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January 10, 2007 I, Reiko-Christine Höhmann, Hereby Submit This Work UNIVERSITY OF CINCINNATI Date: January 10, 2007 I, Reiko-Christine Höhmann, hereby submit this work as part of the requirements for the degree of: Doctor of Musical Arts in: Piano Performance It is entitled: Four twentieth-century Sonatinas for Violin and Piano This work and its defense approved by: Chair: Dr. Steven Cahn Dr. Piotr Milewski Prof. Frank Weinstock _______________________________ Four twentieth-century Sonatinas for Violin and Piano A document submitted to the Division of Research and Advanced Studies of the University of Cincinnati in partial fulfillment of the requirements for the degree of Doctor of Musical Arts In the Performance Studies Division Of the College-Conservatory of Music February 2007 by Reiko-Christine Höhmann Diplom, 1998 Hochschule für Musik und Theater, Hamburg AD, 1999 CCM, University of Cincinnati Committee Chair: Dr. Steven Cahn ABSTRACT This thesis discusses four different sonatinas that represent the variety of compositional styles and forms in the twentieth century. These are the sonatinas for violin and piano by Carlos Chávez, Karlheinz Stockhausen, William Bolcom and Hans Werner Henze. In the development of the sonatina the twentieth century sees an increase of sonatina writing as well as a new flexibility of form paired with a variety of compositional methods. In this thesis the four sonatinas are discussed in chronological order after summarizing the history of sonatina writing. This gives an idea about the development of sonatina writing from the seventeenth century up to 1979. A genre study shows different trends in sonatina writing, as for example in the Classical sonatina and the French sonatina. The four pieces show the continuation of that historic development in the twentieth century. The Sonatina by Chávez (1924) is an example of Mexican nationalism and is a cyclical piece, while Stockhausen’s Sonatina (1951) is serial with a centricity on C. The Sonatina by Bolcom (1958) is composed with short rhythmic units and sets, while Henze’s Sonatina (1979) is neo-romantic and uses baroque compositional techniques. Several new aspects to sonatina writing can be found in those four pieces, as well as traditional elements. The sonatina in the twentieth century is mostly a performance piece, whereas earlier sonatinas, such as those in the eighteenth and nineteenth centuries were most frequently written for didactic purposes. All four of these sonatinas are performance pieces and compositions, which are worth while studying. iii iv ACKNOWLEDGEMENT The long-term project of this document that took around three years to write was a great challenge for me and I am happy to conclude it. The writing of the paper required not only my involvement, but also the kind help of my friends, who contributed to the document with their ideas, translation, corrections and the performance of the pieces. I am grateful to mention Dona Nouné-Wiedmann, violinist of the Dayton Philharmonic Orchestra, who learned the sonatinas for me. My thanks also go to Daphne Fetting, Chan Kiat Lim, Jéssica Garduño and Mr. Robert Johnson. For their patience, love and support I would like to thank my family. v CONTENTS ACKNOWLEDGEMENT . v LIST OF MUSICAL EXAMPLES. viii-x CHAPTER 1. INTRODUCTION. .. 1 2. HISTORICAL BACKGROUND. 6 Sonatinas of the Nineteenth Century . 9 Sonatinas of the Beginning of the Twentieth Century. 12 3. ANALYSIS OF FOUR TWENTIETH CENTURY SONATINAS. 19 Carlos Chávez. 19 Cyclicality . 21 Motivic Interrelationships . 22 Nationalistic Elements . 27 Karlheinz Stockhausen. 33 Rowforms . .. 36 Tonal Elements . 40 Subsets . .. 42 William Bolcom. 48 Eclecticism . 49 Interval Motives and Treatment of Rhythm . 54 Pitch Sets . 58 Hans Werner Henze. 61 Pollicino . 61 vi Neo-romanticism . 64 Baroque Techniques . 68 4. CONCLUSION.. 72 APPENDIX 1: TABLE OF FORMS . 76 APPENDIX 2: DRAWING BY STOCKHAUSEN. .. 78 APPENDIX 3: CHART OF BOLCOM, II . 79 BIBLIOGRAPHY. 80 vii MUSICAL EXAMPLES Example page CARLOS CHÁVEZ, SONATINA FOR VIOLIN AND PANO 3-1 Shifting triads in the first movement of Ch ávez’s Sonatina. 23 3-2 Ostinato pattern in the Scherzo movement. 24 3-3 Symmetrical pattern through stepwise motion in Left Hand . 24 3-4 Pattern leaping up and down . 24 3-5 The set 3-7 (025) as part of the pentatonic scale. 25 3-6 The set 3-7 (025) in the Molto vivace section. 25 3-7 Two overlapping sets in the violin part. 26 3-8 Main theme in Largo with B natural . 26 3-9 Black keys versus white keys . 27 3-10 Xochipizahua . 29 3-11 Rutuburi . 30 3-12 Latin American rhythm. 31 KARLHEINZ STOCKHAUSEN, SONATINA FOR VIOLIN AND PIANO 3-13 P 0, the twelve-tone row of the Sonatina. 35 3-14 The beginning of the first movement of the Sonatina with three equal voices . .. 36 3-15 Trichords and tetrachords of P 0 and two dyads of R 2 appear vertically. 39 viii 3-16 Rhythmic changes. 