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Viktor Kosenko's Piano Cycle Eleven Etudes in the Form of Old Dances UNLV Theses, Dissertations, Professional Papers, and Capstones 5-1-2016 Viktor Kosenko's Piano Cycle Eleven Etudes in the Form of Old Dances Ekaterina Bessmeltseva University of Nevada, Las Vegas Follow this and additional works at: https://digitalscholarship.unlv.edu/thesesdissertations Part of the Music Commons Repository Citation Bessmeltseva, Ekaterina, "Viktor Kosenko's Piano Cycle Eleven Etudes in the Form of Old Dances" (2016). UNLV Theses, Dissertations, Professional Papers, and Capstones. 2640. http://dx.doi.org/10.34917/9112032 This Dissertation is protected by copyright and/or related rights. It has been brought to you by Digital Scholarship@UNLV with permission from the rights-holder(s). You are free to use this Dissertation in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. This Dissertation has been accepted for inclusion in UNLV Theses, Dissertations, Professional Papers, and Capstones by an authorized administrator of Digital Scholarship@UNLV. For more information, please contact [email protected]. VIKTOR KOSENKO’S PIANO CYCLE ELEVEN ETUDES IN THE FORM OF OLD DANCES By Ekaterina Bessmeltseva Bachelor of Music-Piano Performance Bowling Green State University 2008 Master of Music University of South Florida 2011 A doctoral document submitted in partial fulfillment of the requirements for the Doctor of Musical Arts School of Music College of Fine Arts The Graduate College University of Nevada, Las Vegas May 2016 ABSTRACT The purpose of this document is to draw attention to Viktor Kosenko’s music by focusing on his piano cycle Eleven Etudes in the form of Old Dances, op.19. Viktor Kosenko was a remarkable Ukrainian pianist, composer, and teacher. His compositional output includes works for piano, violin, cello, voice, ensembles, and music for film and theatre. Compositions such as Eleven Etudes in the Form of Old Dances, Twenty-four Pieces for Children, Classical Trio for Piano, Violin and Cello, Cello Sonatas, Heroic Overture, and Moldavian Poem became treasures of the Ukrainian repertoire. Viktor Kosenko worked towards the expansion of Ukrainian national repertoire. This document consists of five chapters. The first chapter consists of the introduction including the purpose of the investigation and literature review. The second chapter includes a biography of Kosenko and cultural information of the Ukraine during his life. The information in this chapter describes Kosenko from different perspectives during his roles as a performer, teacher and composer. Furthermore, it explores the influence and impact of the USSR’s artistic policies on Kosenko's compositions. This information establishes the basis for a deeper understanding of Kosenko’s musical style. The third chapter focuses on the piano cycle Eleven Etudes in the form of Old Dances and particularly on the form of each etude. This chapter includes brief historical information on a dance as a genre and its origins. It also discusses the development of the baroque suite. The fourth chapter describes the cycle as a set of concert-etudes and establishes the technical difficulties of each etude. The fifth chapter is a summary and conclusion. iii Dissertation Approval The Graduate College The University of Nevada, Las Vegas April 15, 2016 This dissertation prepared by Ekaterina Bessmeltseva entitled Viktor Kosenko’s Piano Cycle Eleven Etudes in the Form Of Old Dances is approved in partial fulfillment of the requirements for the degree of Doctor of Musical Arts School of Music Mykola Suk, D.M.A. Kathryn Hausbeck Korgan, Ph.D. Examination Committee Chair Graduate College Interim Dean Tim Hoft, D.M.A. Examination Committee Member Dave Loeb, M.M. Examination Committee Member Taras Krysa, M.M. Examination Committee Member Beth Mehocic, Ph.D. Graduate College Faculty Representative ii Table of Contents Abstract iii List of Musical Examples v Chapter 1: Introduction 1 Purpose of the Study 2 Literature Review 2 Chapter 2: Biography 7 Kosenko as a Performer 8 Kosenko as Teacher 9 Kosenko as a Composer 9 Cultural life in the Ukraine during Kosenko’s life 10 The influence and impact of USSR artistic policies on Kosenko's compositions 12 Chapter 3: Overview 15 Dance and its Origins 16 Louis XIV 17 French Influence on J.S. Bach 19 Baroque Suite 19 Allemande 20 Courante or Corrente 22 Minuet 24 Sarabande 27 Gavotte 29 Bourreè 32 Rigaudon 34 Passacaglia 37 Gigue 39 Conclusion 42 iv Chapter 4: Etudes vs. Concert-Etudes 44 Kosenko’s Concert-Etudes 45 Technical Challenges 46 Chapter 5: Summary and Conclusion 48 Summary 48 Conclusion 51 Notes 53 Bibliography 58 Curriculum Vitae 59 v List of Musical Examples Example 1 Brahms Rhapsody op.79, no. 1, Kosenko Sarabande 35 Example 2 Rachmaninoff Etude Tableau