A Style and Performance Guide to Selected Piano Toccatas, 1957-2000

A document submitted to the

Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of

DOCTOR OF MUSICAL ARTS

in the Keyboard Studies Division of the College-Conservatory of Music

Eun-Joung Kim

B.M., Hochschule für Musik und Theater Leipzig, Germany, 2003

M.M., Hochschule für Musik und Theater Leipzig, Germany, 2006

Committee Chair: Jonathan Kregor, Ph.D. Readers: Eugene Pridonoff, MM Elizabeth Pridonoff, MM

ABSTRACT

This document examines how compositions in the toccata genre reveal the musical language of select contemporary composers; analyses of post-1950 piano works by York Bowen,

Robert Muczynski, Sofia Gubaidulina, Nikolai Kapustin, and Emma Lou Diemer will illuminate how these composers melded their personal styles with received traditions and applied new musical idioms to the genre.

The toccata has changed continuously through the centuries in form, texture, and character. In the Romantic era and the first half of the twentieth-century, the genre gained prominence in piano literature due to its ability to showcase technical virtuosity with brilliant character, free formal structure, and perpetual and repeated motion. In the second half of the twentieth-century, the toccata was particularly notable as a genre within which composers explored and developed their personal musical styles by adapting the generic features to their diverse musical idioms. As background for this discussion, this document will analyze the stylistic features and characteristics of the toccata genre in terms of texture, harmonic language, melodic and rhythmic writing, and formal structure. This will be followed by biographical sketches and assessments of each composer's musical style in the context of their toccata compositions. Finally, the study will offer suggestions for performance practice, with interpretive suggestions, technical difficulties, and solutions. By better understanding how late twentieth- century composers have engaged with the toccata as a genre, performers will enhance their musical and technical interpretations of those works.

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ACKNOWLEDGEMENTS

I would like to thank my committee chair, Dr. Jonathan Kregor, for his advice and effort on my lecture recital and final document. And I greatly appreciate my committee members

Professor Eugene Pridonoff and Professor Elisabeth Pridonoff for their guidance, inspiration, and encouragement of music. Without their strong support, it would not have been possible for me to finish the degree.

Special thanks go to my husband, Changseok Han, who supported me with love while working toward his own Ph.D. degree. I also give my thanks to my parents, who always prayed for me and supported me during my study abroad over ten years. Also I would like to thank my sister and parents-in-law for their encouragement.

Lastly, I deeply give thanks to God for continuous guidance.

TABLE OF CONTENTS

ABSTRACT ...... iii

ACKNOWLEDGEMENTS ...... v

LIST OF TABLES ...... viii

LIST OF MUSICAL EXAMPLES ...... ix

CHAPTER

1. TOWARD THE POST-1950 TOCCATA ...... 1

2. BOWEN’S TOCCATA OP. 155 AND MUCZYNSKI’S TOCCATA OP. 15 ...... 10

3. GUBAIDULINA’S TOCCATA-TRONCATA AND KAPUSTIN’S TOCCATINA OP. 40

NO. 3 ...... 38

4. DIEMER’S TOCCATA FOR PIANO AND SERENADE/TOCCATA ...... 61

5. CONCLUSION ...... 92

BIBLIOGRAPHY ...... 95

TOCCATINA, OP. 40, NO. 3 from Eight Concert Etudes by Nikolai Kapustin. Every effort has been made to contact copyright holders for N. Kapustin's Toccatina.

TOCCATA FOR PIANO by Emma Lou Diemer. Copyright by Arsis Press. Licensed by Empire Publishing Service, P.O.Box 1344, Studio City California 91614, (818) 784-8918.

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LIST OF TABLES

Table 3.1: Gubaidulina Toccata-Troncata, Formal Structure with Tempo Changes ...... 41

Table 4.1: Kapustin Toccatina, Op. 40, no. 3, Formal Structure ...... 50

Table 6.1: Diemer, Serenade/Toccata from Piano Sonata no. 3, Formal Structure ...... 77

Table 6.2: Diemer, Serenade/Toccata from Piano Sonata no. 3, Harmonic Structure ...... 87

