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1966 A Flute Recital Analysis Marcia G. Stilgebauer Eastern Illinois University This research is a product of the graduate program in Music at Eastern Illinois University. Find out more about the program.
Recommended Citation Stilgebauer, Marcia G., "A Flute Recital Analysis" (1966). Masters Theses. 4251. https://thekeep.eiu.edu/theses/4251
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THESIS
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KAS'Ih:R OFARTS IN THE GRADUATE SCHOOL, EASTERN ILLINOIS UNIVERSITY
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Date Author TABLE OF CONTENTS a e P g
• • • • • 111 LIST OF rrABL.l:.S • • • • • • • • • • • • • • •
• •• LIST OF ILLUSTRATIONS • • • • • • • • • • • • • • iv Chapter
I. INTRODUCTIOl-l • • • • • • • • • • • • • • • • • l
STA T}... • II. M.b.NT U.fi' PROGRAM • • • • • • • • • • • • 2 CONC�RTO 1.li � III. PLUfE MAJOR li• .:J.!l.t ••••••• 3
• IV. • • • • • • • • 2�- SONATA £:Ql1 TRAV�RSO .!iQ. �, OPUS l • • v. • • • • •
• t»\NSE POUR KATIA • • • VI • • • • • • • • • • • •
APPENDIXl!.3
.. Lli"J.'Tl::R FROH B. SCH 56 A. O'I'l11.3 SOHN ii: • • • • • • • •
LETTER FROH • 57 B. EDI1'IONS BILLAUD01' • • • • • • BIBLIOGRAPHY 58 • • • • • • • • • • • • • • • • • • • •
11 TABLES LIST OF
Page 'fable A Concise of l. Analysis Concerto in D major, !::.• . • • • the . • . • • Flute • . • • • • . .:ilk 22
�.ii LIST OF ILLUSTRATIONS
Concerto zart Page Flute 1!112 :major, �· J.lit - Mo First movement • • • • Fir st subject • • • • • • • • • • • • • • 8
Second subject • • • • • • • • • • • • • • • • • 9
Closing subject • • • • • . . .. • • ...... • • 10 Short �ecurring figure • • • • • • • • • • • • • 10 Second movement First subjec t • • • • • • • • • • • • • • • • • • 12 Part I of Second subject • • • • • • • • • • • • 13 Part II of Second subject • • • • • • • • • • • 14 Part Second subject • • • • • • • • • • • III of 15 Third movement • • • • Principal subj ct • • • • • • • • • • • • e 19
Second subject • • • • • • • • • • • • • • • • • 20
Closing subject • . • • • • • • • • • • • • • .. . 21
und Klavier - Hindemith SonQte --tur Flote First movement subject • • • • • • • • • • • • • • • • • • First 26
• • •• • • • • • • • • • • • • • • • Figure 26 Second subject • • • • • • • • • • • • • • • • • 27
Second !T\ovement First subject ••••••••••• • •• • • • • • 29 ec nd subjec t • • • • • • • • • • • • • • • • • 30 S o
Third !'!lovemen t Pr incipal subject ••• • • • • • • • • • • • • � 31 iv v
corlt.) l'h1rd movsm�nt First episode( ••• •••• ••• • •••••••• 32
• • • • • • • • • • • • • • • • • 33 Seoond episode
Fourth movement Pirst subject •••••••• • • • • • • • • • •
Second subject • • • • • • • • • • • • • • • • 35 • onata !2.£. Trayer10 E.s?.· s_. Opus 1 - Handel First moYensent aubjeot • • • • • • • • • • • • • • • • • Opening .39 Second movement Tho au):\ject • • • • • • • • • • • • • • • • • • • 40
'rh1rd movel08 t n F1rat subject • • • ••• • • • • • • • • • • • • 42
aubjec t • • • • • • . •••••••••••43 Second
Pour-th r.iovemttnt E' r t aubjeet • • • • • • • • • • • • • • • • • • 1 s 44 Second aubject •••••••••• • • • • • • • • 45
It1'1fth moYemeot Firat subject • • • • • • • • • • • • • • • • • •
of Second subJect • • • • • • • • • • • • lt7 Part I
II of ••••• • •• • • • • Part Second eubj�ot 46
na Da t pour Ktat1! - Bournonville
I subject • • • • • • • • • • • • • Part of First SO Part P1r3t aub ect • • • • ••••• • • • $1 II ot j Part I of subject • • • • • • • • • • • • So ltH1RODUCrl'lON This paper 1a s study of the four compositions per formed by the author on her graduate flute recital of March 20, The following items were used as a basis for anelysis. 1966. , ..\.. brief b1ographlcel sketch of each compos�r A Tl-le circumatances under which each co osition 2. m was ritten p Thew formal organization of the music 3. of the melodies The nature 4. The nature ot the harmcn1es s. The nature of the rhythm. 6. Texture 7. Orchestration 8. Relationship of selection to the composer's other works 9. 10. Pe.rf orme.nce practices compositions list&d b&low in the order 'l'he four are in t.Jh ich they WtI'e pE.�rfor!r.ed. Concert0 HaJor £2.t Flute !m.Q Orchestra, - .1n 12 !• Jl4 r,:ozart Allegro aperto I. o II. Andante ma non tr po Allegro p III. Sonate fur Flote .1illQ Klavier - Hindemith I. Reiter bewegt Sehr langaam II. III. Sehr lebhaft IV. Marsch Sonata Traverso - Handel .f..Q!: No. _2, Opus l I. Adagio II. Allegro III. Andante IV. Bourree Menuett v. Danae pour Katia - Bournonv1lle l STATEMEN1r OF PROGRAM The author's choice of comp ositions to be performed on her graduate flute recital was determined with the able assistance of her flute instructor, Mr. John 'J. Schuster. The four works were chosen as re re sente i v compositions p t e from different periods of music history. �he level of difficulty of the comp ositi ons was also a determining factor. The Coggert o .!!l Q Ma o r tor Flute ang Orghes tra, j by Mozart e re ents a work from the olassloal period. K· ..3,lk r p s The difficulty lies in teohn1oally conquering the places of passare work and correctl7 playing the ornaments. Becau e s of ts length, this concerto was performed first on the i program. Sonate fUr Flo te und Klav1er by Hindemith makes many demands on the player, some or which are: e pan io of x s n range , ability to display vnrious dynan11c adjust contraats, ing to sudden changes mood, and the displaying of one's or ability to play sundry rhythmic patterns. This o ompos ition is taken from the modern or contemporary period. The author chose o ta Traverso !.2• 2, Opus l by Handel because of S na ..f.2!:. its charming movements which are so delightful for listeninp performs.nee. This sonata is from the baroque per'� and Danae pour Katia by Bournonville waa for its chosen li�ht and brilliant fitting c lo e to quality as a s 2 CHAPTER III CONCERTO IN PLUrE D MAJOR K. 314 Wolf gang Amadeus Mozart Traditional Classical Interpr etation by Ary Van Leeuwen Johann Chrysoatum Wolfgang Theophilus Mozart, known as Wolfgang Amadeus Mozart, was bonl at Salzburg on January 27, 1756. His father, Leopold Mozart, was a professional . musician who was court-composer to the Archbishop or Salzburg and also author of a School tor the Violin which was known throughout Burope. He consider ed the education or his son as primary business or his life. the The Leopold Mozarte had a total of seven children, but ti 0 them died in infancy due to the dampness snd ve r lack of sanitation in their home. Nanneral and Wolfgang were the two surviving children. Wolfgang was extremely capable in music at an earl7 a�e. When he wae fiTe years old, he was improvising little minuets on the piano, while hie proud rather wae writing them down. Leopold was detennined to make virtuoso performer of a his son. He has been charged with penuriousness, with narrowness and bigotry, and with having forced his son to be a prodi@Y tor the sake of gainJ but there ia no evidence that he ever acted unconsc1ent1ously, the tPoroughnesa and very and almost mechanical regularity ot training he gave Wolfgang were invaluable in layingthe the founda tions of