Similarities between two dissimilar American piano sonatas of the 1960s: The second piano sonatas of Robert Muczynski and Robert Starer.

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Similarities between two dissimilar American piano sonatas of the 1960s: The second piano sonatas of Robert Muczynski and Robert Starer

Fosheim, Karen Marie, A.Mus.D.

The Universi~ of Arizona, 1994

V·M·I 300 N. Zeeb Rd. Ann Arbor. MI 48106

SIMILARITIES BETWEEN TWO DISSIMILAR AMERICAN PIANO SONATAS OF THE 1960S: THE SECOND PIANO SONATAS OF ROBERT MUCZYNSKI AND ROBERT STARER

by Karen Marie Fosheim

A Document Submitted to the Faculty of the SCHOOL OF MUSIC In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS WITH A MAJOR IN PERFORMANCE In the Graduate College THE UNIVERSITY OF ARIZONA

1 9 9 4 UNIVERSITY OF ARIZONA GRADUATE COLLEGE

As members of the Final Examination Committee, we certify that we have

read the document prepared by~Ka~r~e~n~Ma~r~~~'e~F~o~s~h=e~i=m~ ______

entitled Similarities Between Two Dissimilar American Piano Sonatas

of the 1960s: The Second Piano Sonatas of Robert Muczvnski

and Robert Starer

and recommend that it be accepted as fulfilling the requirements

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Date fMy Date

Final approval and acceptance of this document is contingent upon the candidate's submission of the final copy of the document to the Graduate College.

I hereby certify that I have read this document prepared under my direction and recommend that it be accepted as fulfilling the requirement.

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STATEMENT BY AUTHOR

This document has been submitted in partial fulfillment of requirements for an advanced degree at The University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library. Brief quotations from this dissertation are allowable without special permission, provided that accurate acknowledgement of source is made. Requests for permission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the head of the major department or the Dean of the Graduate College when in his or her judgement the proposed use of the material is in the interests of scholarship. In all other instances, however, permission must be obtained from the author.

SIGNED: /{& 3;h;- 4 TABLE OF CONTENTS

I. LIST OF EXAMPLES •• 5

II. INTRODUCTION. • • • • • • • • • • • • • • • • • .8 A Background of the Sonata in America • 10 The American Piano Sonata in the Twentieth Century...... 15

III. ANALYSIS OF THE SECOND PIANO SONATAS OF ROBERT MUCZYNSKI AND ROBERT STARER. • • • • • • • • .21 Robert Muczynski • • • • • • • • • • • • • • • • 21 Robert Starer • • • • • • • • • • • • • • • • • .23 Formal structure • • • • • • • • • • • • • • • • 25 Harmonic Devices • • • • • • • • • • • • • • • • 27 Melodic Characteristics • • • • • • • • • • • • .31 Rhythmic Structures •••••••••••• , _ ~35 Keyboard Usage and Performance Considerations • ~4~

IV. CONCLUSIONS .52 .. V. APPENDIX A: Formal Structures •••••••••••• 57

VI. APPENDIX B: Robert Muczynski: Written Interview • • .59

VII. REFERENCES ...... 61 5

LIST OF EXAMPLES

EXAMPLE 1: Robert Muczynski, Second Sonata. Opus 22, Movement I, mm. 13-14 •••••••••• 28

EXAMPLE 2: Robert Starer, Sonata No.2, mm. 26-29 • 28

EXAMPLE 3: Robert Starer, Sonata No.2, mm. 1-2 •••• 29 EXAMPLE 4: Robert Muczynski, Second Sonata. Onus 22, Movement I, mm. 1-3 • • • • • • • • .29 EXAMPLE 5: Robert Muczynski, Second Sonata. Opus 22, Movement I, mm. 193-95 • • • • • • • • • 30

EXAMPLE 6: Robert Muczynski, Second Sonata. Opus 22, Movement III, mm. 60-63 • • • • • ..31 EXAMPLE 7: Robert Muczynski, Second Sonata. Opus 22, Movement I, mm. 7-8 • • • • • • • • .31 EXAMPLE 8A: Robert Muczynski, Second Sonata. Opus 22, Movement I, mm. 1-4, Graph of melodic movement • • • • • • • 32 EXAMPLE 8B: Robert Starer, Sonata No.2, mm. 1-5, Graph of melodic movement. • • • • .32

EXAMPLE 9: Robert Starer, Sonata No.2, mm. 1-11 • .33

EXAMPLE 10: Robert Starer, Sonata No.2, mm. 80A-C • 35

EXAMPLE 11: Robert Muczynski, Second Sonata. Opus 22, Movement I, mm. 27-32 • • • • • • • .37

EXAMPLE 12A: Source rhythm for Starer, Sonata No.2, (mm. 93-94) •••••• • 37 EXAMPLE 12B: Robert Starer, Sonata No.2, mm. 93-94 • 38 EXAMPLE 13: Robert Muczynski; Second Sonata. Opus 22, Movement IV, mm. 1-3 • • • • 39 EXAMPLE 14: Robert starer, Sonata No. 2, mm. 25A-D . . · 40 EXAMPLE 15: Robert Starer, Sonata No. 2, mm. 1-11, Graph of meter changes . · 41 EXAMPLE 16: Robert Muczynski, Second Sonata, Opus 22, Movement I, mm. 148-49 ...... · 41 6

LIST OF EXAMPLES--continued

EXAMPLE 17A: Robert Muczynski, Second Sonata. Opus 22, Movement III, mm. 1-3 • • • • • • 42

EXAMPLE ~7B: Robert Muczynski, Second sonata. Opus 22,

Movement III, mm. 53-59 • • • 0 • 42

EXAMPLE 18: Robert Muczynski, Second Sonata. Opus 22, Movement II, mm. 1-12 • • • • •• • .43

EY_~~LE 19: Robert Starer, Sonata No.2, mm. 136-44 ••• 44 EXAMPLE 20A: Robert Muczynski, Second Sonata. Opus 22, Movement I, mm. 69-71 • • • • • • 45 EXAMPLE 20B: Robert Muczynski, Second Sonata. Opus 22, Movement I, mm. 86-89 • • • • • • 46

Ex&~LE 21: Robert Starer, Sonata No.2, Mm. 45-48 ••• 46

EXAMPLE 22: Robert Muczynski, Second Sonata. Oous 22, Movement II, mm. 37-45 • • • • • • • • • 47 EXAMPLE 23: Robert Muczynski, Second Sonata. Opus 22, Movement III, mm. 31-35 • • • • • • .49 7

ABSTRACT

Two significant American composers, Robert Muczynski (b.1929) and Robert Starer (b.1924), composed piano sonatas in the years 1964-66, despite the tendency of other composers of the time to utilize less traditional structures. The second Sonatas of Muczynski and Starer are intricately conceived, finely crafted, and worthy examples of mid-century trends in

~~erican composition. They give evidence of the continuing viability of the sonata form. This study will examine the stylistic similarities between two works that utilized, paradoxically, differing methods of ccmpositional technique. These men chose different compositional languages, yet they chose the same formal structure to organize their work. This study will focus on those features that are style-determinant. I believe that many of the common stylistic traits present in the second piano Sonatas of Robert Muczynski and Robert Starer may be a result their common environment, as contemporary trends common to the culture of composers can have a significant influence on the style of their works. 8

INTRODUCTION

Musicologists frequently examine not only the life and works of a composer but also the cuItural and personal circumstances which surround his/her life. The current twentieth-century trend toward historically accurate performance practices reflects that line of thought. An examination of a work within the framework of its particular time, place, and culture allows for a truer understanding of a composer's intent. A performance of music from any time period, including works composed in the present era, requires an awareness of the composer's socio-cultural milieu in order to render an accurate interpretation. From a purely aesthetic perspective, the musical work certainly has only itself as an objective. It is subject only to the law of aesthetics, to the intrinsic laws of music. But from an ethical and sociological perspective, the musical work enters into a relationship with the very goal and good of humanity. • • To neglect this perspective would be to cut the work of art from its natural links with the life of a person and of a society, and to forgo understanding it in its total meaning and significance. (Supicic 344-45) In the area of musical structure, the sonata form itself

is a product of the society from which it grew. As 9 instrumental music was rising in popularity, the sonata form appeared as a means of organizing and controlling musical material within its expansive structure. Prior to the development of the sonata form, instrumental music was mostly utilized for church, court, or didactic purposes. The sonata as a compositional form has retained its importance for two hundred years. However, its role has changed over time. In the classical period, most composers used the sonata form as a framework within which to organize and work out their ideas, as it was generally considered to be the most prestigious method of creating a large and complex composition. Composers of the mid-nineteenth century stretched the harmonic relationships within the form to its limits. Many of the composers of the twentieth century have used the sonata form as a vehicle to prove that their compositional techniques could survive and thrive within the confines and/or demands of such a formal structure.