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LIST OF MUSICAL EXAMPLES

Example 1.1, York Bowen, Toccata, Op. 155, mm. 24-27 ...... 13

Example 1.2, York Bowen, Toccata Op. 155, mm. 15-17 ...... 13

Example 1.3, York Bowen, Toccata Op. 155, mm. 5-8 ...... 14

Example 1.4, York Bowen, Toccata Op. 155, mm. 1-2 ...... 14

Example 1.5a, York Bowen, Toccata Op. 155, mm. 139-140 ...... 14

Example 1.5b, York Bowen, Toccata Op. 155, mm. 179-181 ...... 15

Example 1.6, York Bowen, Toccata Op. 155, mm. 20-21 ...... 15

Example 1.7, York Bowen, Toccata Op. 155, mm. 42-43 ...... 15

Example 1.8, York Bowen, Toccata Op. 155, mm. 205-206 ...... 16

Example 1.9, York Bowen, Toccata Op. 155, mm. 26-29 ...... 16

Example 1.10, York Bowen, Toccata Op. 155, mm. 18-19 ...... 17

Example 1.11a, York Bowen, Toccata Op. 155, mm. 124-126 ...... 17

Example 1.11b, York Bowen, Toccata Op. 155, mm. 135-139 ...... 18

Example 1.12, York Bowen, Toccata Op. 155, mm. 24-26 ...... 19

Example 1.13, York Bowen, Toccata Op. 155, mm. 13-14 ...... 19

Example 1.14a, York Bowen, Toccata Op. 155, mm. 88-89 ...... 19

Example 1.14b, York Bowen, Toccata Op. 155, mm. 94-95 ...... 20

Example 1.15, York Bowen, Toccata Op. 155, mm. 54-55 ...... 20

Example 1.16a, York Bowen, Toccata Op. 155, mm. 65-66 ...... 21

Example 1.16b, York Bowen, Toccata Op. 155, mm. 71-72 ...... 21

Example 1.17, York Bowen, Toccata Op. 155, mm. 125-126 ...... 21

Example 1.18a, York Bowen, Toccata Op. 155, mm. 110-111 ...... 22

Example 1.18b, York Bowen, Toccata Op. 155, mm. 184-187 ...... 22

Example 1.19, York Bowen, Toccata Op. 155, mm. 217-223 ...... 23

Example 2.1a, Robert Muczynski, Toccata Op. 15, mm. 24-32 ...... 28

Example 2.1b, Robert Muczynski, Toccata Op. 15, mm. 171-178 ...... 28

Example 2.2a, Robert Muczynski, Toccata Op. 15, mm. 1-7 ...... 29

Example 2.2b, Robert Muczynski, Toccata Op. 15, mm. 65-68 ...... 29

Example 2.3a, Robert Muczynski, Toccata Op. 15, mm. 74-83 ...... 30

Example 2.3b, Robert Muczynski, Toccata Op. 15, mm. 114-121 ...... 30

Example 2.4, Robert Muczynski, Toccata Op. 15, mm. 138-145 ...... 31

Example 2.5a, Robert Muczynski, Toccata Op. 15, mm. 195-202 ...... 31

Example 2.5b, Robert Muczynski, Toccata Op. 15, mm. 215-219 ...... 32

Example 2.5c, Robert Muczynski, Toccata Op. 15, mm. 232-235 ...... 32

Example 2.6, Robert Muczynski, Toccata Op. 15, mm. 24-32: B-flat ...... 32

Example 2.7, Robert Muczynski, Toccata Op. 15, mm. 8-16 ...... 33

Example 2.8, Robert Muczynski, Toccata Op. 15, mm. 4-7 ...... 33

Example 2.9a, Robert Muczynski, Toccata Op. 15, mm. 16-19 ...... 34

Example 2.9b, Robert Muczynski, Toccata Op. 15, mm. 126-129 ...... 34

Example 2.9c, Robert Muczynski, Toccata Op. 15, mm. 20-28 ...... 34

Example 2.10, Robert Muczynski, Toccata Op. 15, mm. 65-73 ...... 35

Example 2.11, Robert Muczynski, Toccata Op. 15, mm. 85-99 ...... 36

Example 3.1, Sofia Gubaidulina, Toccata-Troncata, mm. 16-18 and m. 26 ...... 42

Example 3.2, Sofia Gubaidulina, Toccata-Troncata, mm. 1-8 ...... 43

Example 3.3, Sofia Gubaidulina, Toccata-Troncata, mm. 26-27 ...... 44

Example 3.4, Sofia Gubaidulina, Toccata-Troncata, mm. 28-39 ...... 45

Example 3.5, Sofia Gubaidulina, Toccata-Troncata, mm. 13-15, 17-18, and 23-25 ...... 46

Example 4.1, Nikolai Kapustin, Toccatina Op. 40, no. 3, mm. 8-14 ...... 51

Example 4.2, Nikolai Kapustin, Toccatina Op. 40, no. 3, mm. 16-24, A’ ...... 52

Example 4.3, Nikolai Kapustin, Toccatina Op. 40, no. 3, mm. 24-36 ...... 53-54

Example 4.4, Nikolai Kapustin, Toccatina Op. 40, no. 3, mm. 44-48 ...... 54

Example 4.5, Nikolai Kapustin, Toccatina Op. 40, no. 3, mm. 1-6 ...... 55

Example 4.6, Nikolai Kapustin, Toccatina Op. 40, no. 3, mm. 44-48 ...... 57

Example 4.7, Nikolai Kapustin, Toccatina Op. 40, no. 3, mm. 52-56 ...... 58

Example 4.8, Nikolai Kapustin, Toccatina Op. 40, no. 3, mm. 1-6 ...... 60

Example 5.1, Emma Lou Diemer, Toccata for Piano, mm. 9-11 ...... 66

Example 5.2, Emma Lou Diemer, Toccata for Piano, mm. 1-2 ...... 67

Example 5.3, Emma Lou Diemer, Toccata for Piano, mm. 4-5 ...... 68

Example 5.4, Emma Lou Diemer, Toccata for Piano, mm. 18-19 ...... 68

Example 5.5, Emma Lou Diemer, Toccata for Piano, middle of m. 20 ...... 69

Example 5.6, Emma Lou Diemer, Toccata for Piano, middle of m. 20 ...... 70-71

Example 5.7, Emma Lou Diemer, Toccata for Piano, mm. 23-24 ...... 72

Example 5.8, Emma Lou Diemer, Toccata for Piano, middle of m. 20 ...... 72

Example 5.9, Emma Lou Diemer, Toccata for Piano, ending ...... 73

Example 5.10, Emma Lou Diemer, Toccata for Piano, middle or mm. 15, 17, 20, 30, and 33-34

...... 74

Example 5.11, Emma Lou Diemer, Toccata for Piano, mm. 6-7 ...... 75

Example 6.1, Emma Lou Diemer, Serenade/Toccata from Piano Sonata no. 3, mm. 1-10 ...... 78

Example 6.2a, Emma Lou Diemer, Serenade/Toccata from Piano Sonata no. 3, mm. 11-21 ..... 79

Example 6.2b, Emma Lou Diemer, Serenade/Toccata from Piano Sonata no. 3, mm. 68-74 .... 79

Example 6.3, Emma Lou Diemer, Serenade/Toccata from Piano Sonata no. 3, mm. 215-225 .. 80

Example 6.4, Emma Lou Diemer, Serenade/Toccata from Piano Sonata no. 3, mm. 256-263 .. 80

Example 6.5a, Emma Lou Diemer, Serenade/Toccata from Piano Sonata no. 3, mm. 80-88 ..... 81

Example 6.5b, Emma Lou Diemer, Serenade/Toccata from Piano Sonata no. 3, mm. 189-197 82

Example 6.6, Emma Lou Diemer, Serenade/Toccata from Piano Sonata no. 3, mm. 163-172 .. 82

Example 6.7, Emma Lou Diemer, Serenade/Toccata from Piano Sonata no. 3, mm. 232-234 .. 83

Example 6.8, Emma Lou Diemer, Serenade/Toccata from Piano Sonata no. 3, mm. 264-269 .. 83

Example 6.9a, Emma Lou Diemer, Serenade/Toccata from Piano Sonata no. 3, mm. 379-382 . 84

Example 6.9b, Emma Lou Diemer, Serenade/Toccata from Piano Sonata no. 3, mm. 387-391 84

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Example 6.10a, Emma Lou Diemer, Serenade/Toccata from Piano Sonata no. 3, mm. 326-333: glissando and arpeggio-like passage ...... 84

Example 6.10b, Emma Lou Diemer, Serenade/Toccata from Piano Sonata no. 3, mm. 371-374: grace notes ...... 85

Example 6.10c, Emma Lou Diemer, Serenade/Toccata from Piano Sonata no. 3, mm. 397- 399: glissando ...... 85

Example 6.11, Emma Lou Diemer, Serenade/Toccata from Piano Sonata no. 3, mm. 22-29: second theme ...... 86

Example 6.12, Emma Lou Diemer, Serenade/Toccata from Piano Sonata no. 3, mm. 371-382 88

Example 6.13, Emma Lou Diemer, Serenade/Toccata from Piano Sonata no. 3, mm. 38-41 and mm. 54-56 ...... 89

Example 6.14, Emma Lou Diemer, Serenade/Toccata from Piano Sonata no. 3, mm. 30-35 .... 89

Example 6.15, Emma Lou Diemer, Serenade/Toccata from Piano Sonata no. 3, m. 203 ...... 90