his remarkable teehnique.l From the time he was six years old, Wolfgang traveled all over Europe w1th his father. They tour ed such places as Munich in 1762, Schonbrur.n, and Vienna. Suddenly Wolfgang became 111 with scarlet fever. The two members of the male t�mily had to return home to Salzburg by the beginning of 1763. Af ter recovering, Wolfgang and his father were off to Paris and I,ondon. Wolfgang next suffered from a throat ailment which kep t him in bed for seven weeks. The entire family lived in London tor mox-e than a year. The next time that the family prepared to go to Vienna, a smallpox epidemic altered their plans because the two children the acquired disease. After this seige and a period of rest !or nearly a year in Salzburg, Wolfgang and his fa th.er journeyed to Italy. They performed in Milan, Parma, Bologna, Florence, Rome, �nd Naples. After two ye ars of traveling, they returned to Salzburg in March 1771.2 When Mozar t became twenty�five years old, he began to be somewha t leas dependen t on his rather for companion- ship, decisions, and e.ssists.nee in h.is personal ma t ters. Howe ver, on his following journey to Munich in 1777, he was accompanied by his mother. lnanie l G. Mason, Beethoven and his Forerunners, (New York: The MacM1111an Company , l932r;-pp. 217 ... 21tr; 2wallace Bl'Ookway Herbert Weinstock, Music - Their Lives, Times,and Achievements, (NewMfil:! York: QI_ Simon and Schuster, 1939). and 5 While Mozart was th e music director, Hieronymus became Archb:ts hop ot Salzburg in 1772. Because Mozar as mistreated, t w sought to b of his duties and wae subsequently he e relieved dishonorably diacharged. flut ist by name of Wendling encouraged Wolfgang A the to go to Paris in 1777 in hopes of securing some money and a better reputation as a composer. Wendling arranged a commission with the amat eur Dutch flutist, De J ban, tor Mozart write 'three short, simple concertos and a couple to of quartets for the flute'. 3 For the second concerto, Mozart gave to De Jean the Flute Co ncerto in D major, K • t he composition with Which ...n!l• this author is prim arily concerned. It has been proven by instein in his 1937 edition E of Koc�el that the Flute Concerto in Q maJor, �· J.!!l is a refashioning of a p evious Oboe Concerto in Q maJor, K. 271. r After this dis cove , Einstein believed that the Flute ry Concerto may been wri tten 1n 1777 before Mozart left have Salzburg. Mozart changed the oboe solo part so satisfactorily to meet the needs of the flute that posterity has regarded it as essentially a n original tlute concerto. But De Jean, who was probably acquainted with the circumstanc es,, certainly d pay Mozart the refus p to rull amount or his eo.nm1ss1on. � Robbina Landon and Donald Mitchell, The Mozart c. �ompanion,Ji!. York: Oxford University Press, 19561":' p. 203. (New 4ibid., 20 . P• 4 6 B. P a ar r h h l Co umg t ne also believed t at t e F ute pc�rto in D major , • is a gen uine •reworkinr.' ot th e Oboe K .J!!! 5 Concerto in £ major and not simply a tranaposition. In a letter to his father in F ebruar y 1778, Mozart revealed h1s disappointment out ome over th e agreement and c with Monsieur De Jea.n. I coul d, to be 3ure, s c ribble off things the wh ole day long, but a composition of this kind goes out into nd t o the world, a na ura y d not want to have be ot ll I title cause to asba me d my name on the page. Moreover, yo u know th -9t. I become quite ow r es s am obliged t o write for an p e l whenever I ( ) w i c instrument th e flute h ch I al'llot bear. Hen ce, a diversion, I compoae something else auch as as 6 duets for clavier and violin, or I work at my mass. To help justify Mozart' s statement in hia letter, Veinus remarked: Ther� has been an unfortunate tendency to seize upon Mozart's confession of his an tipath7 to the fl deduce therefrom a ute end to judgment th at the flute concertos are necessarily ot alight m us ical more a reful re ading of the lette r ahowa value. A c that if the who le De Jean p ro ject tailed to evoke his str on gest enthusiasm - hi s heart waa set at the mo was mpr ca ment on doing an opera, which i act i l under t.he circumatRncea he rel ne ert hel e ss 1 t, v a keen sense of re sponsibilit- y tor a work be aring e •••• b his na m 11� oreover , weighed down y una c customed re spona1bil1 t1e s, badgered by letter• from a wo rrie d father, an d depressed by his f ail ur• to fi nd thus a an r i for composing the f r o ppo tun t J k in d of musi c which he felt would most s urely reveal hia genius, o r e pr s o i for the M za t' s sharp x es i n of d slike flute, in strumen t to which his at te nti on was now tied, the may il have been a & r eas y m tt e of blaming with weary irrit ation whatever happened to be cl os e at hand."f 51bid., 202. P• 6Abraham Ve1nus, The Concerto, Ga r de n City, New York: Doubleday, Doran and Company, Inc., 1944),( p. 87. 7 1b1d., PP • 87-88. 7 In January 1779 , Mozart returned to Salzburg. ·rhereafter, he and his father were not on go od te:rms wi th each othe r Mozart moved to an inn to live. In 1781 Mozart ; moved to Vienna where he resided. until hi s death. He ea rned a scanty 11 ving there b y teaching end gi v1ng concerts. On ugust 4, 1782, Mo z art married Constance Weber, with the A disapproval of his father. Mozart and his wife proved to be equally unmethodi cal and unfartunate. They were e.lways poo�, but because their tempe raments we re congenial, they were c ontent ed in spite of povert y and disorder. An i nsi ht remaining ten years Mozart's g into the of life is offered by in the f oll owinf sta te ent Mason m . Mozart seems to have been dual person, to have a lived two lives at onceJ outwardl y hound d by e creditors, worn with the most prostrating and debassing anxiety, forgetting his care s only 1n a dissipation that was as squalid as they, he was all the time pursuing his artistic ideal with t he ighest success, and with the ser nity of complet e h e mast ership. In his nature it was not even st e a p from the ridicu ou s to the sublime the two l 8 extremes coexisted and interlaced. - Mozart had nearly completed the fa mous Requiem when he died on December 5, 1791. He had somet imes thought th�t perhaps he was w rit ing t s requi m for hims elf. hi e First veIJ1en t Mo The de sign of the first movement may be describ ed best as mod1f 1ed sonRta-allegro. The orchestra states the first sub j ec t in the tonic key of D major, with tempo mark n of o aperto a i g !1!._egr 8 nan1 el Gregory Mason, op.cit., 231-232. PP• (frankly o� openly cheerful). The c risp and vigoroue quality of first subject expresses this mood which is carr d the ie throughout the first mova�ent. Ex. 1: Flute Concerto in Q major, !• .J11! - MozArt, -S First Movement, First ubject tt'\.3 )]J _J J JJ JJJJ J J J \'Tl. 5 This obta ned through a simple, tradi tlonal quality is 1. harroonlc treat1iloot of built upon the tonic, chords sub m n t dominant. A steady rhythmic pedal poin on do i an , and t the not D also lends to a crisp light qual it y e itself and of first subject. the The contrasting second subject more legato and is It first orchestra i l in lyrical. is performed by the st l the key of D major. "warning notes", on the sin�l e The note usher in the second subjeot.9 The sections of the "!Sn, phrases this subject are based upon tonic, subdominant, of and dominant harmonies. Ex. 2: Flute Concerto 1!l Q ajor - Mozart, First m HovGment, Subject , !