Although the importance of the sonata form seems to have waned somewhat since its popularity in the Classical Period, many of the major composers for the piano continued to use the sonata as a vehicle for some of their finest writing. The piano sonatas of Schumann, Chopin, Brahms, Liszt, and Rachmaninoff contain some of their most memorable musical moments. While they composed very few sonatas as compared to composers of the past era, these works are of a very large scale and of great significance in the piano repertoire. 10

The dawn of the twentieth century saw the sonata again being used as an important tool for compositional unity as well as personal self-expression. Alban Berg, the pupil and disciple of Arnold Schoenberg, wrote his Piano Sonata, 00. 1 in 1901. This work is often referred to as the premiere piano sonata of the twentieth century as it shows the limits of tonality being stretched. While lacking in the traditional key relationships thought to be so vital in sonata form, it still contains the exposition, development, and recapitulation of thematic areas so essential to the form. Alexander

Scriabin • s personal and musical search into mystical and esoteric thought can be traced through his ten sonatas. Sergei Prokofieff used his nine piano sonatas as a means to portray his national pride in the face of revolution.

A BACKGROUND OF THE SONATA IN AMERICA

Although the piano sonata has retained a significant position in the piano repertoire since its development almost two centuries ago, in the united States, as in Europe, sonata production in the nineteenth century was limited due to the emphasis on shorter forms. It has often been noted that the United States, a relatively young nation, was in the process of defining itself. At least until around 1900, the forms used needed to be relatively simple, as the resident composers were not yet ready to commit their art to the complexities of 11 a form such as the sonata. Yet the familiar apology--familiar throughout the arts--that the country was still too young to do better can be both unwarranted and misleading here. It can be unwarranted because, at least after ~~e Civil War (1861-65), the quality of American sonata output, especially of the duo sonatas, was generally competent by anybody's standards, if not better. It can be misleading because, from before the start of the century, there was more aware:1ess of the current European trends, more interest in the sonata idea, and more actual publication of sonatas than has yet been noted or supposed. (Newman 734) It is important to keep in mind that in its earlier years, the nation was inhabited by immigrants from other lands, which included some composers. These diverse musical and artistic influences helped American culture live up to its title as the world's "melting pot".

The German Romantic tradition drew many American-born composers of the nineteenth century to study "where the Germans themselves went--to Leipzig and the successors of

Mendelssohn • • • to Weimar for summer study with Liszt: to

Munich and Rheinberger: to Berlin and Kiel: and to Dresden or several other German centers" (Newman 735). The Americans were not cut off from the mainstream of European musical life.

In fact, if there was anyone problem that beset the American sonata (and other absolute music) during the Romantic Era it was not so much the lack of a two-century tradition per se as the nearly total dependence on European traditions and practices. (Newman 735) From the years 1801-1915 there have been found 160 published sonatas, 54 of which are for solo piano: and 70 unpublished sonatas, 12 of which are for solo piano, by 12 residents of the united states (Newman 739). More are continually being uncovered showing that there was a significant amount of interest in the sonata as a structure at that time. Little remains of these works in the piano concert repertoire, although occasionally one or more may turn up in a collected volume for didactic purposes. It is yet to be discerned whether the quality of these compositions kept them in obscurity or if the musical fashions of the American public were a restricting factor. Most public performances in the united states at the time were replete with music of the old masters and the works of the curre~t European musical stars. The American public wanted to hear works that were composed abroad, as works by American composers were considered to be of a lesser quality. Composers in America had difficulty gaining respect without the support of European Publishers. In 1884 Willard Burr commented at the Cleveland meeting of the Music Teachers National Association on how important foreign publication continued to be to serious American music. Publication in America, he said, 'not only gives little or no surety of success, but is it not rather in most cases a guarantee that they [the American works] do not possess any real value?' (Newman 737) Very few of the piano sonatas from the period prior to 1.91.5 have survived to be considered standard piano repertoire. The four sonatas of Edward MacDowell (1.860-1908) are among the most prominent remaining in the piano literature. MacDowell, like most other Americans of the time, studied in Germany, and his first two piano sonatas were published in Germany by the 1.3 prestigious Breitkopf and Hartel publishing company. The

latter two were published by A. P. Schmidt in Boston.

MacDowell maintained some bit of notoriety in Europe and maintained friendships with well-known Europeans such as Franz

Liszt and Edvard Grieg. Despite the strong late German Romantic influence, these sonatas maintain an unpretentious simplicity in their nature that is often attributed to their

American origin. The rather eclectic Charles Tomlinson Griffes (1.884-1.920)

went to Berlin to become a concert pianist, also studying

composition with Humperdinck. Griffes fo~~d it difficult to

subscribe to a single compositional style. "He began by emulating the later German songwriters, then veered successively toward the impressionism of Debussy, the

chromaticism of Scriabin, and the primitivism of stravinskyII (Chase 347). In 1.91.7-1.8, Griffes wrote his Sonata for Piano.

bringing together ~hese va=ious compositional influences in one complex and ambitious work. It was presented as a sonata

in one movement, yet can be perceived as three distinct yet connected movements following in the traditional slow-fast-

slow scheme of sonata movements. Enduring as a prominent fixture in the piano repertoire, lithe essential impact of the

sonata is that of a powerfully creative and consistently conceived work that will stand as a peak of Neoromantic expression in American music for piano" (Chase 1.42).

The first true American innovator was considered by many 14 to be Charles Ives (1874-1954). In contrast with many of his contemporaries, he chose not to receive his education in Europe, but rather at Yale with Horatio Parker. Ives was well educated in the European musical tradition and possessed an acute awareness of the music of the American people. Ives was often credited with being "the one composer who brings together all the threads of specifically American music and links them to the European traditionll (Small 144). His model was the American ideal of freedom and individuality. In the music, as in American society, each voice has its own mission and its own character, and makes its essential contribution to the final cOllplete whole. In allmling each voice to go its own way he was expressing his ideal of individual freedom, but we should notice that while the relationships between the voices are complex in the extreme. • • they are not chaotic; Ives has them under control. • • Eis ideal of liberty remained firmly within the law, al~~ough ~~e law was to be subtle and flexible to allow for the greatest degree of variety of individual interaction. (Small 144) Ives wrote two sonatas for the piano expressing these ideals of individuality and freedom, and through these works, set the tone for further innovations in the twentieth century. 15

THE AMERICAN PIANO SONATA IN THE TWENTIETH CENTURY

Many American composers of the twentieth century were iTh,ovators and iconoclasts. Into the works of the modern American school were woven the chief tendencies of our time-­ Nationalism, Neoclassicism, Neoromanticism, Impressionism, Expressionism, expanded tonality, polytonality, atonality, twelve-tone method. And binding all these together was an indefinable quality, a product-of-America flavor that, ranging in mood from mystical exultation to e x u b era n t vitality, was as subtle as it was irresistible. (Machlis 420) They asserted their individuality, refusing to cater to the tastes of audiences that often preferred the Romantic melodies and harmonies of the nineteenth century. Along with Charles Ives, Ernst Krenek and Elliott Carter expressed their ideas th~ough atonality and polytonality. Henry Cowell, John Cage, and George Crumb challenged traditional pianism, asking pianists to extend their view of piano technique to include such devices as arm clusters, plucking and strumming of the strings, and vocalizing into the instrument. There were also composers who, even in their search for compositional freedom, chose not to abandon traditional forms and harmonies, but rather to expand the rules and conventions governing those procedures. There were the Neoclassicists and Neoromantics represented most notably by Samuel Barber, Virgil Thomson, and Roger Sessions. These classifications were not rigid for composers freely chose the compositional language which would best fit their needs of expression at any given 16 time. The piano sonata was an important vehicle for the variety of compositional methods that were in use during the first half of the twentieth century. The sonatas of Aaron Copland, Roger Sessions, and Samuel Barber were highly influential in setting a standard of both form and quality for the younger generation of composers that followed. However, composers after 1950 generally chose other compositional forms: Sometime in the middle of the 1950s the need to write a piano sonata suddenly evaporated. Composers in America, jarred by the resonances of strange sounds and echoes of new procedures coming from overseas and even from rebels in their own midst, set off in new directions. (Burge 20th C. 195) Robert Muczynski was asked in a written interview to comment on the above quote. He replied, Please hum for me your favorite theme from a David Burge Piano Sonata. Please enlighten me as to where all these WONDERFUL pieces (innovative and experimental) are today. Who plays 'em? Who ever hears them--anywhere?!? WANTS 'em?! (Interview 2) Nevertheless, two significant American composers, Robert Muczynski (b. 1929) and Robert Starer (b. 1924), composed piano sonatas in the years 1964-66. Perhaps Muczynski and Starer, like other young composers, still felt a need to embrace the legacies of some of their predecessors. Hence, they continued to expand, rather than forsake, the use of traditional materials. They certainly learned lessons from the formal organization of earlier sonatas as evidenced in each of their second piano Sonatas. 17

starer and Muczynski are prominent American composers whose works, like that of many contemporary composers, have been the subj ect of less critical examination than they deserve. This study will show that their second Sonatas are intricately conceived, finely crafted, and worthy examples of mid-century trends in American composition. I hope that this study will be of use to performers who wish to better

understand these appealing works and that it will encourage more performances. Musicologists who study the evolution of the American compositional style for the piano will benefit

from this examination which pinpoints certain common stYlistic traits in compositionally disparate works.