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CHAPTER 1

Toward the Post-1950 Toccata

Introduction

The term “Toccata” originated from the Italian word “toccare,” “to touch”.1 As a musical genre, it flourished in the Baroque period. Although it was neglected in the early and mid- eighteenth century due to changing musical aesthetics,2 the stylistic features of the toccata reappeared in other Classical genres: C.P.E. Bach, Mozart, and Beethoven all treated the fantasia as a vehicle for improvisatory textures and freer formal plans;3 etudes and exercises were used to execute rapid and virtuosic motions; and the capriccio and rhapsody likewise embraced the formal and rhythmic freedom typical of the toccata. The use of the toccata specifically was nonetheless not very common for Classical composers; notable exceptions include the toccata in

Muzio Clementi's Piano Sonata, Op. 11 (1784), and F. G. Pollini’s Trentadue esercizi in forma di toccata (1820).4

As Baroque styles and aesthetics were revived in the early Romantic era, the toccata regained some prominence. Robert Schumann, one of the main proponents of the Bach revival, explicitly referenced the old genre in his Toccata, Op. 7 (1832). Retaining the display of technical virtuosity through rapid motion characteristic of the genre, Schumann modernized the toccata by incorporating it within a sonata-allegro form, rather than the multi-sectional form typical of the Baroque period. The other significant feature is that simple melodic lines appeared

1 John Caldwell, “Toccata,” in The New Grove Dictionary of Music and Musicians, 2nd ed., ed. Stanley Sadie (New York: Grove’s Dictionaries, 2001), 25: 534–37.

2 Ibid.

3 Seon Hwa Song, “A Study of Selected Piano Toccatas in the Twentieth Century: A Performance Guide” (D.M.A. diss., Florida State University, 2011), 5–6.

4 Caldwell, “Toccata.” 1 rather than improvisatory and fugal sections. In the late Romantic era and the beginning of the twentieth-century, the toccata continued to gain importance in the solo piano repertoire as a source for freer formal composition—moto perpetuo, rapid, brilliant and percussive motion, and technical virtuosity remained its defining characteristics.

As various compositional styles emerged and developed in the twentieth-century, composers tended toward freedom of expression, freer formal and phrase structures, and experimental techniques in their music. An important change was the move toward free tonality—abandoning traditional tonal concepts, key relationships, cadences, and standard harmonic progressions—most notably in the explorations of atonality and serialism by composers of the Second Viennese School.5 Neo-Classicism, Minimalism, Expressionism, and electronic music were among other notable movements and techniques emerging in the twentieth-century. Even while exploring new musical worlds, however, composers remained in touch with received traditions, using them as tools for exploring both new and old musical material. Often, composers engaged with traditional genres, using them to work through and present new musical language.

Early Twentieth-Century Toccatas

The toccata is notable among these genres. In the first half of the twentieth-century, several leading composers in France, Russia, and America engaged with the toccata genre. The following section briefly surveys toccatas by Debussy and Ravel, Prokofiev and Khachaturian, and Rorem and Antheil, as fully manifesting their composers’ respective musical styles and exemplifying pianism while adhering to the main elements of toccata composition.

5 Leann C. Wyttenbach, “The Toccata in Twentieth-Century Piano literature” (M.A. diss., University of Wyoming, 1976), 6.

Debussy used the toccata for the last movement of suite Pour le Piano (1901); likewise, the finale of Ravel’s suite Le Tombeau de Couperin (1914-1917) is a toccata. In both pieces, impressionistic harmonic colors as well as neo-classical traits are combined with the typical characteristics of the toccata: repeated sixteenth notes, percussive sound, rapid motions, and technical virtuosity. Debussy’s toccata renders impressionistic colors by using whole-tone and pentatonic scales and parallel chords. The formal structure remains in traditional ternary form:

A–B–A’–Coda. Traditional contrapuntal writing with rhythmic layering, influenced by Baroque aesthetics, also features in his toccata.6 Texturally, the piece is dominated by continuous sixteenth notes, in perpetual motion, arpeggio patterns, broken chords, and octave and chordal motions with accented or staccato melodies. This results in a rapidly driving motion that creates the toccata’s characteristic brilliant and virtuosic mood.

Ravel’s toccata is demanding for the performer throughout, with technical virtuosity and perpetual motions balanced by impressionistic colors and meandering melodies. The toccata is in the traditional sonata-allegro form of exposition, development, and recapitulation. Ravel’s late

French Romantic milieu is apparent in the non-traditional harmonies, ninth and eleventh chords, polychordal motions, and lyrical melody. The moto perpetuo introductory section and first theme are texturally consistent with the toccata genre, while the sixteenth-note rhythmic motion adds a percussive character. However, Ravel also revealed his lyricism, with melodies highlighting the harmonic colors in the second theme and development section.

While Prokofiev and Khachaturian are both Russian, their respective styles differ enormously. Prokofiev’s works are dominated by the influence of Western European music;

Khachaturian’s music is characterized by Armenian folk idioms. Prokofiev’s Toccata, Op. 11

(1912), is one of the more popular and frequently performed compositions in the standard piano

6 Song, “A Study of Selected Piano Toccatas,” 9. 3 repertoire. His musical style is notable for its lyricism and emotional expressiveness tempered by satirical elements; his conservativeness is apparent in his use of traditional formal structures—for example, his nine piano sonatas are clearly identifiably in sonata-allegro form, as is the toccata— and overarching tonal context.7 Another important feature is his treatment of the keyboard as a percussive instrument, which contributes to the effectiveness of his toccata. Prokofiev’s Neo-

Classical toccata diverges from those of Schumann and Debussy, and indeed from his own typical style, in its lack of lyricism and expressive melodies.8 Chromaticism and dissonance in the short motive found throughout the piece results in angular sounds; this motive is manipulated through registral displacement, sudden dynamic changes, and counterpoint. This motivic treatment and the continuous, percussive motion unify the work.9

Khachaturian’s toccata, from his Suite (1932), features Armenian folk melody lines characteristic of most of his works.10 The toccata is in ternary form, A–B–A’, with a lively rhythmic section, lyrical and colorful middle section, and fast finale. The outer sections are dominated by driving percussive motions typical of the toccata genre. Most of the motives in these outer sections are more rhythmic, while the short B section contains lyrical and melodic lines. Motivically, the interval of the fourth is continuously developed through rhythmic changes such as syncopated jazz-like rhythms and inversion; ninth chords and minor second intervals appear frequently as well. Although the key signature points to E-flat minor, the use of block chords results in an ambiguous tonal center suggesting bitonality. Khachaturian’s folk idioms,

7 F. E. Kirby, Music for Piano: A Short History (Cambridge: Amadeus Press, 1995), 325.

8 Hey Won Lee, “The Toccata and the History of Touch: A Pianist’s Survey of the Symbiosis of Style and Performance Practice of Selected Toccatas From Froberger to Muczynski” (D.M.A. diss., University of Nebraska, 2008), 63.

9 Ibid.

10 Wyttenbach, “The Toccata,” 23.

4 frequent use of dissonant intervals, bitonality, colorful melodic lines, syncopated rhythms, and percussive sounds mix traditional generic elements with very modern sonorities.