• Jlli Second TI\. rn. 13 l'-1- �. ; " . I 'iv. � . � orche!tra completes its introductory statements The the subjects by presenting closing subject. The a ture of a n this is similar to that o f the first subject - crisp and of light. ynam c contrast between m. 26 and m. 27 creates The d i playful effect. a 9Donald F. Tovey, Essays Jn !VJ.usic Analysis, Vol. 3 (London : O xfor University r s , d P e s 1940), p. 49. 10 Ex. 3: Flut1 Conc rto .!.!:! Q major, K • - e Mozart, First Movement, Closing Subject ..3.1.1* ':·he opening ect on, compr13ed of these three tutti s i centered around the tonic key. Any modulations subjects, is thi section s�gnlfy chanpea in color. wi n thia Throuf:hout tre concerto, and particularly in the first �overoe�t, there is a short rscurring figure. Ex. 4z Fl e Concerto .in Q major, !· .fil - Mozart, lttirst ut Movement, Reourring Figure Short It consists of an ei�hth note an r ie into a trill figure, ac us played like a turn, and leaping an interval of � third or to fourth. It first appears in m. 31 in the orchestra score; it is answered immediately in m. 32 by flute. In the the first movement this fi re 49,50,S2,53,55,56, gu recurrs at mm. ll 105,106,108,109,lll,112,177, d the orchestra an 223 with stating the figure first. usually Beginning the exposition, the orchestra states the first subject rather than the at m. 33. n the flute \-J'h e second u j c m. 75, the flute in the s b e t appears at plays it key of A ma.Jor the d-:nninant complete the exposition, - key. '110 the orchestra restates the clo in subject al so in A major, s g the dominant key, at m. 100. transition o cur frorn mm. 106 to 119, re A briet' c s absent development section, which rn.odulates placing tbe back to th.e tonic major key - D - at m. 120. The first subject returns the orchestral aueom in paniment at rn. 120 in e of major, thus its original k y D the beginning of recapitulation. the second marking the subje t is announced by the flute in the tonic key c also 8.t. 153· m.. · After the flute cadenza, beginning with m. 178 and ending �ith m. 215, the orc est a t he h r completes first movement with a. longtl'l. 1fhe coda based coda ten measures in ia upon from the link of the second subject, is almost material which id.entical to m::-n.. 23-26, and a.lso the clos subject, which ing first stated 1ill'll · 26-31. was in the performer is free t0 compose and Although impro C3denza of his own for a concerto, the ehose vise a author for her performance of this concerto, the to use. th�ee cadenzas w t t n by Joachim Anderson. These ri e cadsnzas contain 12 fraements of material respective movements related from their in addition to allowing the performing artist to display his technical facility. Second Mov9ment The forro of the seconu may classified as movement be free bin�ry. rath�r first subject, stated by the orchestra the The in first is in the major. Although the ten measures, key of G. sub.�ec+, is rhythmically it demands a first stately, delicate t0uch_ e.nd a preciseness of rather constant rhythmic line. A pattern of six consecutive ei��th notes is charecteristic of this m0vement. Flute Concerto 1!! Q m.ajoz•, - ti'iozart, Second Ex. 1: i e Subject K· 31.!! Move�ent, � r t 13 The second subject, played by the flute, is composed of three smaller parts. '!'h e first part is built upon four two-measure sections. The orchestral accompaniment is very simple, using only a few instruments that play the con six seout1 ve eighth notes. The first part mtn. 11 extends frorn through 18 in the key of major. G Ex. 2: Concerto .1Q. Q major, K. � - Second Pluto i1ozu.rt, !riovement, Part I of the Second Subject ..· 'f! .. � � At m. 18 of the accompaniment, the recurring figure appears, is teken from the first movement of this concerto. The which second part is ternary in form. Again a simple underlying harmonic structure ia employed. By the end of the second part, a modulation to the subdordnant key, major, has D occurredw The second part of the second subject appears mm. rou h f�om 19 th g 26. 3: Flute Concerto ma Ex. lot, !w .J1.Y: - Mozart, Second Movement, Part .!JlII of .Q the Second Subject p The third part, extending from mm. 28 through 40. consists of three irre gular phrases in the key of D major. T he orchestra plays the first measure of the first phrase, followed by the 1.5 flute which the l'€nain1.ng meaaure s. 'I-be second plRya two phrase measures in length. The third phrase ex tends 1a five six Jtleaaures. The texture the orchestral accompaniment of of the last part is the most complex of the three parts and therefore more an independ6nt line . is of 4s Concerto 1n Q malor, - Hozart, Secon p A retransition, of its purpo�e is that of which modulating bacK to the tonic key - G major, occurs from mm. 40 to 50. The rhy thmic figure employed in the first part of this 16 retranaition is r6lated mM. 23,97, the first to an� 21S of movement of this concerto. Reappearing in the tonic key of �ajor 50 is G at m. the first subject. The orchestra plays the first tour measures and then flute t e remaining two measures. the plays h kt m. 57 flute restates second part of the &econd the tte subject in the tonic key. At m. the begins the o5 orchestra th& third �art of the second subject. restat6ment of The orchestral accompaniment remains the same, harmonicnlly and texturally, was in the first statements as it of the secti0ns of the second subject. Another transition occurs from m.�. 78 throuph 85. portion of is a restat�ment of the The first this (.:nm. 78-81) previous transl tton exce'pt for in ke1 of t!1a "oe1.ng the G jor through repetition of mm. 7 thx-cur-h 9. thi3 time. Fur,. 82 81� is a A flute cadenza followo from mm. 85 throuf!h 101. At ro. 101 the orchestra re-enters ends the second movement and a short coda upon the first subject. with based Thirct Movement The form of the third movement is sonata-rondo. ·rhe following diagram is included clarify the sonata-rondo to form.lo 10w1111am E. Brand , T he Way .2,! Mu;s1e, (Boston: Allyn t and Bac0n, Inc., 1963), p. 238. 'l>""" . • !r' ' . \ It . '; :1: '. -�-7- �''!'t. �� '•tr:""�..Ji.j; � :��P' ' �'tfo·"_,•.. Exposition Development Recapitulation Second key and Closing Development thematic area group proper .�o� Retransition First key and First theme First Second Closing thematic area 1;;-'>". in tonic key Modulation theme themes group t<.,<.'b' away from tonic A B A A B c Tonic key ------:. • . . t-> -.l 18 The deT1at1on this particular to the of movement sonata-rondo form occurs at m. 181 with the return of the econd subject or sectiot� immediately after s ction s B e c. Thus there is no return of the prino1pal subject at the beginning of the recapitulation. However, the principal subject, along with closih� subject, follows section B. the The code contain� the principal subject and the closing group. 