I have chosen to study the respected second sonatas of these two composers not only due to their use of flowing

melodies set against driving rhythms, interesting harmonies, challenging pianism, and general attractiveness to both the audience and performer, but, more importantly, because they proved the continuing viability of the sonata form in the mid­ twentieth century. With these two works, I believe Muczynski

and starer have made important contributions to the piano

literature of this century.

This study will examine the stylistic similarities between two works that utilized, paradoxically, differing methods of compositional technique. These men chose different compositional languages (Muczynski chose Neoromanticism and

starer , atonality), yet they chose the same basic formal 18 structure for their work. This study, therefore, will focus on those features that are style-determinant: style manifests itself in characteristic usages of form, texture, harmony, melody, rhythm, and ethos; and it is presented by creative personalities, conditioned by historical, social and geographical factors, performing resources and conventions. (PascalI 316) I believe that many of the common stylistic traits present in the second piano Sonatas may be a result of the composers' common environment. Robert Muczynski and Robert Starer are united States citizens of the same generation. The jazz-influenced rhy-~s and the expansiveness of sound are perhaps indicative of the musical and social climate that helped to shape works of this time. Nevertheless, my purpose is not to precisely define what makes a work i'American," but rather, to better understand and describe the commonalities of style in mid-century sonatas by American composers, as seen in these successful pieces. The sonata form first appeared in the eighteenth century as a means of unifying drama in a purely instrumental work. It seems relevant that, at a time in mid-twentieth century America when the field was inundated with innovative techniques and new definitions of music, someone would react by turning to a more traditional formal approach to music. Therefore, the sonata form, at this point in history, returned to serve the same musical and social function that it did at its birth: allowing the composer a means to unify musical drama while maintaining inventiveness and originality. The 19

two works examined here are innovative in the use of the stylistic elements within the formal structure of the sonata. Indeed, these composers make the form fit their individual

expressive needs, rather than allowing the form to dominate. These works exemplify a reaction against the prevailing cultural impression that a composer had to have an idea that was never before used to survive in the competitive world of professional music. They prove that individuality and self-

expression can be witnessed in many forms. American composers in the mid-twentieth century were working within an atmosphere that not only idealized but also

expected absolute innovation and originality. Robert Muczynski summed up his idea of the plight of the composer in this letter:

It seems as thougr. music critics of the late 1950s, 160, and 170s appeared to be more concerned with the How rather than the What. They refused to judge the music for what it ~ but rather what they felt it ought to be-and often this was very vague. The most damning condemnation was I sounds 1ike •• 1 If you employed too many consecutive fourths it was Hindemith. If you were percussive it was Bartok or Stravinsky. A b1uesy phrase evoked Gershwin and a tender lyrical statement was Barber. A folk-like tune was Copland, and so on. • • • It is an agonizing situation, but lately I have come to the ccnc1usion that the originality we all thirst for is really something inherent in the personality behind the manipulation of what is available. (Muczynski 2) The trend towards individuality and originality in the arts was directly related to the social and political climate

of the time. The 1960s were a time of upheaval in all aspects of American society. The vietnam War was raging and people 20 were learning that freedom of speech was not only a right but a necessary tool for handling the American political system. The country was struggling with the issues of civil Rights, the equality of all persons, and the importance of individuality and personal self-expression. American popular music, influenced by jazz, was becoming a major industry and a growing force in society. Music was fun, pleasurable, exciting, and a way of escaping from the increasing tensions of American life. Music was also used for personal expression of ideas and ideals. The American people, for the most part, were on a quest for truth and personal happiness, and, in this quest, they were returning to the basic ideals of humanism. Likewise, composers of serious music followed suit. "Artists cannot help being antennas and are all inescapably human. They need only take care that contact is maintained between th'E:!i.r aesthetic endeavors and their larger contemporary lives" (Reynolds 29). 21

ANALYSIS OF THE SECOND PIANO SONATAS OF ROBERT MUCZYNSKI AND ROBERT STARER

ROBERT MUCZYNSKI Composer and pianist Robert Muczynski was born in Chicago, Illinois, on March 19, 1929. He received both his bachelor's and master's degrees from DePaul University where his principal composition teacher was Alexander Tcherepnin. He also studied piano under Walter Knupfer. In 1958, he made his New York debut playing a recital of his own piano works. He directed the piano department at Loras College in Iowa from 1956 to 1959, and from 1965 to 1987 he served on the piano facul ty at the Universi ty of Arizona in Tucson and also developed the compositional department. He was the recipient of Ford Foundation Fellowship Grants in the years 1959 and 1961, and in 1982 was nominated for a Pulitzer prize for his Alto Saxophone Concerto. He has been the recipient of numerous commissions and his output includes many works for symphony, piano, chamber ensembles, instrumental concerti and sonatas, and eight documentary film scores. His style is earnest, economical, and unostentatious, characterized by spare neo- 22

classical textures, a gently restrained lyricism, and, in fast movements, strongly accented, irregular meters, which create a vigorous rhythmic drive. (Simmons 3:284) When asked about composers he admired, Muczynski replied, Scarlatti, J.S. Bach, Beethoven, Chopin, Sibelius, plus a dozen more. Their music is masterfully crafted, deeply meaningful, and remains beautiful without tarnishing. I do not mention the handful of 20th century composers I admire because--as so often happens--you people say I "SOUND LIKE" theirs. (Interview 1) Muczynski--born, raised, and educated in middle America-- is an American composer in the purest sense. Besides inheriting the compositional legacy left by older American composers, he grew up in the midst of twentieth-century American culture. There are at least three influences of United States culture on Muczynski's writing. The first two, the influence of jazz and motion picture scores. The third, is more difficult to define. It is probably the result of Muczynski' shaving spent most of his adult life living and working on the outskirts of Tucson, Arizona. In this context it is significant that his studio overlooks a large expanse of Arizona desert with mountains in the background. The wide vista of Muczynski 's immediate environment is possibly reflected in the open sonorities of his music. Similarly, the ruggedness of desert mountains could be thought to have been represented by strokes of angularity both in terms of melodic line and structure. Very nearly the only element of folk music in Muczynski t s output is the periodic recurrence of melodies that remind most American musicians of western cowboy songs. In short, Muczynski's environment has been the Southwest, and a composer cannot help but be influenced to some degree by his environment. (Hawkins 46-7) The Second Sonata. Ope 22 was written in 1966 and published in 1969. This sonata was dedicated to his friend 23 and colleague Richard Faith, who was also on the faculty at the university of Arizona. This work earned an award as best contemporary work performed at the Sydney International Piano competition in Australia in 1992. It is a work in the Romantic tradition of four contrasting movements. In general, all movements are characterized by a steady, driving rhythmic impulse. The sense of excitement is enhanced by a texture that continually alternates between a very dense chordal fabric and a thinner interaction of two voices. Ideas are restated in varying registers effectively utilizing the full range of the keyboard and enhancing the effects of contrasts. Time is often suspended through frequent use of rubatc and regular changes of meter and tempo. The large formal structures are based on traditional forms. The melodic material is based on motives that relate the substance of each movement. The harmonic structure is not traditionally tonal, yet Muczynski often alludes to tonality. Any consonance seems accidental, as the chords grow out of the melodic occurrences.