op.39, no.9, Kosenko Gavotte 35 Example 3 Rameau Rigaudon 34 Example 4 Rameau Rigaudon 35 Example 5 Kosenko Rigaudon 36 Example 6 Kosenko Passacaglia 38 Example 7 Kosenko Gigue 40 Example 8 Rachmaninoff Etude Tableau op. 39, no.9, Kosenko Gigue 42 vi CHAPTER 1 INTRODUCTION Viktor Kosenko was born in 1896 in St. Petersburg, Russia of Ukrainian parentage. He was an active Ukrainian composer, pianist, and teacher in the Soviet Union. Viktor Kosenko moved to the Ukraine only after finishing his music degree in St. Petersburg, Russia1. However, he remained true to his national identity. He strove for progress and development of music education in his homeland. Due to historical and personal circumstances he had to adapt to living in different cities such as Warsaw, Moscow, Kiev, and Zhitomir. Kosenko’s music was praised by some of the important musicians such as Glazunov, Myaskovsky, and Gedike. Due to the Soviet regime Kosenko had limited possibilities to work freely at the end of his life. However, he left behind many great works, such as Sonata for Cello and Piano, Op. 20, Moldavian Poem, and Two Poem- Legends, Op. 12 that are recognized and appreciated today. Kosenko is well regarded in Ukraine. There is a music stipend named after Kosenko awarded by the Zhitomir Music School and the Kiev Academy of Music and Drama that allows talented students to be able to study tuition free. Some music schools, such as the Music College in Zhitomir and the Music School for children in Kiev, were named after Kosenko. There is also an award named after Kosenko that is established for outstanding composers whose interest is children’s music education and repertoire. “His Eleven Etudes, Op.8, and Eleven Etudes in the Form of Old Dances, Op.19 became a part of the required repertoire in Ukrainian conservatories in the 1930’s and ‘40’s and the Twenty-Four Children’s Pieces were often taught at Ukrainian music schools.”2 Kosenko’s legacy is preserved in a museum that used to be his personal apartment. The official founder was Kosenko’s wife Angelina Kanepp. The museum is widely used for concerts, 1 lectures and other music -related activities. The museum retains its atmosphere from the 1930’s. It remains a great place for anyone who is interested in Ukrainian music and culture.3 PURPOSE OF THE STUDY This study intends to provide biographical and cultural information, trace any influences of music from other periods, musical trends, and individual composers, analyze the form of Kosenko’s piano cycle Eleven Etudes in the Form of Old Dances, Op.19, explore any similarities of its form, harmonic and melodic language with the original Baroque dances, and establish whether Kosenko intended his etudes as simple technical exercises similar to Czerny’s etudes, or whether he intended them to be like concert-etudes. The aim of this study is to encourage more pianists to include Kosenko’s piano cycle Eleven Etudes in the Form of Old Dances, Op.19 in their repertoire. LITERATURE REVIEWD Although Kosenko’s music has great importance in his home country, his music is not widely performed outside of the Ukraine. There are limited sources of information on Kosenko’s music. Most of these sources are short articles that include a brief biography and some information about his musical style. Only a few CDs with his music are available for the public. The most widely known advocate of Kosenko’s piano music is Natalya Shkoda, who mastered all three Piano Sonatas and Eleven Etudes in the form of Old Dances. She also completed her thesis project for the DMA in piano at Arizona State University on Kosenko’s Eleven Etudes in the Form of Old Dances, Op. 19. In her liner notes, Shkoda describes these etudes as “Romantic pieces with a neo-Classical touch.” According to her, Kosenko was influenced by Mykola Lysenko’s Ukrainian Suite, Op.2. The suite is based on Ukrainian folk songs in the form of traditional dances. Shkoda believes that 2 Kosenko’s etudes belong to “the Lisztian type of etude” rather than “to that of Chopin.” She considers Kosenko’s piano etudes as an example of Koseneko’s understanding and high knowledge of the piano and claims that his compositions are written pianistically. Shkoda also writes about the “innovative aspect” of the cycle. She states: "The innovative aspect of the Op. 19 Etudes lies in their unification of two different genres: simultaneously, they are both concert etudes and dances.” In her project she analyzes the form, the technical challenges, and the melodic and harmonic elements that are similar to Eastern European folk music.4 In her thesis, Shkoda lists Kosenko’s symphonic, chamber, vocal, and solo piano compositions with their dates. She also includes Kosenko’s biography and emphasizes his importance for Ukrainian musical heritage and culture.
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