'l'herefore the ov er A plan third movement ABACBAA. ll of tho 1e Instead cf orchcetra introducinf th� principal the subject ae the first two �ovements, the flute it die in starts the third movement in D Major by stating tlie er.tire principal subject with an accompaniment. In th� first of both inatruriental parts appears thtj recurring me�:isure figure which was first introduced in the movement. first Af e the first statement of the principal subje t by the t r c flute the orchestra i�ept:a'Ld 24). (mm. 1-12), it (mm. 12 to This subject is buoyant and animated. 19 to ma.Jor, �· � - Mozart, Third l!'Jt. lt PlutoPrincipal Qsmcer .!!! .Q Subject Movement, •· .. A transition occurs at m. 56 which modulatesto the dominant A ma,1or. key, Because of the sparseness of thematic content from mm. the second se.ction of sub,ject material might 91•122, be called more properly passagt work. However, the correct key relatlonsh1p, dominant key, is employed to justify the tl,i!s r:Jaterial es sec0nd tha :lubj1:ct. 20 llJ.!ll Conc�rto in .Q :major, !· ..3lll: - Mozart, Third Ex. 2: ent, Second Subject MOVem f Riso\uto F At m. the flute announces th first return of 123 e rinci l subject back in of D major. The the p pa the key h estr echoes this return at m. and then proceede orc a 135, to modulate to the gubdominant key, major, where the flute G a version of the prihcipal subject starting at m. states 152. One later the orchestra imitates the flute's line, measure pro d ing two contrapuntal lines. thus uc Another transition occurs from mm. to 181 which 167 like it is in a minor key. By nd of the transition, sounds the e 21 the return to the tonic key of major has been established. D �natead of presenting the return of the principal ubject in s tonic key at th s point, Mozart chose to present the the i second subject. At m. 218 the second return of the princi- pal subject appears its entirety by the flute , with the in orchestra playing the last four measures of'the subjeet. A short closing subject inserted just befor& the is cadenza. It does not appear in the third movement until m. 2,36. It pos3essea a gay and jo ial quality. v Ex. J: Flute Conce;:to .!.n. Q major, !• � - Mozart, 1.rhird Movement, Closing Subjeot Atter the flute cadenza, which lasts from mm. 250 through 322, the flute and orchestra unite in a coda, which extensively allude to material from the principal subject. s Also contained in the coda is a return of the closing subject from mm. 342-350. 22 A CvNCI Sh: A!i.AL'i::I� OF .. 'I'HE i'LU'i·1_ CCNC� HT;) l!1 .Q hAJua, li· ..llJ. First l1oygment Instru;gent Sectipn Subject 1 - ll 'futt1 t1ret major-tonic orchestra D 12 .. aecond D ma j r-tonic orchestrf! 2531 closin€ jo - i or stra 26 - D ma ton c che - 37 h:Xposition rr- n c first D ma o t o i orchestra 733 - second major-clom.j 97 A fluttt 8 - 106 A major-do�. 100 orche-stre 106 119 tl1ransi ti on closing �.; l ute orchestra. f - 124 120 first D - 158 Recapitulation eecond mB1or-ton1oma o�chestraflute i) 15� - 215 Cadenza J or-tonic flute 2i181$ - 224 Code n major-tonic orchestra closi g D Second Mov9me9t l - 10 first m�jor-tc•nic orohest?'s G 11 - 40 aeeond flute (a) G mejor-ton1c ( b) D (c} ctBjor-dom.r1a j or-doni. D 40 - 49 Retranait1on oroheetra &: flute - 56 ir m!ljor-tonlc flute t G orchestra &. 57so - 78 st major-tonic flute dtcoad G 78 ·rranait1on !'lla.Jor-tonio hes tr& n .. fl ..,, - l 0185 Cadenza .. oreflute lCl.) !;> - Coda t1rst ma j c orche.stt-e. 105 q or-ton 1 1'h1.�d M2v9;mept - 12 tnflljor-tonic flute l .first f) 13 - tiret D - 9024 Transition major-tonic orchestra flute orchestra & 9156 - 119 second A major-dor.h tlute 13 first !t\fljor-ton flute J le 124 - lli7$ f D maj o -tonic 1ra flute 136152 - 167 lrstt r f G �ajor-sub SO�ATE UND ----FUR PLCfrE - KL.I\VIER Paul Hindemith Paul Hindemith was born in Hanau, Germany in 1895. Because ot parental opposition to a musical career, he left home at the age of eleven. He e rn d his living by playlnr. a e in care and bands, while at same time studying at dance the Hoch Conservatory in Frankfurt . At the age of twenty, Hindemith lost his father and. became breadwinner of the family. The same year he became concertmaster in the Frank furt Opera.11 In 1927 Hi demith became professor of composition at n the Berlin Hochscbde . From 1923 until 1929, he played vi la o the mar String Quartet. Hindemith was an experienced in A solo , orchestral, and ensemble player on the violin well as the viola . He could alao play many other instruments aa quite well. Hi de ith d pa rted from Germany in 1934 b cause his n m e e music had been boycotted . Under the new rules enforced by Nazis, he was regarded a degenePate influence. �fter the as ll Everett Helm "The U i ersal �us1cian," High Fidelity, n v XIV (May 1964), 36-3S. 23 me left his native land , Hindemith went to Turkey, where the government had requested that he assist in the rehabilitation Qf usical life . 12 m He came to America to li v e in 1939 and became the head of the Mua1c Department at Yale University in 1942. He established permanent residence in Zurich, Switz er land in where he joined the music faculty at the Univer 1953 sity of Zurich . Hindemith died in Switzerland. in 196). William Brandt stated in his book that com o si ion a p t wri tten by Hindemith waa not "•art for art 's sake', but a definite attempt to close the ga p between the contemporary composer and his publ1e.nl3 Therefore ea h composition was o writt en for a purpo se. Donald Grout has said that " g t a rea deal of Hindemith's mu sic was for use in the sense composed it was wr1tt8n for particular players, or to add to the that r•epetolre of certain instruments for which 11 ttle terature 11 is ed �14 Hie sonatas for wind instruments may be ex t •••• placed in this category. Hindemith composed a sonata for almost eve ry wind instrument, which included the flute, oboe, bassoon, clarinet, horn, and trombone. The sonata for flute and pianoforte, which author performe d, wa e the first of the son ta s was written in 936. Hindemith 's love for these a and 1 12Mllton Croas and David the Grea t Composers and Their Music (GardenR� en,City, Lncyclopedia New York: 21..Doubl eday and Company, Inc., 19b2) , 386-388 . PP• 13will1am E. Brandt, op .cit., p. 555. 14nonald out , A History .21. Weste�n lu sic (New York: Gr Norton and Company, 1960), p. 3. W.\v. Ino., 64 25 wind instr e ts and his knowledge of their l tations and um n imi capabi lities may have prompted him to write the so.natas with such me.stery. In the f l lowin brief statement, Oliver Daniel has o g provided understanding of Hindemith 's style. an Hindemith's position has never been that or the innovator but rather of one who continued to buj.ld. the past and , in so doing, created musical on monu� ments of en urin quality. He concentrated on main d g tai n vital and ever-active t ng cy to the i g a a en tradnitions of his predecessors. He was, in a aense, Bachlike in the man i lation of his raft . He pu c possessed, too , pas ion for thorough eas and order a a g that waa characteristically Gel'I4&n1o .l� First Movement The form ot the first movement ia tree. It does ot n fit into any one classification . There are two sections - an A and B; they are both restated but not in the original key. Also the ftrst subject is augmented rhythmi ally when c it 1a restated - a kind of development. A coda completes this movement . The tempo of the first movement is w�rked Reiter bewegt (gay and deeply affected. ) The first sub ect is announ c by the piano in the j ed key of B-flat major fro!"J. mrn. 1 th rough 4. It cons .sts o'!' 