ROBERT STARER Robert Starer was born in Vienna, Austria, in 1924. He trained as a pianist at the VieIL~a State Academy and continued his musical studies at the Jerusalem Conservatory and Juilliard School, where he studied composition under Frederic Jacobi. He served on the faculty of Juilliard from 1949-1974, earning his American citizenship in 1957, and accepted an 24 appointment as professor of music at Brooklyn College in 1963. He has been the recipient of two Guggenheim fellowships, a Fulbright grant, and several other grants and commissions. It has been noted that nstarer's music is direct in expression and characterized by chromaticism, modality, and driving rhythms. His use of silence and dynamics contributes to an outstanding and balanced sense of drama" (Lewis-Griffith 4:296). He has composed extensively in nearly all genres. starer's Piano sonata No.2 was composed in 1965 and published in 1968. The work is in one movement with sharply contrasting sections of an alternating driving and lyrical character. The composer works with sounds and silence to create what is at times a very volatile effect. Sudden

outbursts of sound punctuate the silence, providing a free and improvised quality. The wild, impetuous sections stand in sharp contrast with very calm and freely lyrical passages without bar lines or meter. The composer says of his work I wrote my second Piano Sonata during a lovely quiet year in Rome (1965). If it has nothing in common with the Classical Sonata in terms of keys, it has much to do with it in the sense of statement, development, conclusion--a form capable of infinite variety: not easily worn out. This sonata is in one movement; the other movements, a slow one, a light one, a dance-like one, are all interspersed between the statement-development­ conclusion sections of the main one. In this work the performer is allowed a certain amount of freedom: there are repeated chords and repeated figures in crescendo­ accelerando and in decrescendo-ritardando, in which the exact number of repetitions is determined by the mood of the moment, by his sense of drama. I give him maximal and minimal limitations. Beyond them he is free; .when he feels the peak has been 25

reached, or the music has died down sufficiently, then he should stop. (Desto 7106) starer pays a great deal of attention to the establishment of moods within each section, and the contrasts of sound are an important aspect of the work. The rhythms are intsnse, the melodies free, the extreme ranges of the keyboard are explored

fully, and the dynamics and tempos are erratic and spontaneous.

starer comes from a very different background than the American-born Muczynski. Althcugh his influences are truly

international in scope, he also inherited the compositional legacy common to his generation of Americans through his years of study and teaching in the united states. He was also very much influenced by the popular culture of his newly adopted

country.

One important aspect of starer's musical style is the influence of jazz which he had never heard in folk form before coming to the united states. This idiom is incorporated into many of his more recent compositions. starer says 'the young like to hear jazz in serious music.' (Lewis 20-21)

FORMAL STRUCT"u"RE

The first movement of Muczynski' s Sonata is an Allegro in

sonata form. The second movement is a scherzo featuring a western-type folk song with an ostinato accompaniment. The third movement is a slow movement featuring thematic

transformation of its main melodic material. The final

movement is in A-B-A form featuring imitation, fugato-style, 26 which concludes with a frantic coda. The attached Appendix contains an analysis of all movements. The thematic material in starer's one movement Sonata No.

~ alternates between fast, rhythmic material and lyrical, unmetered sections. Fragments of the opening material appear interspersed throughout as a unifying device. Many of the themes appear to be closely related and based on the same motivic material, which serves to strengthen unification of the structure. The elements of exposition of themes, development of thematic material, and recapitulation are present, although all the themes are not presented in the recapitulation, and then, not in their original order. The work ends with an extensive coda in which fragments of the themes are presented in rapid order. A complete analysis of the work is offered in Appendix A. The formal structures in both the Muczynski and starer sonatas are determined by contrast of themes, textures, and meters rather than by the traditional harmonic relationships.

It is not possible, of course: to t~se such traditional harmonic relationships in a work that is not tonally based.

Works of the twentieth century, therefore, have to rely on these other means to organize, separate, and provide the tension and drama originally created by movement away from the tonic key. with non-tonal sonata forms, of course, tonal polarization and resolution disappeared completely; what remains is the thematic structure along with contrasting textures--one contrast between the 27

relative simplicity of the outer section and the more intense center, and another within the exposition to distinguish the first and second themes. (Rosen, Sonata Forms 330) In both these works, drama is heightened within the t..lleme area using thematic transformation. As the theme returns later in its original state the tension is released, bringing the drama to a suitable close and providing a sense of finality. Furthermore, the themes may become more complex as the piece evolves.

HARMONIC DEVICES As many composers of the twentieth century, Muczynski and Starer have a tendency to avoid the use of intervals that suggest triadic harmony, such as the third, fifth, and octave.

Instead, there are many seconds, fo~~s, si~~s, sevenths, and ninths ("dissonant" intervals). "Our era is interested in the dissonance rather than in the resolution. The greater amount of dissonance in contemporary music reflects the heightened tension and drive of contemporary life" (Mach1is

22).

The harmonies of both composers are based on the intervals of the seventh and ninth. Muczynski, in Example 1, uses the seventh and ninth chords alternately, filling them in with a fourth. The effect, suggesting quarta1 harmony, is reinforced by the left hand, which plays a series of perfect fourth intervals. 28

Example 1: Robert Muczynski, Second Sonata, Opus 22, Mvt. I, mIn. 13-1.4 =-e. ;,J. .... 1- ~.,- ,,,...... ~.... ,_ .. $.::: .:~ .: ::

.. a.g. Z. ·'.i • ..,,;. .~_ ~~ ~.r ,,:_;.,1. ~~ _~...,I . ~ _ 1'- ~.___

Reprinted by Permission of G. Schirmer, In~. In a similar manner, Starer thickens the texture by using the seventh and ninth (e~~armonically) together, often adding the fourth along with a second in the middle of the pitch stack as shown in Example 2. Despite the avoidance of triadic harmony, the resulting chords create an interval of a third from the bottom pitch, with two perfect fifths clustered in the middle of the chord. This ie one of Starer1s rare hints at tertian harmony, although it is almost totally obscured by the presence of the other intervals. The bass line reinforces the effect of the fifth through the appearances of consecutive melodic fifths: the first, diminished and the remainder, perfect. The fresh sense of twentieth century harmony is pervasive by the second measure of the example as we witness the presence of the perfect fifth, major sixth, major seventh, and augmented octave played simultaneously I creating a cluster of sound. Example 2: Robert Starer, Sonata No.2, mm. 26-29 , , 11 I 1 I I ~ CI .. '1. .. .. 'I:JT .. '1- .. .. pt p ~ -... .,...,...... -: ~

ec) Copyright 1968 by MCA MUSIC PUBLISHING, A Division of MCA INC. International Copyright Secured All Rights Reserved 29

The addition of the second in the middle of the first chord in Example 2 emphasizes the close relationship that the seventh and ninth have to the interval of the second, as well as ~~e terse quality of these chords.

Both composers place importance on the use of the interval of the second throughout, even in accompanimental figures, as demonstrated in Example 3.

Example 3: Robert starer, Sonata No.2, mm. 1-2

I I

(cl Copyright 1968 by MCA MUSIC PUBLISHING, A Division of MCA INC International Copyright Secured All Rights Reserved • Similarly, Muczynski uses the idea of the accompanimental minor second. Example 4 shows the movement between an E natural and E flat, stressing from the onset of the piece the ambiguity of tonality.

Example 4: Robert Muczynski, Second Sonata, Opus 22, Mvt. I, mm. 1-3

All egro :138 !,;;. ~ l- I,.~ . r I I t fsostemdO - i.. I I.. I

q!!:~ ~~ ~ P+te 'i:!t~ qTb~ ______

Reprinted by Permission of G. Schirmer, Inc. Muczynski usually avoids the direct statement of harmonic devices, yet he often alludes to expected cadential figures, obscuring one or more of the chordal structures. For instance, the final cadence in the opening movement shows a 30 strong C sharp to F sharp movement in the bass, implying a V-I cadential figure (Example 5). However, the right hand plays a G natural against the bass C sharp, creating a diminished fifth (rather than t.~e traditional perfect fifth in a dominant triad) and the resulting chord resolves to an F sharp triad with which contains both the major third (A sharp) and the minor third (A natural). Thus, the move towards the tonicization of F sharp has been alluded to: although obscured with major/minor ambiguity.

Example 5: Robert Muczynski, Second Sonata, Opus 22, Mvt. I, mm. 193-95 :> ~ i!.... I. • ~::>. .. ::>. . - ! . ! ff marca:tisszmo sf! ::> ~ I - ""J .- 11- #-!-. ; 1e ::> - ~-o. L.....-....J ~ 1-JP ~ I Reprinted by Permission of G. Schirmer, Inc.

