremost, I wish to extend my gratitude to Dr. William Westney for his assistance in preparing this document, as well as the piano instruction that I received. His teaching concepts and philosophies have made a mark upon not only my teaching of piano, but also other courses that 1 teach in my present position. Gratitude is also due to Dr. Mary Jearme van Appledom for assisting me in terms of the original composition. She has been extraordinarily generous with her time and expertise. Dr. van Appledom developed an aspect of my musicianship of which I was not aware before my experience at Texas Tech: the gift of musical composition. I wish to acknowledge publishers G. Schirmer and Carl Fischer for copyright permission to include the musical examples. I wish to extend gratitude to the other three members of my committee: Dr. Wayne Hobbs, Dr. Norman Bert, and Dr. John Stinespring. Their input into this document has been most helpfiil. Dr. Eric Fried deserves special recognition for his outstanding work as the conductor for the Three Essays for Piano and Orchestra, as well as his work as conductor for the Fantasia and Passacaglia on an Original Chant, the prototype work preceding the Essays, as well as those who performed in the orchestras. I am most gratefiil to the Texas Tech Graduate School for the receipt of a 2002 Thesis/Dissertation grant, as well as Barbi Dickensheet for her editorial advice. 11 Other Texas Tech faculty 1 am gratefiil to for various kinds of support are Dr. Lora Deahl, Mr. Robert Deahl and Dr. Jane Ann Wilson. The Rodriguez family (Julia, Leo, Lidia and Benjamin) of Lubbock, Texas, have been most helpfiil in providing housing for me for the past six summers when I have been in residency there, as well as providing housing during the academic year when I have had to be present at Texas Tech for recitals, examinations, and so forth. The Johnson family (Robert, Norma, and Bruce) was most kind in by donating to me a baby grand piano, proudly in my front room, which was used heavily during the composition of the Three Essays for Piano and Orchestra. I also wish to thank my colleagues at Grambling State University for their moral support and other support during the preparation of this document: Dr. Theodore M. Jennings Jr., Dr. Larry Pannell, Mr. Lenward Seals, Mr. Malcolm Spencer, Mr. Charles Lacy, Mr. Leroy Hawthorne, Mr. Curtis Willis, Mr. Marcus Rhodes and Mr. McCoy Ransom. In addition, Mr. Ransom assisted me in performing the Louisiana premiere of the two-piano version of Three Essays for Piano and Orchestra. Special thanks go to Jeremiah Evans for performing the piano reduction for the December 2001 Composer's Concert at Texas Tech, as well as Christina McKinney for doing likewise at my March 2003 lecture-recital. I also wish to thank my students who have been very supportive of this project. Special mention must go to the Omicron Lambda chapter of Phi Mu Alpha Sinfonia for all they have done. Specific students who have made significant contributions to this 111 project are Terence Fisher, Nicholas Allen, Hassan Wilson, Jerry Maiden Jr., Michael Tippens and Todd Patrick. Others who have provided support in some way to this endeavor are my brothers Stan and Chris, as well as Chad and Betty Edgett, Dr. Donald Cornell, Dr. Larry Edwards, and Edward Kovalchick. IV TABLE OF CONTENTS ACKNOWLEDGEMENTS ii ABSTRACT vii LIST OF TABLES viii. CHAPTER L INTRODUCTION 1 IL EXAMINATION OF RELATED WORKS 7 Marion Bauer: American Youth Concerto (1943) 10 Maxwell Eckstein: Concerto for Young Americans (1955) 13 Marcel Frank: Youth Concerto (1963) 15 Koh-Ichi Hattori: Concertino for Small Hands (1968) 16 Dmitri Kabalevsky: Youth Concerto, Op 50 (1952) 17 David Kraehenbuehl: Marches Concertantes (1976) and Rhapsody in Rock (197S) 20 Alec Rowley: Miniature Concerto (1947) 23 Evan Tonsing: Concerto for a Young Pianist (1968) 25 Joseph F. Wagner: Concertino in G minor (1919, rev. 1925) 26 Gayneyl Wheeler: Concerto for Piano and Orchestra (1972) 28 Ellen Zwilich: Peanuts Gallery for Piano and Orchestra.... 