1 figures, each two mea sures in length. A recognizable two featur6 in identifying the subject is the beginning intervals of a fourth, a whole step, and another fourth. The rhythmic ]\ , pat er , is also e. char a teristi c t n J n J.., J:J J J .I c 15 011ver Daniel, "1895-Hindemlth-196.3," Musical A.,m erica, LXXXIV (January, 1964) , 59. 26 t•ture. Instances occur wherein only the firat figure sppesrs , ss m..� . 5 and by the flute and by in 6 m. 11 the piano . Ex. 1: Sonate fur Flote .!!.ill! Kl!v1er - Hindemith, First Movement, First Subject (The following ruusical example s 1 n Chapter IV appear with the l permission ot B. Schott 's Sohne.) 6 Another figure, which occurs quite often, appears first in mm. 17 and 18. Ex. 2: Sonate fur Flote und Klaviar - Hindemi th, First Movement,P.lgure 16see Appendix A. 27 Its noticeable features incl de a descending jump ot an u oc tave, followed by a triplet or i te val s of a fifth and n r a fo rth , uarter notes. It reappears in mm. u and three q 24 and 25, 29 and 30, 78 and 79, 86 and 87, 89 and 90. The last three quarter notes form still another figure which first appea�s at m. 30. are not always the The note values same. Other occurrences of this figure appear in mm. 31,32, 42,87, and 90. At m • .34 with a tempo indication of becoming a little calmer (Einwenig ruhiger) , the seco d subject appears. Both n the flute the piano parts become more sustained, and the and flute drops to its lowest re i ster but works its way back to g the middle reg ister. 3: Sonate Flote !:!!ls! Kla v1er - Hindemith, First Ex. fur Movement , Second Subject pp m. 40 tempo returns to a lively pace, the At the same pace as at the beginning of the first movement. The 28 accompaniment at ro.. 43 is very detached and rhythmical. Beginning m. 48, different effects are employed to dis at guise the r6turn of the first figure of the first subject, aueh as rhythmic augmentation, change of tonality, and only fragments of the figure. It appears at mm. 48-51,56-58, 60-63, 64-65, and 68-77. The return of a calmer mood is &t m. 95 indicated with a re statement of the second subject. This is followed by coda which alludes to the first subject. In returning a to the original tempo at the end, the flute imitates, an octave higher, a short statement of portion of the first a sub ject in mm. 117 and 118. Second Movement The design the second movement is ternary. It or is characterized by jagged dotted rhythms which conetantly build tension, al though there is tension and relaxation within each phrase. The first subject is played by the flute at a very slow tempo in the key m1nor and extends from mm. 1 of E throuFh 7. The rhyth�s mu st be executed precisely in both parts in order for them to cohere. 29 Ex. 1: Sona te te un Jlaviet - Hindemith, Second Mo•ement,� Pirat Flo Subjectd The contrasting aecond subject appears in the flute part in the dominant key, P-sharp minor, from mm. 14-23· It is more legato and less frantic. The pian accompanirnent at o this point e chan e s material from the lower ataft to the x g upper staff and trom the upper a aff to the lower staff in t comparison to the first subject. At m. the piano begins 18 the statement of the se ond subject. c )0 Ex. 2: fUr Flote yn d Klayi er - Hindemith, Second Sopate Subject MoYement, Second - J'PJ> mf The f lrst subject recurrs at m. 33 in t e key of D h m n r with even more inte nsi ty . M. 36 c ont ins the climax i o a of the second movemen t. The coda alludes to the second subject in the upper voice and to the first subject in the piano accompaniment. 'rhi rd Mo •emept A light quality, which is also detached, is featured in this movement of rondo form. The tempo is marked Sehr lebhaft (very lively. ) 31 The principal subject is announced by the flute in the key of B-tlat minor. It extends from nun. 1-8. It is imitated by the piano in the same key, ceginning at m. 25 . Ex. l: Sonate FlOte � Klav1er. - Hindemith, Third Movementiirt, Principal Subject The first episode appears from mm. the key 40-50 in of C-aharp minor. It 1a stated by the flute and is smoother than the principal subject. Thie same subject 1a repeated an octave higher from mm. 66-76. 32 21 Sonat§ !ii£ Flott und Klavier - Hindemith, Third Ex. MoTement, F1rat Ep isode From mm. 77-93 1s a passaRe which serves as a transi tion to the f1r3t return of the principal subject, appearing at m. 94 in the key of B minor and announced by the piano. The flute imitates the piano with th e same subject but in the original key of B-flat minor at m. 102. After a brief transition, the sec nd epi sod e occurs o at m. in the key or Minor. It is introduced by 120 B-f'let the flute. Its rhythmic tr�atment is similar to that of the fir t subject. s .33 Ex. 3: � - Hindemith, Third §onateMovement , Second tY1:Flott Klav1tr �pisode rn. l�o rn. 1;2 I � � ,_ ...... \Jj:t .. .a. 0 ># � "1-: � � .... '- � .... � •• � � ,, v � .L -.I �I -·- ;,-, I I '"" A• .f ""5 .. ... ' • , .._. "� �, -·, ...- . - .. "' ..... • ' .. .- ., . I -W v .-1- , ' � h,,._.....- . '::::!I I - 11'!1 -r.. - A -• . .- � • p ..::;: -'°Siln;!1 .. - - I- ...... o.J. V• ---- ..... -I , -I.r-i .J . :: ,.. - - ,-. ,.. . v. • ""' - .. � " ' .... I -4 .. � . ...,. ..JI .J... . '.;:'.�- -. "1t "ii �.. '1.... ...- - • I . ... .- ... h ...... I � � 'l'7 I I I I I 1 I �'� 0 I � II I ... . , I L - .. � /1 IV _, I I I n 0 -� -t �Ill - " I ...... ,... . ' . � "' ...., .. h1 � • - iJ!\- . .- - �� ,.,-� , • • ..> A. ·--·' piano the sam.e episode �. 133, jumping �he states at to the oc tAve on the n te . 1he flu te re-enters second o with another •teteroent et m. 150 in the key o . of C-flat ain r Two & oontrapuntal i e.p-a inat measure:s later the p1e..no forms l ne tho line w3.th the final statement .flute 's aame episode. The in m. 166. reappear• B·fl&t r4i nor bJ tho tlutc st 'Phe return final of the principal subject occu:rs 1lt m. 105. Sowever, subject - it is a variation of the a more le�rnto line d1t':f�rent aeoornr;animent patt�rn. with a 34 A coda mm. 225-241 w i the exists trom h ch utilizes exact same passage used as the transition to the first return of the pr nc i pal s j . i ub ect Fourth Move"M.ent The Marsch, in ternary forro, i approached with only s a slight separa tion between it the pr6vious movement . �nd The tirst subject is introduced by the pi ano from mm. in the key of B-tlat ma jor. The flute enters then, 1-10 playing what sounds like random notes. However, when 1t is the �ccompaniment , certain notes from both combined with per ts form the first subject. e sta teme nt or 1: Sonate fur Flot e und Klavier - Hindemith , Fourth Ex. Movemen-r;-Firat Subject The se ond subject appears at M. nn unc ed by an . c 20, a o the pi o .35 I ts contra.ati ng line tinsulsh i. t fro1n the tirst and rhyttrn1 