Another technique that Muczynski uses to color the statement of a tonal center is shown at the conclusion of the third movement during the final statement of the theme. Here he has established a cadential bass figure similar to V-I, yet the bass moves in a diminished fifth (Example 6). This figure is repeated for ten measures, solidifying the cadential effect. The final chord creates a cluster around the D pitch, alluding not to a harmonic center but, rather, a pitch center. 31

Example 6: Robert Muczynski, Second Sonata, Opus 22, Mvt. III, mm. 60-63 t:\ ,-..d ,

=-,- I P.P ./oJ ~ . /.

.". . T' ped. sZ·1l1.ite Reprinted by Permission of G. Schirmer, Inc.

MELODIC CHARACTERISTICS

As was seen in the harmonic language of both composers,

the intervals of seconds, sevenths, and ninths also figure prominently in melodic lines. The general outline of the melodies tend toward the seventh and ninth, although Muczynski often spells the intervals as either diminished or augmented octaves. Example 7 shows melodic material from the first theme group of movement one from Muczynski's Sonata. Within each group of three tones in the right hand, the material descends either a diminished or augmented octave

(enharmonically a major seventh or minor ninth). The left hand step-wise motion ascends a diminished octave from a B natural to a B flat.

Example 7: Robert Muczynski, Second Sonata, Opus 22, Mvt. I, mm. 7 -8 !,..--c:---..... ~ ~ ~ .:----.__ _ -::-- ;::v~. ~I""", ~c:; ~ . ...

Reprinted by Permission of G. Schirmer, Inc. 32 Similar movement is found in the opening of Starer1s Sonata, as shown in Example 3 (see above). Contrary to the more typical Romantic ideal of a smooth, flowing melodic line, the melodies of Muczynski and Starer change direction frequently and contain wide leaps. The graph in Example SA and B shows the disjunct melodic movement as seen in the opening of each sonata.

Example SA: Melodic movement, Robert Muczynski, Second Sonata, Opus 22, Mvt. I, mm. 1-4

Example SB: Melodic movement, Robert starer, Sonata No.2, mm. 1-5

Starer1s melodies tend to move more erratically than those of Muczynski, often leaping an octave or more within a phrase.

The phrase structures favored by Mucz~~ski and Starer are often non-symmetrical. The phrase length may vary from statement to statement creating a constant sense of excitement and unpredictability. The opening of the Starer Sonata, shown in Example 9, features four phrases. The opening phrase is a two measure statement, followed by a more conclusive three bar 33

statement. The third phrase, in measure six, is related to the first in melodic effect and contour, yet is extended an

additional measure, and the fourth phrase is again three bars

long. The asymmetrical effect is compounded by the fact that

·~he meter is constantly changing, and al~~ough ~~e second,

third, and fourth phrases are each three measures, they

contain varying numbers of beats.

Example 9: Robert starer, Sonata No. 2, mm. 1-11 Presto ...... IE .. .. f ~T I I I: 11 ::: » I: A!' ~ ~

~ ~ i I I I I I ~ ~ ~ ~ ~.

-

ec) Copyright 1968 by MCA MUSIC PUBLISHING, A Division of MCA INC. International Copyright Secured All Rights Reserved 34

...... ,..,. - ~-­ Despite '-.l..&.c.L.L si:iiiilarities in melodic structure,

Muczynski 's melodies tend to sound a bit fulle~ and lusher than starer's. Much of this, I believe, is due to the rhythmic structure which underlies each. starer's melodies tend to have a halting quality due to the emphasis he places on short motives, the result being like outbursts of sound.

Muczynski tends to group his melodies in longer, more regular phrases, often relating the rhythm of each motivically.

The melodies of both composers have emotive and expressive qualities that are created by the rise and fall of the melodic lines. The wide leaps result in a searching quality. A more lyrical melody would rely on a combination of conjunct and disjunct melodic patterns within the confines of a regularly recurring phrase length, and would be partly shaped by the underlying harmonic structure. Although the melody and harmony of these works are inter-related, the composers do not use a strong hierarchy of chords such as is used to create harmonic and melodic tension-release in traditional tonal works. Therefore, the melodies have a tendency to be shaped in an interesting way, the climax often being determined by the largest leaps or most dissonant chords, or alternatively moving with the rising and falling line. Example 10 shows how starer has shaped the melodic interest of this senza misura section. starer, through the use of dynamic markings, provides a great deal of assistance to the performer in the interpretation of the melodic contour. 35 Example 10: Robert starer, Sonata No.2, mm. 80A-C

Quasi lento, sen= mis,,~a

I",,, .?- I i I -

-3 1-

f' ... -r'

Ie) Copyright 1968 by MCA MUSIC PUBLISHING, A Division of MCA INC. International Copyright Secured All Rights Reserved

RHYTHMIC STRUCTURES The speed and vitality of life in the twentieth century is felt frequently through the strengths of the rhythm in the music of this age. In fast tempos, as can be seen in the opening of both sonatas, the rhythm never stops. If one voice reaches a note of longer duration, the other moves in its place so that there is always constant motion. In slow or more serene tempos, the motion is hindered to create a static effect. 36

Although neither Muczynski nor starer borrow obviously from Americanisms, as Gershwin and Copland did, their rhythms are tinged with the same cultural influences that surround all composers of the American school to one degree or another. Copland, in Music and Imagi.nation, discusses the importance of the African American influence on the music of America. Copland states that a great rhythmical gift has been bestowed on America through these influences. What is the nature of this gift? First, a conception of rhythm not as a mental exercise but as something basic to ~he body's rhythmic impulse. This basic impulse is exteriorized with an insistence that knows no measure, ranging from a self-hypnotic monotony to a riotous frenzy of subconsciously controlled ~oundings. Second, an unparalleled ingenuity in the spinning out of unequal metrical units in the unadorned rhythmic line. And lastly, and most significant, a polyrhythmic structure arrived at through the combining of strongly independent blocks of sound. No European music I ever heard has even approached the rhythmic intensities obtained by five diff~ drummers, each separately hammering out his own pattern of sound, so that they enmesh with one another to produce a most complex metrical design. oriental musics contain subtle cross-rhythms of polyrhythmic implication, but we of the Americas learned our rhythmic lessons largely from the Negro. (Copland 84) Both sonatas contain many examples of jazz-influenced rhythms and syncopation. Muczynski, in Example ~~, exhibits the syncopated bass line (measures 28-9) and the Latin- influenced rhytr..m that had at this time become common in

American jazz and popular music (measures 30-3~). 37

Example 11: Robert Muczynski, Second Sonata. Opus 22, Mvt. I, mm. 27-32 Allegro moito J: 111\ .. > .-> ..~

..... , ' -===== ~f marcaio, non legato I

(marc.)

allarg: a tempo fI poco ~

eJ " J st:m;""e f r LT r , .~ i I 11Z1 Ii'i ,. j,J J r-- ~kj,~ ~ ~ • ... - ! ~

Reprinted by Permission of G. Schirmer. Inc.

In Example 12B, Starer shows his version of a popular bass- rhythm of the 1950s and 60s. The source rhythm, as shown in

Example 12A, was used for many popular tunes, such as "Blue

Moon". Starer I S version adds an extra beat to create a slightly off-balance feel, above which he places chords that imply ninth, eleventh, and ~~irteen~~ chords, varying the rhythm of the melodic material to create an improvised effect. Example 12A: Source rhythm

.-----3--1 i Ie •. •~ ••j • • 38

Example 12B: Robert starer, Sonata No.2, mm. 93-94

Andante mosso

f! ~I!~L t..&~~ ~ ~j~

CI I r " _'b: ~"!:' ~ .A. ~ I I'fr q.. I I Ci if"

(c) Copyright 1968 by MCA MUSIC PUBLISHING, A Division of MCA INC. International Copyright Secured All Rights Reserved

Muczynski's rhythm is constantly driving, yet flexible

enough to bend with the frequent tempo fluctuations. Starer

establishes a driving rhythm, then interrupts it with silences, creating outbursts of rhythmic material which are

similar to his outbursts of melodic material. Muczynski uses the rhythm of three eighth notes followed

by a dotted quarter or half note (short, short, short, long)

to tie the movements of the work together and create unity

within the whole. This figure is first seen in the opening

bars as the main theme of the first movement (Example 4) and is also seen as the main theme of the final movement (Example

13). Starer unifies the many contrasting sections of his work by bringing the machine-like opening back intermittently throughout the piece. 39

, ~.. ~ M:.. :M ~.

eJ _; •• );wo,• ;::::::::::~ SeTIZa ped. ... P;..".~ Reprinced by Permission of G. Schirmer, Inc. From the beginning of the twentieth century, composers began to break down the tyranny of the bar line, exploring

rhythmic displacement, improvisation, and other techniques.