The American composers Ned Rorem and George Antheil both composed toccatas in

1948. Rorem, best known for his songs, was influenced by Primitivism, French Impressionism, and jazz.11 He composed a toccata for solo piano as the last movement of his Piano Sonata No. 1

(1948). The characteristic clarity and naturalness of his songs distinguish the toccata as well.12 Its rondo form (ABACABA) is sometimes very apparent through changes in the rhythmic patterns and musical texture; however, due to the songful continuity of his melodic lines, the formal plan is not always obvious.13 The melodic lines contain eighth notes and sixteenth notes organized into rhythmically thematic groups (3+2+3, 3+3+2, 2+3+3) to create a syncopation associated with jazz. 14 The weaving of the flowing lines with swinging rhythms, grouped within orderly blocks, marries Rorem's tunefulness with the forward drive and momentum typical of the toccata.

Antheil’s music is mostly influenced by Stravinsky in terms of percussive and mechanistic sound, with rhythmic organization taking precedence over harmonic structures.15 He composed two toccatas. Toccata No. 2, composed in 1948, is a well-known part of the repertoire.

It is in simple binary form with coda (A–B–coda). The perpetual motion of the first motive is modified with dotted rhythm and syncopation in the second section, and both rhythmic ideas repeat constantly throughout the piece. The tonal concept is simple, with the tonal center

11 Bill Baily, “The Piano compositions of Ned Rorem: 1948-1954” (D.M.A. diss., Peabody Institute of the Johns Hopkins University, 1992), 44.

12 Anthony Tommasini, “Rorem, Ned,” in The New Grove Dictionary of Music and Musicians, 2nd ed., ed. Stanley Sadie (New York: Grove’s Dictionaries, 2001), 21:677-678, at 677.

13 Baily, 41.

14 Ibid., 62.

15 Mark Morris, A Guide to 20th- Century Composers (London: Reed International Books Ltd, 1996), 477. 5 modulating from tonic to supertonic; as with most of Antheil’s music, the outstanding feature is the mechanical motion, which here is perfectly suited to the traditional toccata style.

In the six works discussed above, impressionistic harmonies, percussive sounds, Neo-

Classicism, jazz influences, and mechanic modern sounds are transformed through the texture of the toccata. Composers as varied as Arnold Bax (1883-1953), Arthur Honegger (1892-1955),

Lee Hoiby (1926-2011), Benjamin Lees (1924-2012), Roy Harris (1898-1979), Jacques Ibert

(1890-1962), Dmitry Kabalevsky (1904-1987), Leon Kirchner (1919-2009), Ernst Krenek (1900-

1991), and Gian Carlo Menotti (1911-2007) also composed piano toccatas in the early twentieth- century, each toccata showing a given composer’s individual musical style engaging with typical toccata traits. Toccatas by the later composers investigated in this document likewise maintain many hallmarks of the genre while continuing to introduce new musical language and technical elements, thus enlarging the toccata formally and stylistically.

Literature Review

As the toccata has appeared frequently in the piano works of many twentieth-century composers, there are several studies focusing on the genre as a twentieth-century phenomenon.

Stewart Gordon’s A History of Keyboard Literature provides a general overview of many composers, addressing their musical styles and providing detailed descriptions of their works.16

Hye Won Lee’s dissertation, “The Toccata and the History of Touch: A Pianist’s Survey of the

Symbiosis of Style and Performance Practice of Selected Toccatas From Froberger to

Muczynski,” covers the origin and development of the toccata from the sixteenth century through the early twentieth-century.17

16 Stewart Gordon, A History of Keyboard Literature: Music for the Piano and Its Forerunners (Belmont: Schirmer, 1996).

17 Lee. 6

The more recent compositions are of course less studied, although considerable research has gone into journal articles and recording reviews by Peter Burwasser and Albert Mühlböck.18

Walter Simmons surveys recordings of toccatas composed in the second half of the century in the context of their composers' overall musical styles.19 Articles by Lynn Rene Bayley on

Kapustin; Colin Clarke on Gubaidulina; and Burwasser on Muczynski consider individual composers’ engagement with the toccata.20 Stylistic analysis for individual composers both in general and in reference to their toccatas appears in dissertations by Christopher Weldon on

Bowen; Min-Jung Cho on Muczynski; Kevin David Richmond on Gubaidulina; Jonathan

Edward Mann on Kapustin; and Kristal Bang and Chin-Ming Lin on Diemer.21

Two dissertations concerning toccatas in the twentieth-century take an approach similar to my own. Carole Ann Lee’s “The Piano Toccata in the Twentieth Century: A Selective

Investigation of the Keyboard Styles and Performance Techniques,” presents formal and textural

18 Both Peter Burwasser and Albert Mühlböck reviewed the recording Touch: The Toccata Project by Philip Amalong; their reviews provide general textural, characteristic, and stylistic features of each composer’s toccata. Peter Burwasser, “Touch: The Toccata Project.” Fanfare 33, no. 4 (March–April 2010): 382–3; Albert Mühlböck, “Touch: Toccata Project I.”American Record Guide 73, no.2 (March–April 2010): 208.

19 Walter Simons, “Touch: The Toccata Project.” Fanfare 33, no. 4 (March–April 2010): 383–4.

20Articles by Lynn René Bayley, Colin Clarke and Peter Burwasser are used in this proposal. They place each composers’ new musical stylistic features in toccatas, for instance, Kapustin’s fusion style of jazz and classical principles, Gubaidulina’s use of new sonority, and Muczynski’s mixture of chromatic and rhythmic intensity. Lynn René Bayley, “Kapustin 8 Concert Etudes, 24 Preludes in Jazz Style.” Fanfare 35, no. 4 (March–April 2012): 357; Colin Clarke, “Classical Recordings: Gubaidulina–Chaconne; Sonata; ‘Musical Toys’; ‘Toccata-Troncata’: ‘Invention’” Fanfare 30, no. 6 (July 2007): 130–1; Peter Burwasser, “Collections; Instrumental– ‘Music from America's First and Second Cities.’” Fanfare 33, no. 2 (November 2009): 342.

21 Christopher Weldon, “The Published Solo Piano Music of York Bowen: An Analysis.”(D.M.A. diss., The Juilliard School, 2002); Min-Jung Cho, “A Performer’s Guide to the Six Preludes, Op.6, and Toccata, Op.15, of Robert Muczynski, with a Short Synopsis of Russian Influence and Style.” (D.M.A. diss., Ohio State University, 2002); Kevin David Richmond, “Non-Traditional Notation and Techniques in the Student Piano Repertoire.” (D.M.A. diss., University of Texas at Austin, 2003); Jonathan Edward Mann, “Red, White, and Blue Notes: The Symbiotic Music of Nikolai Kapustin.” (D.M.A. diss., University of Cincinnati, 2007); Chin-Ming Lin, “Three Sonatas for Piano by Emma Lou Diemer.” (D.M.A diss., Louisiana State University, 2007); Kristal Bang, “Emma Lou Diemer’s Solo Piano Works Through 2010: A Study of Pedagogy and Performance in the Context of 20th -and 21st-Century Music Making” (D.M.A diss., University of Cincinnati, 2012).