dis su j ct . b e Ex . Sonate !,iY: Plc)t e ung Kl v er - Mindemith, Fourth a 2t Movement, Second Subject i A ret n ot' the first subject follows immediately ur from mm.. 30-37 . cod a , which begins at m. 37, extensively A allud es to the first subject. The climax appears at the very end of this movement, at m. 54. The flute sustains 0 brilliant B-fl!t for four an one-half counts. a d Included in the common characteristic eatures of f Hindemith 's atyle are: emphasis on the fundamental intervals of a fourth and fifth, variety of rhythms , c an es tempo h g of within movement, clarity of design, dissonant counterpoint, a imi t ion and repetition of voices, modal c ol i , and ta or ng sturdiness of construotion. CHAPTER V SONATA TRAVERSO OPUS l !Q.!! .!iQ• _2, George F. Handel George r1der1c Handel was born 1n Halle, Germany on F February 23, 168.5. From in.fancy, Handel was intrigued w th :t music. As George grew a little older, his f th r , a barber- a e surgeon, sensed hi8 great interest and love for musi c. His father had inten tions for his eon to beoome a learn ed man by studying law. Thus, George 's father took measures to stifle hia son•a mu aioal interests by preventing him from going to school for fear he migh� learn how to play a key- boa.rd instrument. 'l' he event a of Handel' e ri!rst few early years ax•e quite vag·'1e be ause there ao -:documents or other dependable c are sources of information. At the e of s even or eight , �andel �g� persuaded his father, after many ttempt s, to take him to � ' Weissenfels. There the Duke was so impressed with the boy's musical talent that he convinced the reluctant rather to provide further musical training for his son. While he was attending G�ammar School, Randel accom panied his father to We1seenfels �uite often. A rrangement s were made that Randel could lesson s with Zachau, the so take rg n ist of Liebfrauenkirche at a le . s tud ied with o a H l He 36 37 Zaohau from 1693 thro�gh three years, having the follo�ing learned counterpoint, harmony , the organ, harpaichord , violin, and oboe .17 After the death or his father in 1696, Handel was free to pursue his musical interests. However, he decided to atudy toward a law degree at the University of Halle. In 1703 Handel lett Halle for Hamburg. There he became attached to opera and began to compose operas. From Hamburg, he traveled to several cities in Italy. His next destination wasLondon where the majority of his oratorios were written. In spite of the disappointments and hardships he faced, which included failure of some of his operas , bankruptcy, end blindness, Handel remained tranquil and retained courage and strength to continue his endeavors. Handel died in London in 1759, soon after a per- fo.rmance ot bis famous oratorio, The Messiah. Thia flute sonata was one of fifteen sonatae in Opus l written for the record�r, flute, oboe, and violin. According to the Grove's Dictionary, Handel's sonatas of Opus 1 were 8 written in 1731.1 If this is so, these aonataa probably were composed in London. those sonatas indicated tor flauto were composed tor the recorder or end-blown flute. Those 17Er1o Blom(ed .), Grove' s Dictionary of Hua ic and Musi cians, IV (New York' St . �artin's Press, 1"954) , p. 37 . 181b1d., p. 58. sonatas indicated for trnversa composed for the trans- were verse flute. The best re source which was available to the author containing the original form of the sonatea t he 1s Pocket Score. 'r he score is based on Volumes 27 and LeA 48 of the Friedrich Chryeander edition for the German Handel Soc iety. The original accompaniment for these s ona a was t s a thorou baaa tor the harpsichord or bass violin. For gh the performanc e of Sonata No. 5. the a thor chose the Cundy- u Eettoney publicat on which has provided a real,.zation 01' the i f 1gured ba s lin . s e Th& instrument for Handel w ot compositions which r e in the eighteenth c€ntury as the simple one-keyed transverse w flute. Its foundation was upon the key of D bn sed m�jor. The tlute 'a om as waa from to being compl t ly c p s � A!!_, e e 9 chromat ic for the first octaves.1 two This ona a is an e mple s na a chiesa or s t x a of a o t il church s onata , which was oft en used in andel ' time. The R a church sonata similar to the danc e suite with its stylized was dance moveme nts . Paul Lang stated: The tirat of the four mov men t ••• preserved the s character of ar1 introduction, eprobably owing to the simultaneous rise and dev lopme nt of the opera and e cantata. overture. The second �ovement, which may be considered the chief. is usually wri tten in a solid, imitative contrapuntal style, while the third is given to a melodic outpouring of pathos , to be re lievt!d by a fa st-moving and spirited fourth mo e , v �ant often in a d nc e form of sharp rhythmical steps . a l 9Adam Carse. Musical Wind Instrumenta (London: Mac Millan and Company, Limited, 1939), pp. 86 -87 . 20 Paul H. Lang, Mu s c 1Jl est er C1v1 11!.t1on York: w n W.W. Norton and Comp n , f p. 36� • (New a y nc., 1941), 39 Because this onata contains five movements - Adagi o, s Allegro, Andante, B ourr e , and nuett - 1 t is su:rmised that ' Me the Menuett ia the added movement . First Movement The fi r st movement s r es grand introduction to e v as a the entire flute sonata. Rather than fitting into a specific form, the first movement baaed upon legato line, several la a sequences, and repe tition of fragments of the melodic even line . The fact that Handel employed themes from s ome of his other works is evident in the opening phrase of this move- ment. Th is theme ia the same one he used tor the recitative "Comfort Ye My Peoplen from The Messiah. l: Sonataf.£X. Traye rso Opus l - Handel, First Ex. Movement, Opening Subject!2· S, Second Movement The second movement is based upon a mono-thematic idea . The first ap earance of this 1ubject is played by flute p the alone in the key of G ma jor from mm. The piano imitates 1-5. 40 the flute with fugue-like tonal answer or subject in a the D major from mm. 5-9. The thi d en trance ot the subject r oecurs at m. 21 in D major, played by flut e. The flute the also plays the fourth entrance of the subj c , which appe ar e t s a minor key - B mi or - at m. 45. Although it is not in n an exact tatement of the subject, of 1t is present to s enough justify this as the final re tul' to the tonie key ma.jor.. n of G l: So at for No. 2, 02u s 1 - Randel, Sec nd Ex. a Traverso o Movemen nt, The Subject .�1.;111: - ··��' �· Third Movement According to the Chrysander edition of Handel's the third movement of the Second Flute sonatas, original Sonata does not appe r in version published by the a the Cundy-Bettoney p n , the author us ed for performance Com a y which her graduate flute original third movement on re cital. The is replaced by the sixth movement of the Ninth Sonata from the same pus 1. It may ot her i e s ted is the O w s be ta that it mo vement of Flute sixth the Third Sonata. The design or thi s t ir movement is simple binary. h d The division be we e the first and s eco d subjects is t n n evident � by the repetition of the first subject followed by a double bar. The first subj ect, including its repetition, extends from mm. 1-16. This alow, sustained melody appears in the key ot B minor . 