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Amy Beach's Concerto for Piano and Orchestra in C -Sharp Minor, Op. 45: a Historical, Stylistic, and Analytical Study

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Amy Beach's Concerto for Piano and Orchestra in C -Sharp Minor, Op. 45: a Historical, Stylistic, and Analytical Study Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 2000 Amy Beach's Concerto for Piano and Orchestra in C -Sharp Minor, Op. 45: a Historical, Stylistic, and Analytical Study. Katrina Carlson Rushing Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Rushing, Katrina Carlson, "Amy Beach's Concerto for Piano and Orchestra in C -Sharp Minor, Op. 45: a Historical, Stylistic, and Analytical Study." (2000). LSU Historical Dissertations and Theses. 7226. https://digitalcommons.lsu.edu/gradschool_disstheses/7226 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Photographs included in the original manuscript have been reproduced xerographicaily in this copy. Higher quality 6" x 9” black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. Bell & Howell Information and Learning 300 North Zeeb Road, Ann Arbor, Ml 48106-1346 USA 800-521-0600 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. AMY BEACH’S CONCERTO FOR PIANO AND ORCHESTRA IN C-SHARP MINOR, OP. 45: A HISTORICAL, STYLISTIC, AND ANALYTICAL STUDY A Monograph Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in The School of Music by Katrina Carlson Rushing B.M., Louisiana College, 1990 M.M., Northwestern State University of Louisiana, 1994 May, 2000 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. UMI Number 9979290 ___ __<8» UMI UMI Microform9979290 Copyright 2000 by Bell & Howell Information and Learning Company. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. Bell & Howell Information and Learning Company 300 North Zeeb Road P.O. Box 1346 Ann Arbor, Ml 48106-1346 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. A cknowledgments I would like to express my sincere gratitude to my major professor. Professor Constance Carroll, for her guidance, expertise, and encouragement throughout my doctoral studies. I am also grateful to my exceptional advisory committee—Professors Kathleen Rountree, Richard Kaplan, and Michael Gurt—for their insight and assistance in the preparation of this monograph. Finally, I wish to thank my parents, Ivan and Jackie Carlson, and my husband John, for their constant support throughout my doctoral studies. ii Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. T a b l e o f C o n te n ts Acknowledgements .................................................................................................................ii List of Tables .......................................................................................................................... iv List of Examples ...................................................................................................................... v Abstract.................................................................................................................................. vii Introduction .............................................................................................................................. 1 Chapter 1. Brief Biography and Overview of Compositions .......................................... 3 Chapter 2. Concerto for Piano and Orchestra in C-sharp Minor, Op. 45 ..................... 18 Historical Overview and Critical Reception ...........................................18 Pianistic Style, Influences, and Comparisons ........................................ 30 Chapter 3. Analytical Observations ................................................................................ 37 Movement I: Allegro Moderate .............................................................. 39 Movement II: Scherzo (Perpetuum mobile) .......................................... 49 Movement III: Largo ............................................................................... 54 Movement IV: Allegro con scioltezza ....................................................57 Conclusions ........................................................................................................................... 64 Bibliography .......................................................................................................................... 66 Appendix A:Beach’s Notes on the Concerto for Piano and Orchestra, Op. 4 5 ..............73 Appendix B: Catalog of Works ...............................................................74 Appendix C: Letter of Permission ............................................................ 79 V ita......................................................................................................................................... 81 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. L ist o f T a b l e s 2.1. Amy Beach's performances of the Concerto for Piano and Orchestra, Op. 45... 21 3.1. Formal Outline o f Movement I: Sonata form ...........................................................40 3.2. Beach’s Tempo Markings in Movement I ................................................................49 3.3. Formal Outline of Movement II: Ternary form ....................................................... 51 3.4. Formal Outline o f Movement III: Ternary form ...................................................... 55 3.5. Formal Outline of Movement IV: Modified Sonata-rondo form ........................... 58 iv Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. L ist o f E x a m p l e s 2.1a. Beach, I, mm. 248-250..............................................................................................31 2.1 b. Liszt, Piano Concerto in A Major, mm. 320-322 ...................................................31 2.2a. Beach, I, mm. 282-284 ..............................................................................................32 2.2b. Tchaikovsky, Piano Concerto in B-flat Minor, I, mm. 164-165 ..........................32 2.2c. Tchaikovsky, III, m. 298-299 ................................................................................... 32 2.3a. Beach, I, mm. 188-189 ..............................................................................................33 2.3b. Grieg, Piano Concerto in A Minor, I, mm. 204-206..............................................33 2.4a. Beach, I, mm. 115-117............................................................................................. 33 2.4b. Chopin, Piano Concerto in E Minor, I, mm. 179-181 ........................................... 33 3.1. Beach, I, Theme 1A, mm. 1-6..................................................................................40 3.2. Beach, I, mm. 402-410............................................................................................. 41 3.3. Beach, I, mm. 216-217,223-224, motive a in invertible counterpoint ...............42 3.4. Beach, I, mm. 69-72, Theme IB accompanied by motive a ................................ 43 3.5a. Beach, I, mm. 132-135, Theme 2............................................................................ 44 3.5b. Beach, “Jeune fille et jeune fleur,” op. 1, no. 3, mm. 39-45 ................................ 44 3.6. Beach, I, mm. 131-132............................................................................................. 45 3.7. Beach, I, mm. 163-166.............................................................................................45 3.8. Beach, I, mm. 285-287 .............................................................................................47 3.9. Bass-line graph, Beach, I, mm. 104-127................................................................ 48 3.10. Bass-line graph, Beach, I, mm. 271 -278 ................................................................48
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