7 analyses of toccatas in the first half of the twentieth-century, supplemented by discussion of performance issues.22 Leann C. Wyttenbach’s “The Toccata in Twentieth-Century Piano

Literature” focuses on formal analysis of toccatas composed in the first half of the twentieth- century, including that by Muczynski.23 These two studies will be referenced in my detailed formal and textural analyses of the toccatas. Finally, this study aims to demonstrate how various composers’ musical languages interact with the toccata as genre. Seon Hwa Song’s DMA dissertation, “A Study of Selected Piano Toccatas in the Twentieth Century: A Performance

Guide,” likewise considers the generic aspects, discussing the influence of Impressionism and

Neo-Classicism on the toccata and examining toccatas by Muczynski and Diemer.24

Scope, Structure, & Goals

I will explore the modern compositional styles applied by each composer to their toccatas, taking into account the dominant and emerging styles of the contemporary era through post-1950 works by York Bowen (Toccata, Op. 155), Robert Muczynski (Toccata, Op. 15), Sofia

Gubaidulina (Toccata-Troncata), Nikolai Kapustin (Toccatina, Op. 40, no. 3), and Emma Lou

Diemer (Tocccata for piano, Serenade/Toccata from Piano Sonata No. 3). I will examine the chosen works and focus on the associations between each composer's musical language and the traditional elements of the toccata, and explore the musical idioms which these composers developed and presented in their toccatas.

Indeed, the genre was greatly enriched by the individual styles of each composer: Bowen worked in the tradition of Russian Romanticism, emphasizing technical virtuosity; Muczynski

22 Carole Ann Lee, “The Piano Toccata in the Twentieth Century: A Selective Investigation of the Keyboard Styles and Performance Techniques” (D.M.A. diss., Boston University, 1978).

23 Wyttenbach.

24 Song.

8 applied chromatic scales and emphasized the perfect fourth interval as the main musical component; Gubaidulina blended her novel explorations of timbres with the formal innovation of the “Troncata,” a combination of rhythmic and rapid toccata motion with slow and freely flowing motion, all within a free formal plan; Kapustin infused the genre with jazz elements;

Diemer explored innovative piano techniques, such as making sounds effects from inside of the piano and using dampered and pedaled keys, while drawing out and developing toccata elements from lyrical melodic lines.

The analyses will be based on a stylistic study of the formal structure, texture, harmonic language, and melodic and rhythmic writing of each toccata. Technical and musical suggestions for performance will also be considered. I will assess the historical and traditional features of the toccata genre; the musical style of each composer; the association between their compositional styles with the toccata as a genre; the influences evident in each piece; and the application of new musical idioms to the genre.

I will discuss toccatas by Bowen and Muczynski in Chapter Two, outlining each composer's biographical sketch, musical influences and style, and how these are expressed within the stylistic context of the toccata; this will be supplemented with interpretive suggestions for the performance of these works. In Chapter Three, I will examine toccatas by Gubaidulina and Kapustin using the same process; I will also consider the associations between common elements of toccatas: brilliant, rapid and virtuoso character, perpetual and repeated texture, and new musical idioms. In Chapter Four, I will apply this process to Diemer's Toccata for piano and Serenade/Toccata from Piano Sonata No. 3. Chapter Five will offer conclusions on these composers’ musical styles as revealed in their toccatas, and how these composers’ works have enlarged the genre since 1950.

CHAPTER 2

Bowen’s Toccata Op. 155 and Muczynski’s Toccata Op. 15

1.1 York Bowen

1.1.1 Biographical Sketch and Compositional Style

York Bowen (1884-1961) was a British composer and concert pianist. He first learned piano and harmony from his mother; by eight years old he was performing as soloist with an orchestra. He studied at the North Metropolitan College of Music and Blackheath Conservatoire of Music, and attended the Junior Division of the Trinity College of Music at ten; he later studied at the Royal Academy of Music (RAM), where he won the Erard Scholarship. At RAM, he studied composition with Frederic Corder and piano with Tobias Matthay; his Twelve Studies for the Piano, Op. 24, was dedicated to Mattahy.25 As a concert pianist, he gained fame for his technical virtuosity and musicality;26 his compositions were praised by, among others, Camille

Saint-Saëns.27

The pianist-composer—virtuosic pianists known for playing their own compositions— has a long history in the Romantic era. However, while Franz Liszt, Ferruccio Busoni, and

Sergei Rachmaninoff, for instance, had very successful performance and composition careers, few such composers were known in England.28 Bowen followed in their tradition, composing

25 Christopher Weldon, “The Published Solo Piano Music of York Bowen: An Analysis” (DMA diss., The Juilliard School, 2002), 4.

26 Monica Watson. “Bowen, (Edwin) York.” in The New Grove Dictionary of Music and Musicians, 2nd ed., ed. Stanley Sadie (New York: Grove’s Dictionaries, 2001), 4: 150.

27 Weldon, 7-9.

28 Ibid., 3.

10 over 160 pieces and premiering works such as his four piano concertos.29 He also composed four symphonies; tone poems; concertos for violin, viola, cello, and horn; string quartets; piano trios; and sonatas for piano and instruments including violin, viola, cello, flute, horn, and clarinet.

Indeed, despite his career as a pianist, he contributed enormously to the viola repertoire as a collaborator with violist Lionel Tertis, composing a concerto, fantasy for viola and piano, two sonatas and other short pieces for that instrument.

A devoted pedagogue, Bowen taught at RAM from 1909 to 1959, and published two books on piano technique: Pedaling the Modern Pianoforte and The Simplicity of Piano

Technique.30 He also edited other composers’ works, including Chopin’s ballades, scherzos and preludes, and a three-volume edition of piano works by Mozart.

Bowen’s compositional style could be defined as late-Romantic, its tonal systems using chromatic harmonic language.31 Rather than using the fashionable musical techniques developed by Ives, Stravinsky, and Schoenberg such as atonality, irregular rhythm, and open form, he composed in the tradition of Liszt, Wagner, Debussy, and Ravel; he was heavily influenced by

Russian composers, especially Tchaikovsky and Rachmaninoff. His tonal structures are distinct but very flexible, with mediant harmonies often substituting for the structural role of the dominant and elastic phrasing.32 He retained this style throughout his lifetime.

His piano music contains passionate and brilliant technical virtuosity. He composed four piano concertos, six piano sonatas, twenty-four preludes covering the key spectrum, toccatas, and

29 Chia-ling Hsieh, “An Analytical Study of York Bowen’s Twenty-four Preludes in All Major and Minor Keys, Op. 102” (D. M. A. diss., University of Cincinnati, 2010), 7.

30 York Bowen, Pedaling the Modern Pianoforte (London: Oxford University Press, 1964); York Bowen, The Simplicity of Piano Technique (London: Augener, 1961)

31 Watson, “Bowen (Edwin) York.”

32 Weldon, 13.

11 character pieces such as the ballade, waltz, nocturne, and polonaise. The critic Clinton Gray-

Fisk described Bowen’s music as “highly personal and seemingly inexhaustible in fertility and resource.”33 However, despite such praise, his music is rarely performed and mostly remains unpublished, kept by RAM’s library in manuscript. However, recognition of his solo instrumental pieces, including the piano works, has increased in recent years.