42 Ex. l: Sonata for Traverso • 1 Rand el, Third No - Movemen-r;-First Subject .,2, Opu s • j/ t ... - .. -- - - ...... �- ,,.--:'" -· • .�- - ' -.." · �· r� - - - -r- ·--.- - ·- � - ....., Gr I I I I -..- �· T I I I , .. -- - - ...... 1 I .- - ... ' tyesc. � .::::=- p · .. . -- --...... _' ....., . Ill � - - - r\" ... • ' ,. ...r ' ...- _, - - .- � . • . - , I .._ .. . -�· � .. I a ' .. -. - • , • . " '· ,_ ... I -- . ... _, • -41 " 41 •• ·- 11 . ' -;·- r� � 1 - � c::::::::::: ::::::> w- - , �- . - - .. !!L • -,_ - • ,_ ------·- - ""' '• ...... :; ,. - - r- - 7 i- --,- -�� I - - .. - I -,_• ... I I - I I I I I I I - I I I '� \ � . :\.� , . . . . . ,.•· ,. ... : •., . . '" ...... '"' . ; 43 The second subject answers the statement of the first aubject and is of e similar nature - slow and sustained . Appearing in the key of F-sbarp minor, the second subject begins at m. and ends the movement at m. 28. 17 2: Sonata f.2£. Traverso No. �, Opu s 1 - Handel, Third Ex. Movement, Second Subject "'- 11 ..,_ ,, ' Fout-th Movem egt The dance form - Bourree - describes the light char acter of t hi s movement . The shape is bina?-y. The first subject, eight measures in length, in he key or major. 1a t G 44 The instructions in the copy of mu sic which the author used inform the flute player to play the first sub ject forte the first time through; playing the seco time (indicated when nd by r ep eat signs), the performer s o uld the subject at h 9lay the dynamic level :ei ano and an octave lower than wr itten. In the seventh measure, a secondary dominant chord is used to modula te to the dominant key ma j r tor the announce , D o , ment of the second subject by the flute at m. 9. Sonata £..2!: Travers o !2• �' O us 1 - Hand l Fourth Ex. 1: p e , Movement, First Subject > m-5 ..,._ 7 ... , ·- ---- 45 Thia subject rather terse, but use of sequen 1! the tial material and repetition 8X tends the second asction from mm. 9-22 • .Ex. 2: Sonata to r Traver19 No. - Handel, Fourth Movement, Second Sub ject�' Opus l . . . . ·...... ··>- :· 10 _.,, --- ·� i... ,., ni. IS F1ttn Moyemept The form of the Menuett is binary. The t'irst subject, stated by the flute in major, :1.a G only eight measures in length. It projects a delicate and elegant mood . The sceompa.ninient conveys the simpllo ity 01' 46 this movement. trills e.ppenring in nun . The 1,2, and 5 are �xecuted beginnins by on the upper neiehbor note. 1: Sonata for Traverso No . 21 Opus l - Handel, Fifth Ex . Movement, First Sub ject m.1 . � . " - � ' - . .. ��,_- - - ...... ·� ,_ r- - ·-' . I - . " ' 1 - -1 I - - . . .. .. � - �. - I "T . ,.....' .. I I . 17 I I . 4!'11 -....! - -- c::JI<•• . uo � ,,.... - -• • '"I I . -r· - -srr r , """ . ...___ - - - - .a. .... - - .. .. - - ,... . - I I I ,.. ' ...... I � I ... I I I r- . ·� I -. I I , ' The second subject, on ist of two played by the flute, c s s aroaller divisions, making it binary. The first part occurs fr�m mm. 9-16. is built upon sequence. From mm. 17-24 It a the second art appears . It is in �nswer to the p . p firs� art sequential Ml:l. 21-23 employ mat erial . 47 Sx. 2: Sonata 1.9.J:. Tra ver so !.£• �, Opu s l - Fifth Handel, Part I ot the Second Subject Movement, / m. rn.10 m.11 '� - !(x . J: Sonata � Tro.vsp12 li2• ,5., :Jnu! l Hand.el, :v itth MoYeinGnt, ?6 :.."t I ot the Sacon ' rn. 17 .... 19 ..... �· . In- .... . - - • - - . � ---- ' .. -� I - - - - ,I -.-, I 1 r- - I ·� I T I I l"' I ... -·· . �- T I ... p � .... -- . -- - • I II ...... � ...... � - \ . •11"'- - - . __, --• - . . i . � - l '!� I =-... � . .. =:::=::- � I .;-., , ...... I - . .. � I I • � I - . " I ..] - r r- . ' ; ., ... T �-I - I I ff»I by A devices used H�tndel to unity the r.1ovtttttents ar�i ot th1s aonattit a1mpl1o1ty or the subjects, e1.wplie1·ty of harmonic atruct.uro, a.n-d oxtenslvo use e-r aeque nt tel patterns. CHAPT!m VI DANSB P�UR KATIA Armand Bournonville Unfortunately, there was no informe.tion available about Mr. Bournonv1lle. Aecording to a letter from the publisher, his date of death wes �1ven as April 21 , i957.21 This piece has the char acter of a sarabande. According to the definition given by R.O. Morris , a aarabande is "a slow and stately dence in triple time, usually or 3. It 43 2 starts on the down beat, and shows a atrong tendency to halt periodically on the second beat.�22 This delightful comp osition fits into the classifica- tion of ternary form. The flute enters with the first subject two nfter a me aeure introduct.ion . The first subject conta1.ns three parts to make it a small ternary form. The first part of the sub ject is in the key of minor and is built upon the whole- A tone scale. The ac compan iment is qui te appropriate for a dance with 1ts accented pulses. 21see Appendix B. 22R .O.Morr1s , Structure Mus ic (New York: Oxford University Press, 195h} 0 , p. 19. .2f 49 50 .. ..,.n � t'· h.. -" wa , - ...... -· o't''"' ... _.. - ... ) • ·..l..., ...,..... " tlV , ll l. !" '" th .... F -a.QJSC .R9aarn nt.• mAv"'n � <.l :!.••t .SubJeot ...... , ·...... s ! • ;s .. . ITI·' I � . . llft. I I . I . • I I l -I IJ J L I l - <..I . I . . - I -:;ii . ,,,.. . - ·- . - - - - - � - -.. . _,._ . � � ' _,- .------::-! - "':"' I '- �._ .--- . ie..-. p ·�� .. - . - . ..,. � � � . - .. � " ...... , v ,.. " � .... . � II ,... " - . - ... - .... - .... - •n• " .J ...... -�· ··�· .,.� . . ..iii- .... 'I - � ...... ,... . � - . -, --,, . ,,.v "� ,. ... " ' --u-u I ., .. .. - ' v -v I -� � � .... _/ . --- I • - ..... - .. -· · tn. lo ""· . t-ft 9 - l I ...... - I _J -y " I T - - -- u... __, - - - - ..___J - .l ...... '--- :_v .. - � .. -· TT � .. ...,.. .. " - .. • ...... � .... "' ,_ ..� .. - I .- ....°"".. ..J'' u- I - - The second pnrt consists of en &n tf'Scedent sncl eons�- quen t. It la slightly more legato than the first ana third segment. 51 II of the BournQnville, Part 2: Danae po ur Katia - Ex. First Subj ect . . ,,,. II - 13 .. 11/ � -- --� _,. - - - -- � .... •• - - - --.... ·- - - ...... ,. .. ·- - ... - .. �' . ... -,_ I ... ' -I I I I .... I I I l mJ' "' . .., - .J .. ·- _, � - I A .. ._.. � � �.... .,,,, ,,. -...._ -- I T ..... c�- - mp - . .-- - . . ,.... r-..... -lo .. ,.... r- ./ 'I I 'I � I Il . wn• ""· , 5 - ..... - -= -_...... ------..... - - ' '" ... .. - - ... I ... - ,_ _J r- ' I - ·-' �· I -.I I r- -1 - I I ·1 - ....,u -�, I I I I -r I r , I I I -, I ' ' - � T I c..�esc.. ------po .. I - - - �·- II ,_� �. - ....- 'I ,_..... I - - · � - ·� 'U . � "- cw•• ,. ------ro� . - - ...--. . - ---.... _/, I I -�· --� &�I -- --.-.- I I -• ,,. The third part is similar to the first one. It di!'fers in that the accornpan'iment in mm. 1 and 2 nolil appes.rs directly underneath the restatement of the mel ody. The harmony also changes from th at of the first statement in m. 24. The second subject divided into two smal ler parts is making its form binary . The first part of the second subject, also based upon the whole-tone scale, ext ends from ram. 27 to 35 . It demands a detached and forceful quality. 52 3: Katia - Bournc oville, Part I Ex. poyr or the �seooii d Subject �···· •.