Muczynski and starer are heirs of this trend as evidenced by the emphasis they place on the importance of rhythmic freedom. The starer Sonata has several sections composed as unmeasured and unmetered (senza misura, Example 14) encouraging a great

deal of freedom on t..l-te part of the performer. This freedom is

also witnessed in the several instructions such as "Repeat chord not less than nine times, not more than thirteen." Starer does not try to manipulate the final outcome completely, as the overall effect is more important than the specific details.

Even in the metered sections, starer attempts to obscure the effect of a bar line through the use of frequently changing meters. "The twentieth-century composer is apt to avoid four-measure rhythm. He regards it as too predictable, hence unadventurous. He prefers to challenge the ear with non-symmetrical rhythms that keep the listener on his toes" (Machlis 33). 40 Example 14: Robert starer, Sonata No.2, mm. 25A-D

~ode:-:lto. u~:.a 1111~ura ~--. ) ~: .. ~. 1;\ ~:~ ~ :~ -, I ~ ~.~L..

«J -:::~ i ../ : I ~ P FP ~ ----;- --=p ( =---... ~ ! I ~ CI ".~,J~ ?'-"" :; 1f·~U~

) ~~-!;- •. a II- I_ ~ • =~~ '~ "e t1.a. f ; ; : ;; ,:t~ '--:--7 ? s mf F.P f% F.P~ --- ~ l- J~ 5 " § ; ; f- ~ 7f --- ~

_ 8-, ~ - ~#~.; =~~ -,t!..

7----' .. pp -f===--PP- -- (e) Copyright 1968 by ~ICA MUSIC PUBLISHING, A Division of MCA INC. International Copyrignt Secured All Rights Reserved

It is rare that starer maintains the same meter for two measures in a row. Example 15 shows the meters of the first eleven bars of the work, where there is no pattern to his metrical usage (See also Example 9 above). The measures seem to exist only to ease the performer's task of organization. 41

Example 15: Meter changes, Robert starer, Sonata No.2, mm. 1-11

6 3 5 4 3 5 6 3 5 3 5 8 8 8 8 8 8 8 8 8 8 8

Through frequently changing meters, numerous tempo

changes, and use of rubato, Muczynski also gives reign to

rhythmic freedom, albeit within a strictly controlled environment. Although both composers attempt to obscure the bar line and sense of meter, Muczynski, through the use of specific notation, retains more compositional control than starer. Muczynski also frequently uses asymmetric meters and frequently changes the rhythmic structure of a theme in its reappearance. For example, the first theme of the opening movement originally appears in 5/4 (See Example 4 above), but, at its return in the recapitulation, it is in 3/2 (Example

16). Examples 17A and 17B show similar treatment of a theme in the third movement.

Example 16: Robert Muczynski, Second Sonata. Opus 22, Mvt. I, mm. 148-49

.pe=zie",l .... il tema marc. Ijj">j , ,

P'&. ~ II::~. ,~ I =sost. bj; DIP I - _ Pf" '1 L PF" ::> > Reprinted by PermiSSion of G. Schirmer, Inc. 42 Example 17A: Robert Muczynski, Second Sonata. Opus 22, Mvt. III, mm. 1-3

calltabil~ COIL ~.~prt1sSi,mt! fI , -; ~ e; ~Io~' ... ~ .... IDT~...... ~ ' I tr~· I' 'II :771' .. 'i ~ I I ~i ':i-1 I cresco p molto leg(l/r) ==- I I DJ:[ _ - .... ::= ~~ ~;= !nr py ~, b;b; lfr ,. ~- - Reprinted by Permission of G. Schirmer, Inc. Example 17B: Robert Muczynski, Second Sonata. Opus 22, Mvt. III, mm.53-59 .\.~ Tempo menD mosso_ ."::94

espresso -I I 1'\ ~ - ..

I eJ , L.fJ"-a It r~-u rj-~ I f" ~-r:r p sempre legato pp ~ .A- .:...... -t"- P ~

.... ' ~ .... 1,....-00" .... ~ ... ~ Reprinted by Permission of G. Schirmer, Inc.

Both Sonatas contain ostinatos that evade bar line boundaries. The six note ostinato pattern in Example 18 does not coincide with the phrase or rhythmic structure of the melody. The playful asymmetry of the voices and the implied

3/4 meter enhance the scherzo-like quality of this movement. 43

Example 18: Robert Muczynski, Second Sonata, Opus 22, Mvt. II, mIll. 1-12

so"tenuto I~ , i .f,.... !

l.h. sempre stacc.,sen::a ped. -

..... - Reprinted by Permission of G. Schirmer, Inc.

In a similar manner, Starer;s Sonata No.2 contains a double ostinato as shown in Example 19. This is one of the rare moments that the meter remains stable in this work. The two measure figure in the left hand is offset by a seven note pattern in the right hand. After several measures the left hand breaks off the pattern with the addition of melodic tones, but the right hand ostinato remains constant. The effect of the seven eighth notes moving across the meter of five is very unsettling and creates the effect of twc asymmetrical meters happening simultaneously. 44

Example 19: Robert starer, Sonata No.2, mm. 136-44 8- b~ Il Allegro .0- b.. ;r...

eJ

~ 0: bbL bb~ ,. bb~ ,.

eJ tI CJ n' tI - - 4- 8-: b~ 8~. q:e b~ q~ q~ _' .IL .0- ~6. I: b.& ,... ~ +- bL ,... -

eJ

Il b~~"! b~~ .. bb.a!: ;,

eJ ...... v - - + 8~ b~ 8?Ti q. b... b~ ~ b~ q~ b'" Il - ,... ~ b£ ,... ~

eJ

Il bb~ .... >- Ibb~ ~ " ' . .., I -I tJ .... " ... (cl Copyright- 1968 by MCA M'JSIC POBLZSHING, A Division-- of MCA INC. International Copyright Secured All rtights Reserved

KEYBOARD USAGE AND ~ERFORMANCE CONSIDr~ATIONS Textural contrasts appear to be important to both of these composers, although their general tendency is toward achieving clarity of texture. In pulling away from the emotional exuberance of the Postromantic era, composers turned also against the sumptuous texture that was its ultimate manifestation. • • Composers broke up the thick chordal fabric of the late Romantic style; they shifted from opulent tone mass to pure line, from sensuous harmony and iridescent color to sinewy melody and transparency of texture. (Machlis 38-9) 45

Both compositions tend toward a two voice texture, although Muczynski is more likely to double the octave to thicken the

sound.

Contrast is also provided through the use of the full

. range of the keyboard. Since bot..'t]. composers are fine pianists

themselves, they effectively manipulate the instrument to achieve its full potential of sounds and colorations.

Registral extremes are utilized often for this effect. Starer is very free in his registral usage, often making drastic changes of register in mid-phrase, while Muczynski tends to add registrational variations upon the repeat of a phrase or melodic unit, as he does when the second theme material from

the opening movement is presented at a lower octave in the recapitulation (Example 20 A and B). This, in effect, paired with the rhythmic variation used, is one way in which

Muczynski provides new interest through thematic transformation.

Example 2 OA: Robert Muczynski, Second Sonata r Opus 22, Mvt. I, mIn. 69-71

Andante con espressione J:e:,.I1 __-:---,.._

I P 1JU)lta legaio -=====- ~-"'"]' ~I - - ~

Reprinted by Permission of G. Schirmer. Inc. 46

Example 20B: Robert Muczynski, Second Sonata. Oous 22, Mvt. I, mIn. 86-89 a tC111:TJO (an,dante)

~ 8-~;S;:~:;;·~i~r.~·=~,LO::.'.1 10 .. ···:~~.. :'~A"":' .. :.:~ "- ...

~ .. p sempre legato marc. 1 11_1 1.1 L-t--I i o ~------~------i

rit, I ••

q-e-.- -t· Reprinted by Permission of G. Schirmer, Inc.

In contrast, starer will leap across several octaves within one phrase. Example 23 shows the return of the opening material (see Example 10 above) as it appears later in the exposition. To provide contrast to t..lJ.e earlier appearance, he makes this one much more expansive through the use of octave displacement. Example 21: Robert starer, Sonata No . 2 , mm . 45-48 , , f I I 1 f I I I

fr...... • -c1

- ~~

, I CI I I I I I I , , I q~ 1'1 I I i ...- --..