1.1.2 Toccata, Op. 155

Bowen composed the Toccata, Op. 155, in 1957 which he premiered in Wigmore Hall on

December 5, 1958. Bowen’s pupil Stephen Hough edited the work from the autograph score.34

Bowen’s Russian-influenced Romanticism infused by chromaticism is very evident in this piece, as are the genre hallmarks of virtuosity and brilliance with repeated notes and moto perpetuo.

Formal and Phrase Structure

Although the return of the first theme in m. 139 suggests ternary form, the structure is in fact freer. According to the development of the main theme, key changes, harmonic progressions, and melodic lines, the toccata can be divided into six sections of uneven length: mm. 1-31; mm.

32-64; mm. 65-120; mm. 121-138; mm. 139-183; and mm. 184-223, which can be seen as a coda.

The first thematic motive is developed rhythmically and harmonically in the following three sections with repeated and perpetual motions. After a long transition (mm. 121-138), the opening theme reappears in the left hand (m. 139). Chordal motion prevails in the coda for the dramatic climax.

33 Monica Watson, York Bowen: A Centenary Tribute (London: Thames Publishing, 1984), 73, quoted ibid., 9.

34 Review in British Classical Music, “The Land of Lost Content: York Bowen: Toccata, Op.155” (accessed 05 January 2013); available from http://landofllostcontent.blogspot.com/search/label/York%20Bowen, internet. 12

Phrases are generally structured in small units of two measures (see Example 1.1).

Example 1.1, York Bowen, Toccata, Op. 155, mm. 24-27

However, Bowen regularly adds or omits measures as phrases recur, resulting in irregular and free phrase structures (see Example 1.2).

Example 1.2, York Bowen, Toccata Op. 155, mm. 15-17

Texture

The moto perpetual typical of toccata is found in the sixteenth notes that run throughout the piece (see Example 1.3).

Example 1.3, York Bowen, Toccata Op. 155, mm. 5-8

Chordal and chromatic textures are also important. The piece starts with striking fortissimo chords in A minor (see Example 1.4).

Example 1.4, York Bowen, Toccata Op. 155, mm. 1-2

This opening motive appears several times throughout the piece, modified by reharmonization, added accompaniment, and changes in register and note values (see Example 1.5a and 1.5b).35

Example 1.5a, York Bowen, Toccata Op. 155, mm. 139-140

35 Weldon, 123. 14

Example 1.5b, York Bowen, Toccata Op. 155, mm. 179-181

In mm. 20-21, the harmonic progression of the motive is altered by chromatic motion, from E- flat-E in the right hand and D-flat-C in the left (see Example 1.6).

Example 1.6, York Bowen, Toccata Op. 155, mm. 20-21

The motive is reharmonized in F minor in mm. 42-43, and the register of the first chord jumps an octave above and back down; arpeggio accompaniment is added in the left hand (see Example

1.7).

Example 1.7, York Bowen, Toccata Op. 155, mm. 42-43

Bowen also applies octaves and chords in perpetual and repeated motions (see Example 1.8).

Example 1.8, York Bowen, Toccata Op. 155, mm. 205-206

The use of all these textures results in a highly virtuosic character.

Harmony

The Toccata is in A minor, although it contains much highly chromatic harmonic motion.

For instance, while mm. 1-31 moves from tonic to dominant, many of the seemingly dominant harmonies are actually subtle variations (see Example 1.9).

Example 1.9, York Bowen, Toccata Op. 155, mm. 26-29

Similarly several chromatic harmonic progressions act as transitions (see Example 1.10).

Example 1.10, York Bowen, Toccata Op. 155, mm. 18-19

In subsequent sections, the harmonic progressions remain vague, but the overall motion adheres to traditional tonal structures. This is very obvious in the set-up to the climax and retransition to the first theme (mm. 121-138). The varied harmonic motion occurs over a very clear E pedal point, acting as a solid dominant for the recapitulation of the first theme in A minor

(see Example 1.11a and 1.11b).

Example 1.11a, York Bowen, Toccata Op. 155, mm. 124-126

Example 1.11b, York Bowen, Toccata Op. 155, mm. 135-139

Nonetheless, the dominant-tonic relationship in the bass is weakened by the vagueness of the harmonies above.

Melody and Rhythm

The sixteenth notes that provide repeated and perpetual motion also function as melodic lines (see Example 1.12).

Example 1.12, York Bowen, Toccata Op. 155, mm. 24-26

Bowen uses long notes to emphasize the rhythm of the melodic lines (see Example 1.13).

Example 1.13, York Bowen, Toccata Op. 155, mm. 13-14

Furthermore, these sixteenth notes provide accompanying motion as broken chords and alberti- like bass underneath the long notes of the right hand (see Example 1.14a and 1.14b).

Example 1.14a, York Bowen, Toccata Op. 155, mm. 88-89

Example 1.14b, York Bowen, Toccata Op. 155, mm. 94-95

The Toccata is in 3/4 with no meter change, although Bowen applies different rhythmic variants for the main thematic motives. The first theme is three eighth notes, separated by eighth rests, on beats one and two and the offbeat of three (see Example 1.4). In mm. 13-14, the first fragment of this rhythm appears in beats two and three (see Example 1.13); however, the eighth note in beat one is changed to a quarter note in beat two and connected to the next staccato eighth note. In mm. 24-25, the same tactic occurs in the left hand, with two quarter notes in beat one and two (see Example 1.9). In mm. 54-55, this rhythmic fragment is expanded with two eighth notes in octaves (see Example 1.15).

Example 1.15, York Bowen, Toccata Op. 155, mm. 54-55

The rhythms in mm. 65-66, 71-72, 75-76, 88-95, 139-140, and 220-221 are further examples of variants of the first theme (see Example 1.5a, 1.14a, 1.14b, 1.16a, and 1.16b).

Example 1.16a, York Bowen, Toccata Op. 155, mm. 65-66

Example 1.16b, York Bowen, Toccata Op.155, mm. 71-72

Sometimes Bowen applies different rhythmic idioms to manipulate the meter. For example, in mm. 125-126, eighth notes on the offbeat and quarter note triplets confuse the meter

(see Example 1.17).

Example 1.17, York Bowen, Toccata Op. 155, mm. 125-126

Hemiola and different groupings of sixteenth notes are used similarly. Hemiola alters the rhythm in mm. 110-111, while the sixteenth notes in the coda are grouped by four, six, and eight (see

Example 1.18a and 1.18b).

Example 1.18a, York Bowen, Toccata Op. 155, mm. 110-111

Example 1.18b, York Bowen, Toccata Op. 155, mm. 184-187

At the end (mm. 217-223), the rhythm changes abruptly from sixteenth notes to eighth note triplets and quarter note chords, creating a dramatic, pesante character for the close (see

Example 1.19).