•)?1'.,·" • .... . :tS' ""· �f . 1. In tra st, th e second pArt i io major, ma jor con a E the dominant key of minor, and posaesaes sustained, lyrical A a quality. It r:am. 35.42 . extends from 53 E.x . 4: Katia - Bournonviile, Part II of DaMQ. I2f 1ur Second the Subject . . 'rn. '/O ...... - ... -.. - .,� .-. - ,ti-�- II ..-.::--:. �. A ��II I --a ., ["" I r- I I "' . I I I I I ...... , .. I I I --I -I - =::::..-.-. .. -- --.., I I.I . �. /1 'I I .. -, �- In• �·� I- . , ... " )II. #1=�-i... I � - - . _::::::::::- -- - , '. ... ---. -...... � .. " . - � . r--�- 1 . � -- -• .. ""/1. , r • - . -- � - , ...._ ...... ··�-; �- - The aecond subject is from mm. 59-71 n re stat ed i another key and with a different accompaniment. In the second part tho second subj ect tho accompaniment is com of posed of sweeping At end this broken chords. tne of resta te- ment of a transition w ich contains frarments is the beginning h of t subject. h e first 54 The first subject returns in the tonic key of A minor at m. 87 in ths pie.no brilliant coda , accompaniment. A marked ,lli Vivo, is bu ilt priroarily on an a nding chroma sce tic scale. This passage demands � l ar sonority and a c e lightness or erticulation. Although the melodies of this composition Qre quite singable, th is is a difficult piece to perform. Command over the staccato and legato notes of the low register of the flute , good intErpretat1on such as the proper contra2t between the parts or the two subj ec ts, and the ability to obtain lilting quality to the entire piece are three sig a nifiosnt factors to control 1n the performa nce of De nse pour Katia. APf·EllDIX .• S5 APPENDIX A A L��T&R FROM B. SOHOTT 13 SOHNE GRA�TING PERMISSION TO INSERT TH�TIC MA T.b..RIAL 14" ROM SOHATE FUR FLOT� VIER � KLA Mainz , den 8.Februar 1966 B. SCHOTT'S SOHNE Li Rt 65 / MAINZ Sd\lieBfach 1403 • Telegramme: Scotton Welhergarten 5 · Telefon 2041 Mr s. La.rry Stilgebauer School of Music Eastern Illinois University Charleston, Ill . 61920 USA Sehr geehrte Frau Stilgebauer, auf Ihre Anfrage teilen wir Ihnen rnit , daB vom 31 .1. wir damit einverstanden sind , daB Sie in Ihrer Dissertation einige Thernen aus der Senate ftir Flote und Klavier von P.Hindemith anftihren. Wir bitten Sie aber, einen Hinwe is anzubringen: "Mit Genehmigung des Verlages B.Schott's Sohne , Mainz" und una nach Fertigstellung ein Exemplar zuzusendeno Mit freundliche$ Be grtiBung B. SCHOTT 1 S6HNE i.V. 56 APPENDIX B A LETTER FROM iU>rrIONS BILLAUDOc-r1 G Pl!;RMISSION INSEH'l.1 THE.itiJATIC �'1A1l'ERIAL GRANTIN '1' 0 FROM DANSE POUR KATIA PARIS, le 4 Editions BILLAUDOT f evrier 1966 14, rue de l'Echiquier . PARIS - Mrs. Larry STILGEBAU ER Madame En reponee votre lettre du 3I janvier,je vous a au torise inserer dans votre analyse plusieurs themes de l' a oeuvre de A.Bournonvllle "Danae pour Kat ia" . Je n'ai rna.lheureusement aucun renseignement conc ernant ce compoait eur et puis sellement vous dmnner la date de son dec ee ,le 21 avril 1957.Je puia cependant vous dormer l '.adresse de sa fenune qu i vit encore et se fera sans doute un plaisir de vous renseigner . Je prie d'agroer,: e�pression de vous mes eent im�nta dist inguoa. Je voue envoie par meme 'oourr1er . oa�al:ogue 57 BIBLIOGRAPHY Book a Blom, Eric {ed.). grove's D1 t1 Mua ic d Musicians oqarx New York: St . artin 1a .2.f.Presa, 19 54 • Vol. IV. R Brandt, William. The 1"1,µeiS? . Boston: Al lyn and Bacon, 1963. .!!!.z Jl! Brock�ay, Wallace and Weinstock, Herbert. of Music, The ir Lives, Times, Achie vements. New York:Men Simon and Schuster, 1939..!!'ll! Burrows, Raymond and Redmond , Bessie Carroll. Concerto Themes . New York: Simon and Schuster, 19Sl. Carse, Adam. Musical Wind InstrUlptnta. ondon MacMillan L : and Company, Limited, 1939. · is O che s tration. New York: Dover �------tory r PublicatIOns,� H Inc .,91. 19 64 . . Cros , Milton and Ewen, David. Encyclopedif g! lb!. Great s C ompo ser s and Their Music . Garden City't New York: Double day and Company, Inc., 1962. Casanova, F. and Torino, (ed. ). Dizionario Italiano-Inglese. c. Vol II. di Lysle G ua ltieri, 19$1 . e Grout , Donald J. ! Historz .Q! Western Mueie. Ne� York: w.w. Norton and Company, Inc., 1960. Hill, Ralph (ed. ). The ce to . Baltimore: Penguin Books, 1954. Oon .r Hindemith , Paul. Composer's �. Garden City, New York: Doubleday and .!Co mpany, Inc .-;-I'9bl. Landon, H.C. Robbins and Mitchell, Donald. The Mo!a.rt Companion. New York: Oxford University Press, 1956. Lang, Paul H. Music j_Q Western Civili zat on. New York: W.W. Norton and Company, Inc., 1941 . i Le1ohtentr1tt, Hugo. Musical Form. Cambri.dge: H rv d a r University Press, 1951 . a 58 59 Maehl is, Joseph. Introduc tion To Con em orar Music. New t p y York: W.W. Norton and Company, Inc., 1961. ------• lb!. tnjo1mept of M sic . New Yorks W.W. Norton and Company , Inc., 1957': u MacPheraon, Stewart . ?or?n lu Music. London: Joseph Williams, Limited, 1930. Marshall, Julian. The Great Musicians - Handel. London: Sampson M r ston and Company. Low, a Mas on, Daniel Gregory. Bee thoven !!ll! � Forerunn�rs. New York: The MacMillan Company, 1932. u re Mu sio. Morris, r c New Yorks Oxford Un1veR.o.r81ty 1t1!. Pre St• s, 19�� £L o. Schwartz, H.W. The 2f.. Mu1i cal �netr\lffitp t s. Garden City, Sto.r1rd l Publishing Ne'W York : Ga en C ty Co. , Inc., 1938. Th1eme-Preuaaer. Diot ionary £! � n li sh � German Lan E g g ge N�w i869 . ua . York: Breotano •s, Thompson, Oscar Intoi-nat iooal of Music !.IQ(e d.Mus1o1ano. New). �York: Dodd , Mead Cyclosnd Company,pe dia Inc., 1964. Tovey, Donald Prancis. Essaya !!l Muaic Analysis. Vol. III. London: Oxford University Press, 1946. Ulrich, Homer. b r Music . New C am York: Columbia University Pr6ss, 1948. h e Veinus, Abraham. The Conc.ert o. Garden City, New York: Doubleday, Doran and C mpany , Inc., 1944. o Weinstock, Herbert . Hagdel. New York: Alfred A. Knopf , 19$9. Periodicals .!,!ll! articles Boretz, Benjamin. "Music," Nation, CLXX.XXVIII(Jan. 27, 1964) , 104-106. Broder, All Nathan. "Mozart-Five Different Vi ews, and Fa.ithful,11 Fidelity, XIV (April, 1964) , 69 -70. High Daniel, Oliver. ttl895-Hindem1th-1963," usical America, LXXXIV ( Jan. , 1964), 59. M Dean, Winston. "George Frederick Handel( lo85-1759),t•!-1 usical A erica , LXXIX ( Fe ., 1959), 3,159,188 . m b 60 �elm, Everett . "The Universal Musician," High Fideli ty, XI V (May, 1964} , 36-38. odin, Irving. n oz rt For Winds," Saturday Review , Kol M a XXXXVI , Pt. 4 (Nov. 30, 1963) , 53, 59. Trimble , Lester. liation, CLXXXVIII (Feb . 28, 1959), "Mus1c,n 194-195. We instock, Herbert. "Thia Month 's Handel-II," Seturday Review, II, Pt. 2 (April 25, 1959 ), 62. XXXX Music Bournonville , Armand. Danee pour Katia, pour flute vi olin) et piano . Paris: d i tions Billaudot , 1929. (ou E Sandel, George F. Nineteen Sonatas for Var ious Instru.�ents. New York: Lea Pocket Scores , 195'5." · Sona ta No. �' solo flute with piano accompaniment. Boston: Cundy-Bettoney Co., Inc. Hindemith, Paul. 3onate !ii!: Flot a � Klavier . Mainz: B. Schott 's Sohne, 1937 · Mozart, Wolfgang . Concerto in D major for Flute and Piano . San An to ia, Texas: Southern Mus ic-CO��any, 1'958 . n