40 3-17 Intervals of a fifth in the first movement: D-flat/A-flat and E-flat/ B-flat . .. .. 40 3-18 Tetrachords of R 2 in the left hand. 42 3-19 The lowest voice of the beginning of the first movement with ordered pitch intervals . 43 3-20a Dyad C-B of the row I 7 in the second variation of the second movement. .. 44 3-20b Dyad C-B of the row I 0in the fourth variation of the second movement . .. 44 3-21 Trichords with differing contours. 45 WILLIAM BOLCOM, SONATINA FOR VIOLIN AND PIANO 3-22 Closing section with syncopated motive . 50 3-23 Undulating figures on pitches G and C . 52 3-24a Rhythmic unit x. 55 3-24b Rhythmic unit y. 55 3-25 Combination of x and y. .. .. 55 3-26 Rhythmic motive in retrograde. .. 56 3-27 Rhythmic motive z in the third movement of Bolcom’s Sonatina . …. .. 56 3-28 Fragmentation of the motive x. 57 3-29 Sets 3-4(015) and 3-8 (026) in third movement. 60 ix HANS WERNER HENZE, SONATINA FOR VIOLIN AND PIANO 3-30 Fate motive in first movement of Henze’s Sonatina . 64 3-31 Triads in context of C. .. .. 66 3-32 Ground bass with twelve-tone row. .. 67 3-33 Repetitions as motivic elements are recurring throughout. 69 3-34 Lamento bass . 70 3-35 Canon at a fourth . 70 x CHAPTER I INTRODUCTION The purpose of this document is to show that the sonatina has developed new features when compared to the nineteenth century sonatina, and also compared to the ones written in the beginning of the twentieth century. By making a thorough analysis of each sonatina I will come closer to identifying the structural differences between the twentieth-century sonatina and its predecessors. In my thesis I will show that the development of sonatina writing led to a number of short, highly artistic compositions that emancipated themselves from the traditional model. Whereas the sonatinas of the eighteenth and nineteenth century are all based on a similar structure (Clementi’s sonatinas are seen as prototype), the twentieth century sonatina frees itself from the standard form and from the implication as a pedagogical work. I chose four sonatinas for violin and piano, as works in this medium best represent the variety and individualism in the genre. The sonatina as performance piece in the twentieth century is a novelty and creates new works for the medium of chamber music, which is one of the reasons for pointing it out. Also, all four composers are significant in the twentieth century and their pieces are worth performing. The four sonatinas are by Carlos Chávez (1924), Karlheinz Stockhausen (1951), William Bolcom (1958) and Hans Werner Henze (1979). Although they are pieces by well-known composers, they are infrequently performed and deserve some attention. Several authors wrote on the twentieth-century sonatina for piano in which they drew conclusions on the development of the sonatina in the twentieth century. Scott A. 1 Carrel writes, that authors approach the topic in three different ways. 1 Some authors, such as Eleanor Anne Carlson, write about one composer: Carlson has written exclusively about Maurice Emmanuel’s sonatinas. 2 Others, such as Alvan D. Cazedessus present a group of compositions from different time periods and nationalities. 3 A third group limits discussion to specific time periods and geographic locations like for example Kathy J. E. Charles’ thesis A Study of the Contemporary Shortened Piano Sonata (Sonatina) 4 and Janelle Ganey’s A Pedagogical Analysis of Solo Piano Sonatinas by North and South American Composers, 1963-1983 .5 Although there are many theses on the piano sonatina, there are no major writings concerning sonatinas for violin and piano in the twentieth century. The Sonatina by William Bolcom is discussed in the doctoral thesis of Tze Yean Lim, and the Sonatina by Carlos Chávez in a doctoral thesis by Charles R. Heiden 6. Both theses present summaries of the composers’ works for violin and piano with an analysis of each work. For example, Lim’s thesis discusses a few analytical aspects of the sonatina, but leaves 1Scott A. Carrel, “The French Sonatina of the Twentieth Century for Piano.” (D.M.A. thesis, University of North Texas, 1999), 11. 2Eleanor Anne Carlson, “Maurice Emmanuel and the Six Sonatines for Piano” (D.M.A. dissertation, Boston University School of Fine and Applied Arts, 1979; Ann Arbor, Michigan: University Microfilms International, 7420471) 3Alvan D.Cazedessus, “The Study and Performance of Selected Contemporary Piano Sonatinas” (D.M.A. dissertation, Columbia University, 1967: Ann Arbor, Michigan: University Microfilms International, 688975) 4Kathy Jo Edsill Charles, “A Study of the Contemporary Shortened Piano Sonata (Sonatina)” (D.M.A. dissertation, University of Missouri – Kansas City, 1990: Ann Arbor Michigan: University Microfilms International, 9026054) 5Janelle Ganey, “A Pedagogical Analysis of Solo Piano Sonatinas by North and South American Composers, 1963-1983” (D.M.A.
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