CI "!' ;.. "!' CI,,!, I I (cl Copyright 1968 by MCA MUSIC PUBLISHING, A DiviSion of MCA INC. International Copyright Secured All Rights Reserved 47 Coloristic effects created by pedals frequently have a strong effect on textures in terms of depth, clarity, and contrast. Through the use of the sostenuto pedal and damper pedal there are a great many opportunities to blend sound and create interesting effects. Frequently, rich sonorities and flowing passages rely on the use of the sostenuto pedal in combination with the damper pedal to obtain the desired effect (Example 22). The· sostenuto pedal may be depressed and held for the four bar phrase in order to assist in the sustaining of the held bass note. This is especially important for those pianists who have difficulty reaching the interval of the

ninth, and allows all pianists to concentrate on shaping ~~e line in the tenor. The damper pedal also needs to be utilized here in order to blend and shape the interacting harmonies of the upper two lines. Example 22: Robert Muczynski, Second Sonata. Opus 22, Mvt. II, nun. 37-45

ll.'~ ~ I~.--====! 1\1 '-.'

'j"- Wi -- 1 ---:'1"- I -"I :"-I-J "-I - Reprinted by Permission of G. Schirmer, Inc. A similar technique is created in the third movement of the Muczynski Sonata, as the slow sonorities that are so heavy 48 and ponderous in the opening of this movement give way to a more ethereal, transparent texture. The use of the "una corda" pedal in combination with the damper pedal helps to blur sonorities and darken the timbre; the pianist can then create an atmosphere where a singular melody rings out above a wash of sound. Articulations and attacks are extremely influential on textural masses. Frequently, each voice within a two voice texture has a different articulation. The second movement of the Muczynski Sonata is an excellent example of this charming texture (see Example 18 above). The right hand melody is to be played legato, while the accompanimental figure in the left hand is staccato and light.

Dynamics also offer much contrast, often changing from note to note. A highly emotional environment is created, especially in the slower sections, through the use of whispering pianissimos, intense crescendos, and thundering fortissimos. This climactic building can be seen in Example 23, as Muczynski transforms the character of the opening theme within the space of five measures from a soft, simple restatement to a forte, dramatic variation of the main theme. This transformation is achieved not only through the use of dynamics, but also through extension of a narrow keyboard range to a full use of all registers, and through the thickening density of the chords. 49

Example 23: Robert Muczynski, Second Sonata, Opus 22, Mvt. III, mm. 31-35 allarg: Tempo primo tenuto 1 - b.a _ inqu£eto !:1..-- ...

.p, =----- cresc. r I . , ~ , ------~""'. 1O....:~ 'I __", ., I ~ q~­ I ··... 11ifL ""J >L i1 ~ ~¥s --777 ~ __ ~A~-~-~ ____ -J~~ ______~ a tempo, ma poco me:w 71w~so (maestoso) ~ k- -- .~ .A b.. ~ :e 1-"~£ .A .- b... ~p;:= z= ft 1.- t,;b; ~~A~~ . '"" . - ... .

~ 5! ". ( v ".... =brilIante --.;;;, ~3 'r , P"'f f q~ 12 ;n' f :> ...... 1 to] t.- ) ~ . - ~= ~bi

r J -•• I 'I /1 I 1 l.... 1 , 1 ...... f ..!- - I ~~:.. : 10 -- Z2:- :It. ~ ~_...- P------Reprinted by Permission of G. >-Schirmer, Inc. Example 14 (see above) from the first "senza misura" section of the Starer Sonata shows travel through a wide t::ontrast of dynamic range occurring very quickly. These changes reinforce the idea of "outbursts" of sound discussed previously and are achieved both by the use of rapid crescendos and diminuendos, and by sudden changes of dynamic level. Both techniques are seen in the second line of this example. Within a very short span of time the dynamics move from pianissimo to forte, and then back to pianissimo.

There are many technical challenges facing a performer of these works. Large stretches with filled-in pitches require 50 fairly large, strong hands. There are moments that require great technical facility, such as the alternating hand passage at the opening of the starer Sonata (Example 9 above) and the rapid passagework in the coda of the final movement of the Muczynski Sonata. The insistent wide leaps need to be quick and accurate. However, in addition to the extensive technical difficulties, per~aps the greatest challenge to the performer is achieving unification of the many contrasting sections that make up these works. The performer needs to understand the overall connection between the seemingly fragmented sections so common in twentieth-century works in order to properly interpret them. Thorough analysis is useful in the performance of music of all periods, but its need is perhaps most marked in the music of the twentieth century. If one examines the music of earlier periods, contrasting sections are common, but transitions between sections are generally prepared and smoothly executed. The unifying factors in such music are the inherent logic of tonal relationships and the balanced formal structures. However, in twentieth century music, as evidenced by the sonatas of Mucz}~ski and starer, it is more common for contrasts between varied elements to be abrupt, for repetitions to be asymmetrical, for statements to appear suddenly and unprepared. However, performers must understand that unity is achieved through the composers' ability to put 51 that which appears capricious and arbitrary within the logical constraints of a disciplined and expansive formal structure. 52

CONCLUSIONS

The sonata form has been an important compositional tool for two ha~dred years. The form has adapted and changed to fit the changing compositional and stylistic trends that have come and gone, yet the same basic structure has survived. The exposition, characterized by presentation of contrasting thematic material, has developed from the simple tonic­ dominant or tonic-relative major relationships utilized in earlier models to include more adventurous chromatic al terations of later composers. The use of the sonata form in non-tonal styles has forced abandonment of key relationships entirely, and the form is dependent upon changes of thematic material, dynamics, and textures to signify formal divisions.

Similarly, the development section, showing the versatility of musical material as it is re-worked through various manipulations, and the recapitulation section, presenting the thematic material one last time, have retained their essential functions and purposes over time. Again, key relationships are not determinants of formal structure in works which are based on non-tonal compositional practices. 53

Instead, formal organization is based upon the contrasting charc:'.::ters of thematic material. Just as it was in its initial usage, the sonata form is an effective means of organization for current compositional trends. Robert Muczynski and Robert starer demonstrate in their second Sonatas that the sonata form can be utilized effectively within contemporary idioms. The results of the analysis demonstrate that these two sonatas have similar stylistic effects, despite the dissimilar compositional techniques. Perhaps extra-musical influences helped to shape these two works into a style which we recognize as "twentieth-century American." Throughout the twentieth century, the world has become increasingly :more capable of rapid interaction; truly making ours a global community. However, strong nationalistic characteristics persist, much as there are regional speech dialects and customs. Similarly , compositional techniques may vary between composers of the same generation, yet contemporary trends common to the culture of the composers can have a significant unifying influence on the resultant style of their works. Muczynski and starer are unquestionably part of the American School--composers born and/or educated here who share a common culture--but, does that fact make these sonatas "American music?" Are the similarities noted in this study rooted in an "American" style? It may not be possible to define "American" style, although many have tried. Certainly, 54 the Afro-Caribbean rhythmic qualities found in jazz, much of it developed by African Americans, have been an important factor and influence on both the serious and popular music of t..ltis century. Aaron Copland, making an attempt to identify an American style of music, comes to the conclusion that rhythm is the aspect that sets American composers apart from others around the world. Confining ourselves to serious music, there seems to me no doubt that if we are to lay claim to thinking inventively in the music of the Americas our principal stake must be a rhythmic one. For some years now rhythm has been thought to be a special province of the music of both Americas. Roy Harris pointed this out a long time ago when he wrote: "our rhythmic sense is less symmetrical than the European rhythmic sense. European musicians are trained to think of rhythm in its largest common denominator, while we are born with a feeling for its smallest units. • • We do not employ conventional rhythms as a sophistical gesture: we carJlot avoid them. • ." (Copland 83) Copland explained that the European notion of rhythm is to think of it as part of a phrase. American musicians are more likely to see rhythms in their smallest sense, not confined by a phrase structure. Copland felt that this rhythmic sense, along with the influences of nearby Latin America and of polyrhythmic drumming derived from Africa, has made a profound impact on art music in the United states. In their second

Sonatas, Robert Muczynski and Robert Starer exhibit a strong tendency toward jazz-influenced rhythm, polyrhythm and rhythmic freedom, and percussive sounds. At least as defined by Copland, one could say that they are composing in an