Example 1.19, York Bowen, Toccata Op. 155, mm. 217-223

Distinctive Features

Ethnic Neo-Romanticism and technical virtuosity are the hallmarks of this piece. The technical virtuosity, melodic lines within thick textures, traditional yet free formal structure, and tonal underpinnings combined with subtle harmonies and chromaticism are typical of Russian- influenced modernism.

Performance Suggestions

This toccata requires considerable technical virtuosity in its fast tempo; the performer has no ready opportunity to relax. As the sections from m. 139 to the end are dramatic and loud, the transition (mm. 121-138) should be handled in such a way as to save energy. This kind of mental plan is useful not only for the performer physically, but for interpretation: the full impact of the returning theme is better realized when it is treated as a high point rather than simply another section in an unbroken display of technical skill.

For this kind of toccata, it is important to keep moving gestures throughout the piece; this requires the performer to articulate the rests clearly. Clear articulation and metronome practice for steady pulse will help the performer play all the sixteenth notes clearly. Rhythmic practice, such as using dotted rhythm in a slow tempo, is also recommended. However, the performer must also consider the piece beyond the technical challenge of the sixteenth notes, or the melodic lines will be lost. To give these lines enough volume, the performer should approach each voice as a different dynamic layer.

2.1 Robert Muczynski

2.1.1 Biographical Sketch and Compositional Style

Robert Muczynski (1929-2010) was a distinguished American composer and pianist. At

De Paul University in Chicago, he studied piano with Walter Knupfer —a pupil of Franz Liszt— and composition with the Russian composer Alexander Tcherepnin; he received bachelors and masters degrees in piano performance. During this time, Muczynski studied and emulated both the Russian tradition of his teacher and Liszt’s virtuosity, incorporating Lisztean elements into his compositions.36 He performed his own compositions regularly, premiering his Piano

Concerto No.1 with the Louisville Orchestra, which commissioned the work, in 1954; he also performed his solo piano works at Carnegie Recital Hall in 1958, his New York debut as pianist.

Other notable commissions include Symphony No. 1, commissioned by the Fromm Music foundation; Dance Movements by the Chicago Little Symphony; Trio for Violin, Viola and Cello by the Linton String Trio; Symphonic Dialogues by the National Symphony of Washington, D.

36 Min-Jung Cho, “A Performer’s Guide to the Six Preludes, Op. 6, and Toccata, Op. 15, of Robert Muczynski, with a Short Synopsis of Russian Influence and Style” (D.M.A. diss., Ohio State University, 2002), 5

C.; and Cavalcade by the Tucson Symphony Orchestra.37 The piano works Maverick Pieces, Op.

37, Masks, Op. 40, and Piano Sonata No. 3 were selected as required contemporary pieces for the William Kapell International Piano Competition, the Gina Bachauer International Piano

Competition, and the Seventh Annual International Piano Festival/Competition in Maryland. He received several awards for his compositions including two Young Composer’s Project

Fellowship Grants from the Ford Foundation (1959 and 1961); the International Society for

Contemporary Music Prize for the Suite for Piano (1961); the Concours Internationale Prize in

Nice, France for the Sonata for Flute and Piano (1961); and a nomination for the Pulitzer Prize in 1982 for the Concerto for Alto Saxophone and Chamber Orchestra. He taught both piano and composition, as a piano and theory professor at De Paul University from 1955 to 1956; piano department chair at Loras College in Dubuque, Iowa from 1956 to 1959; and piano professor and composer-in-residence at the University of Arizona until 1988.

Muczynski is considered a conservative neo-Classical composer with neo-Romantic tendencies.38 Although American classical music is known for embracing many musical trends such as atonalism, electronic music, and minimalism, Muczynski continued writing in a fairly traditional style throughout his career.39 His musical influences include Bartók, Barber, Bernstein, and Copland; he was most heavily indebted to his teacher Tcherepnin, and to Prokofiev’s post-

37 J. A. Hawkins, “The Piano Music of Robert Muczynski: A Performance Tape and Study of His Original Works for Piano Solo” (D.M.A. diss., University of Maryland), 1, quoted ibid., 6.

38 Walter Simmons, “Muczynski, Robert” (accessed 05 January 2013); available from http://www.oxfordmusiconline.com/subscriber/article/grove/music/A2219371?q=Muczynski&search=quick&pos=1 &_start=1#firsthit, internet.

39 Song, 30.

Romantic, neo-Classical lyricism.40 This is also notable in his use of traditional formal structures.41

Muczynski wrote primarily for piano, composing three sonatas and character pieces including Six Preludes, Op. 6; Suite, Op. 13; Toccata, Op. 15; and Masks, Op. 40. The character pieces in particular are distinguished by his use of bitonality and polytonality, organization around a specific technical idea, driving rhythmic motions, chromaticism, jazz elements, percussiveness, and lyricism.42 Tone clusters, hemiola, repeated note patterns, and non- functional chords are frequently present as well.43

2.1.2 Toccata, Op. 15

The Toccata was composed in 1962 and premiered by the composer in 1963 in San

Francisco. Dedicated to Patricia and Ozan Marsh, Muczynski called this his “rage piece,”

“Beethoven had his ‘Rage Over a Lost Penny’. This is my ‘Rage Over a Lost Car.”44

This piece is comparable with Prokofiev’s Toccata Op. 11 in terms of texture, mood, and characteristics. In general, Prokofiev’s Toccata contains more thick chordal texture as compared with Muczynski’s Toccata. Muczynski’s Toccata is composed in thinner texture with mostly single lines. However, both pieces contain highly chromatic motions, large leaps, and similar

40 Cho, 42.

41 Ibid., 45.

42 Ibid., 9-10.

43 Song, 30-31.

44 The car in question was lost after the composer had a serious car accident in Gallup, New Mexico. See Robert Muczynski, Collected Piano Pieces by Robert Muczynski (New York: G. Schirmer. 1990), Introduction.

26 motoric and percussive characteristics. Muczynski applied rhythmic tension and motoric energy in the manner of Prokofiev’s toccata.45

Formal and Phrase Structure

Muczynski’s Toccata, Op. 15 is in a clearly defined ternary form, ABA’+coda. Each section ends with a whole note or whole rest, or opens with the reappearance of an earlier motive; furthermore, the mood changes considerably for each section.

The A section (mm. 1-57) develops the main musical material, the interval of a fourth

(usually the perfect fourth). This section is divided into two small sections: the first (mm. 1-27) centers on the broken fourth, and the second (mm. 28-56) on the harmonic fourth with an ostinato pattern in the left hand. The B section (mm. 58-129) is more melodic, with the fourth intervals connected in linear motion instead of small groups; this results in a more narrative character. Linear motions and ostinato motion create chromatic lines, while the interval of the seventh is an important accompaniment chord. A transition built on a broken fourth leads to the repeat of the A’ section (mm. 130-196); although this section brings back the opening motive, the motives of the A and B sections are varied or combined. The coda (mm. 197-235) has thicker textures, with many chords and tone clusters. The thematic motives are continuously varied in broken form, chords, and melodic lines. The piece ends with a striking sfff tone cluster in octaves.