31 III. THREE ESSA YS FOR PIANO AND ORCHESTRA 34 IV, DISCUSSION OF THE ORIGINAL THREE ESSAYS FOR PIANO AND ORCHESTRA 65 V. RESULTS, SUMMARY AND CONCLUSIONS 79 BIBLIOGRAPHY 82 APPENDIX: COLLEAGUE/AUDIENCE COMMENTARY ON THE RUBRECHT THREE ESSA YS FOR PIANO AND ORCHESTRA 84 VI ABSTRACT The concept of intentionally writing student level works for piano and orchestra has been a phenomenon of the twentieth century. There are some effective works available, however closer examination reveals that the majority of these works are written for younger students. There is a dearth of works that would be appealing for older piano students to learn and perform. This dissertation is a study of some of the more available and widely used student works. Pianistic and compositional techniques were observed in the published works, with conclusions drawn as to their effectiveness and frequency. After analyzing and examining those works, a composition was written, emulating some, but not all of the features of the other works under consideration. Essays uses more sophisticated harmonic language and an overall serious mood, which is designed to appeal to the older student, while producing a work within the technical parameters of the intermediate to moderately difficult student concertos. vu LIST OF TABLES 1. Pianistic considerations of the related literature 2. Compositional techniques and styles viu CHAPTER I INTRODUCTION As a piano teacher in a small liberal arts university located in northern Louisiana, I generally work with students whose pianistic technical skills are in the intermediate range. Speaking with colleagues who teach in similar schools I find that their institutions seem to attract students playing at the intermediate to moderately difficult level, while the larger and more prestigious institutions tend to attract those students that are playing at a higher level of difficulty. It is part of a teacher's job to seek out appropriate literature for their students. There is much fine solo piano literature for the intermediate to early advanced piano students; there are a number of twentieth-century composers such as Bartok, Kabalevsky, and Rowley who have contributed much to this literature. Eventually, in the course of study, many teachers want to assign their students a work for piano and orchesfra, usually a concerto. A work for piano and orchestra adds another dimension to performance, requiring the pianist to develop ensemble skills, since an mstrumental ensemble is required or at least a second piano part is needed to play a reduction of the orchestral score. In addition, performing a work for piano and orchestra can be an exciting experience for a student, and thus can become a powerful source of motivation. In his reference work Music for Piano and Orchestra, Maurice Hinson has cited and annotated more than 3,000 works for piano and orchestra from the 1700s to the present. Many, but not all, of the listed works are evaluated in terms of difficulty. Hinson states, "These categories must not be taken too strictly but are only listed for general indications of technical and interpretative difficulties" (Hinson x). He gives the following works as examples of each level of difficulty: Int.: C.H. Graun, Concerto F, Op. 2/4 J. Haydn, Concerto C, Hob. XrV/4 F. Kuhlau, Concerto C, Op. 7 D. Kabalevsky, Concerto III "Youth" M-D.: J.S. Bach, Concerto d, S. 1052 W.A. Mozart, Concerto C, K. 415 E. MacDowell, Concerto d. Op. 23 R. Starer, Concerto I D: J.S. Bach, Brandenburg Concerto V.S. 1050 L. Beethoven, Concerto IV G, Op. 58 S. Rachmaninoff, Rhapsody on a theme ofPaganini E. Carter, Concerto Five categories of grading are used: Intermediate (Int.), for the above- average high school pianist; Moderately Difficult (M-D), for the above-average college pianist; Moderately Difficult to Difficult (M-D to D); and Difficuh (D), for advanced pianists (Hinson ix). The works that will be examined in this study will range from intermediate to moderately difficult, according to Hinson's rankings, and in a few cases my own. In terms of music for piano and orchestra, there are a number of works cited by Hinson that are of the intermediate to intermediate-moderately difficult level. With one exception, all of these works were written in the Baroque, Classical, or twentieth-century periods. The one exception is Gabriel Pieme's Fantasie-Ballet (1887), which is described as dated but having some charming moments (Hinson 227). The sons of J.S. Bach as well as Haydn and Mozart and such lesser composers such as Giovanni Paisiello (1740-1816), John Stanley (1713-86) and Thomas Ame (1710-1778) wrote a number of concerti that fall into this category. The works from the Baroque and Classical periods were not necessarily intended for student use; they were written before the revolutionary advances in piano technique of the Romantic period. The idea of writing music for piano and orchestra for student use during the Romantic period was apparently nonexistent, or at least nearly so, although composers such as Seitz (1848-1918), Accolay (1845-1910) and de Beriot (1802-1870) composed several such works for students of the violin (Wallingford 29).
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