American style. At the very least, one can see the influence 55 that the diverse American cultural experience has had on the Second Sonatas of these two composers. To be sure, overt nationalistic tones are frequently considered "American". However, many composers (among them, George Gershwin and Henry Cowell) have gone yet further in their definitions, suggesting that, just like a patchwork quilt, "American music" is a multi-colored, lively tradition that encompasses a variety of musical languages, bound together by some common threads of cultural background and an independent American spirit. The music of the American School follows no single formula. Rather, it reflects the contradictory tendencies in our national character: our jaunty humor, and our sentimentality; our idealism and our worship of material success; our rugged individualism, and our wish to look and think like everybody else; our visionary daring, and our practicality; our ready emotionalism, and our capacity for intellectual pursuits. All of these and more are abundantly present in a music tr~thas bigness of gesture, vitality, and all the exuberance of youth. (Machlis 378) American composers have subscribed to the use of American folk music and jazz, have rejected it in favor of internationalism, or have stood somewhere in the middle of the first two positions. I believe that Muczynski and starer fall in this last category: One can easily hypothesize that, at a minimum, environmental and social factors may have played a role in the composition of their Second Sonatas, as well as their stylistic features. In any case, these sonatas are excellent contributions from these composers to American piano literature, rife as 56 they are with ingenuity and craftsmanship. These two works claim their place in the intertwined musical and social world of mid-twentieth century America. The Sonatas will survive over time due to their refreshing individuality and innovation as exhibited through the best of the composers' considerable talents, effectively drawing upon recent compositional trends, as well as borrowing the useful aspects of a long musical tradition. 57 APPENDIX A Formal structure

ROBERT MUCZYNSKI: SECOND SONATA. OPUS 22 Movement I: Allegro Exposition Theme 1 Allegro, Key center E Theme 2 (m. 28) Allegro molte, Key center C sharp moving to B flat Theme 3 (m. 69) Andante con espressione, Key Center D Development A (m. 94) embellishment of Theme 1, Key center E flat B (m. 131) embellishment of Theme 2, Key center C sharp Recapitulation Theme 1 (m. 148) Maestoso: Tempo primo, Key center E flat Theme 3 (m. 173) Andante, Key center D Theme 2 (m. 185) Allegro, Key center F

Movement II: Con mote, ma non tanto A a Key center B flat a' (m. 25)

B b (m. 37) Key center A c (m. 51) b (m. 65) A a' , (m. 83) Key center A a I r D (m. 95) Key center B flat

Movement III: Molto Andante A Key center B

B b (:m. 9) Key center E flat b' (m. 25) Key center E

A a' (m. 31) Key center E a (m. 45) Key center B a' , (m. 53) Key center D 58

Movement IV: Allegro molto A a Key center F a' (m. 17) a' I (m. 40) B b (m. 61) Key center C c (m. 82) b' (m. 101) A a (m. 114) Key center F a' I I (m. 1.23) Coda (m. 139)

ROBERT STARER: SONATA NO. 2

I. A Presto B (m. 25A) Moderato-senza misura C (m. 26) Allegretto A' (m. 40) Presto 0 (m. 57) Lo stesso tempo E (m. 80A) Quasi lento-senza misura F (m. 93) Andante mosso

II. A I , (m. 109) Presto C· (m. 121) Allegretto B' (m. 127A) G (m. 128) Allegro (related to C)

III. B' , (m. 135A) Moderato-sensa misura G' (m. 136) 0 ' (m. 154) Presto G' , (m. 172) Allegro E' (m. 189) Andante

IV. A (m. 217) Presto includes material related to F (m.234), A (m. 241), 0 (m. 243), F (m. 259), o (1:1.. 268), and B (m. 286) 59 APPENDIX B Robert Muczynski: Written Interview, April 4, 1994

What would you consider to be your main compositional influence? (teachers, composers/compositions, styles, etc.) a< haN= NO ;'J~ td:2~~';!:;·:S;!~;)Z~It:2!,::1:i§ ~::J:~;'Z- 1h1lt 1l!lNk "'",, -?"tiM-S' n "st11,u; ttl" 'J MA-p ~ 'hr,l ..< LIM CaNtHi"--8- ~!)j~1-1lI LfD~s ~Ab~~~ 1~1; 't.+.J...nv;.k~.. ~ Is there a particular composer(s) (e~ther living or deceaSed) whose works you particularly admire? Why? ;X,y.Ja:tti,,;rs. I?gcl., TI ed+'{~ Cbop!:"'; S41i..Lo..5 tp<1. r .. "")""'" ~n.t%·1NM- w!<;r'e /4t1"'v:%.:s~- 1ti·~n;::~r'~1:z;:t;;;;;:t;~~i ~ ~itt.c. s.c--4t,S ~ rff1..... Mpp.t-c..<;-~ ~P-4- ~c..r ~ "SOrJIJp UKblt-t~ How do you regard the role of melody, ha=ony, rhythm, texture, and/or form? In your works, is there one aspect that takes precedence over others? .S> Aw aPrlt"l1' t1u"",d -t.W 11~IAlE'~-I"'t'l.S'''c, ~~I ~~-t h~ ~ J~"a.c.4:~~t-1"~~vtiO'h ~ '1

trr 5cm,qJ Ac.1i4 tis 1 .. rltc'teV j .t";"'; Ian eo _ ~1I~Yn1'h 1 _ ii -liMai'> 1 ) :tc'"s, r 1AY\fy:L~ )~ 'Goo /7),.1:'1< i't41 it,,± il baw Ib, if! cn elLe:f'..v...... , ";.:1;:,, (s%:- ~D'\- I ", ~) ~; ... t" ...... ;:ih SU,C!,.qzC1a ;nu'ts H d't na.,S g1~;;o {\/(J /I'/'1rJMC'r ct. ~S'D/ ~o .sF' ... A~ .lAetI.J, ss 'b~ 1d",n 'j o..~ ~.z.;" .f.. ddk t~SR.. 4 J-tAA~-~~~~J- "- ~ 1-~S"i~. Do you feel that there is a."1 "American" school of musical composition? If so, what factors have shaped thi~ lj~le? How have these influences affected your individual idiom? V~ ThUjlo,sO""I'V S4.~ /I..9t ;5' ~ .LASca ±p lv c;.,.../1~ ,'eilM OMj>05M" -- tJ..ll 1p"o< k4"v-t.. t-o d...o [5 .L J.,..., M ...cc -kW<11~A Oe J ""\.,ni,t" y.do,--&:.:ux .. , h,;" J 'g co. (, ri c. ~ "1.o-f.S" .. ·.- '!1 CDURSk" ot( G", is k.k ~'Lv'rS!! 60

How much interpretive freedom do you feel the performer should have 4'/;h::':' A:t:;;:::5't ~ZlSi;;:~~ ~:~~.~' 8c..-t' ~ alaUy &1: "0,....., :tks!:V:' rJllm = a1:'Cc (' tV': U ;qlifr~ --"""""- -f:<...a.+~ O./(. ~- IhwC.N~.. \ -rZ!MPO (~p" J it;~ ~~'l'O't +~1:"= ~coo ~~l= BAr From your perspective as composer/performer, whatiadvice would YOu~ have for pianists performing your second piano sonata? PPh'i-1~ a....s.{~ 1: & ~oou:±tt;.., $q,J'Cs llrt.. ;t eLy N 01 td, d,tApm" ~ rlJ &j.... pate ~ DUiN "..i.,uSS" fa ..f;L7'J)'t 1Lq:t=&nv 4..ttM.G:~< 'Mi='Aom::4,"0">9~S ....,-J ) - IA':- ' I ~ -L I.P~ "P'"' ~~ "T.J,M.. g:.....rnrvv,li 1, \ ... /lAOS' ....)",st: Et=:e 1'>1 1>:-- ~,,~ ~mC;s s" A~P,....-t; TJ...... ,.'FI'..c:~J.. scO"\+ /" ~ " Doe&~J.. ~~i:0:cm-.pO$.(N~I!"':-t<-~~3i+:vi ~!~i·i~)T~~o-J.. ~1C11;fG.~ i:J..c,.. ""'~ .e. " 1- - C . My s1:udy, of your Second Sonata for Piano. Op. 22 includes a discussion of other (f"""andmar9 American piano sonatas of the same period. Do you feel that the culture and generation of which you are a product had an influence on this composition or other of your

musical composition seemed to be of the utlllost importance, did you choose to compose in the traditional form of the sonata? What do you think of David Burge' s COm1:lent "Sometime in the middle of the 1950s the need to write a piano sonata suddenly evaporated. Composers in Ameri~, jarred by the resonances of strange sounds and echoes of new procedures coming from overseas and even from rebels in their own midst, set off in new directions."? (Twentieth­ Century Piano Music, 1990) ~f¥=t:·:::;e~.Et::;/;J!::::,1;r~ ,ji /~~r:ea~:: f::::;t:;;:7!::::t:}? ~~. u. = -- --u--:...... 'IJ {M~ ~'i Sm'fp 1'1A'A1 d'DtI'AIIrXVQ ;wrun;;i;"'B -vb Nt I:uit " B~ CON7tMPO.t~t., ~~'f.I

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