Phrases are largely two or four measures, but are often varied by omitting or adding extra measures (see Example 2.1a and 2.1b).

45 Peter Burwasser, “Music from America’s First and Second Cities” Fanfare (November–December 2009): 342. 27

Example 2.1a, Robert Muczynski, Toccata Op. 15, mm. 24-32

Example 2.1b, Robert Muczynski, Toccata Op. 15, mm. 171-178

Texture

For the most part, the toccata features thin textures with single lines. While toccatas by

Prokofiev and Bowen use thick chordal textures, the thinness of Muczynski’s texture is more typical of the toccata genre: percussive, rapid, brilliant, driving, and motoric. However, the piece lacks the standard toccata moto perpetuo and repeated motion. The thin texture provides rhythmic perpetual motion rather than melodic, creating the percussive character of the toccata.

The use of the fourth interval—whether broken, vertical, or linear—as the main musical material contributes to the textural thinness (see Example 2.1a, 2.1b, 2.2a and 2.2b).

Example 2.2a, Robert Muczynski, Toccata Op. 15, mm. 1-7

Example 2.2b, Robert Muczynski, Toccata Op. 15, mm. 65-68

The ostinato pattern is another important textural component. Groups of six eighth notes make a consistent pattern and create canonic motion (see Example 2.1b, 2.3a, and 2.3b).

Example 2.3a, Robert Muczynski, Toccata Op. 15, mm. 74-83

Example 2.3b, Robert Muczynski, Toccata Op. 15, mm. 114-121

Chords appear primarily in later sections to change the character and build dramatic momentum to the climax. In the B section, the chords mostly consist of major sevenths (see

Example 2.3a). The thematic fourth interval is transformed in the A’ section as a tone cluster by adding the notes in between (see Example 2.4).

Example 2.4, Robert Muczynski, Toccata Op. 15, mm. 138-145

These seventh chords and tone clusters continuously appear in the coda (see Example 2.5a, 2.5b and 2.5c).

Example 2.5a, Robert Muczynski, Toccata Op. 15, mm. 195-202

Example 2.5b, Robert Muczynski, Toccata Op. 15, mm. 215-219

Example 2.5c, Robert Muczynski, Toccata Op. 15, mm. 232-235

Harmony

Although a key signature is not given, and many accidentals are used, strong tonal center for phrase appear with accents including B-flat (see Example 2.6).

Example 2.6, Robert Muczynski, Toccata Op. 15, mm. 24-32: B-flat

In combining the harmonic fourths, Muczynski creates an oscillation of harmonies that suggest polytonality, but in fact slyly ascend through the chromatic scale (see Example 2.7).

Example 2.7, Robert Muczynski, Toccata Op. 15, mm. 8-16

The overall harmonic language is chromatic, with the fourth intervals displaying chromatic lines

(see Example 2.8).

Example 2.8, Robert Muczynski, Toccata Op. 15, mm. 4-7

The ostinato patterns contribute to the piece’s chromatic character as well. This chromatic harmonic language and dissonance created by the fourth and seventh intervals and tone-clusters are well suited to the tense, annoyed mood the composer wishes to convey (recall Example 2.6).

Melody and Rhythm

In A and A’, fourth intervals are grouped together by two to four eighth notes; these groups are introduced as short melodic fragments with rests, and extended and connected as long lines (see Example 2.9a, 2.9b, and 2.9c).

Example 2.9a, Robert Muczynski, Toccata Op. 15, mm. 16-19

Example 2.9b, Robert Muczynski, Toccata Op. 15, mm. 126-129

Example 2.9c, Robert Muczynski, Toccata Op. 15, mm. 20-28

The B section contains more linear, lyrical lines, accompanied by chords and pedal tones (see

Example 2.10).

Example 2.10, Robert Muczynski, Toccata Op. 15, mm. 65-73

The chromatic melodic lines in B start in the lower register and progress sequentially from pp to f, while the left hand plays seventh intervals or block chords. These lines establish dramatic tension that aids the transition to return to A’ section (see Example 2.11).

Example 2.11, Robert Muczynski, Toccata Op. 15, mm. 85-99

The rhythm is straightforwardly motoric and percussive, but varied through metric alterations aided by frequent hemiola. The meter changes throughout the piece (alla breve, 2/4,

3/4, 4/4, 5/4), causing the pulse to change frequently as well. Hemiola appears mostly in the B section, alternating with 3/4 (see Example 2.11).

Distinctive Features

With his use of the fourth interval as the main melodic and harmonic element, coupled with harmonic and rhythmic transformations that create an expanded form, Muczynski presents a classic Russian-influenced modern American sound in this piece. His toccata is distinguished in part by the use of the eighth note as the main note value instead of the sixteenth note, yet the genre’s perpetual and percussive motion remains intact. The stepwise groups of eighth notes and ostinato patterns establish chromatic lines even as the overall harmony maintains a tonal center, while the tone clusters provide a modern sound.

Performance Suggestions

Muczynski provides detailed commentary on practical performance. For the small groups of notes, he suggests alternating hands (see Example 2.7) to better facilitate hand placement.

This also helps prevent the uneven sounding of notes that may result from hand alternation and crossover. He further specifies moods for each section: deciso, strepitoso, and pesante.

The presto large leaps across registers are technically demanding; the performer should practice with planned fingerings, and master position changes for leaps and register changes. A metronome is helpful in practicing to keep the fast tempo and steady pulse. In the sections that change meter measure by measure, the metric pulse presents a challenge to performers.

Performers should memorize the piece section by section and measure by measure to ensure a physical sense of the pulse. To maintain the percussive and motoric character of this toccata, articulation is important. Clear articulation also prevents the blending of sounds that can occur in the extreme low and high registers.

The dynamics and mood should be organized as a building up to specific dramatic moments. For instance, tempering the dynamics during the long sequential chromatic lines in B allows the performer to keep the toccata character and intense energy from becoming monotonous. Likewise, to maintain variety, the performer should project accents and create diverse timbre for chords. Accents in this piece mostly refer to the downbeat and beginning of groups or phrases; these must be accentuated clearly enough for the listener to hear the groupings.

The performer should also be sensitive to the moods created through timbre and sonority.

CHAPTER 3

Gubaidulina’s Toccata-Troncata and Kapustin’s Toccatina Op. 40, no. 3

3.1 Sofia Gubaidulina

3.1.1 Biographical Sketch and Compositional Style

Sofia Gubaidulina was born in 1931 in the Tartar Republic of the Soviet Union. She first studied piano and composition at the Kazan Conservatory of Music; from 1954 to 1963, she focused on composition at the Moscow Conservatory with Nikolai Peiko and Vissarion Shebalin.

A further important influence was Dmitri Shostakovich, who encouraged her career. After graduation, she worked as a film music and freelance composer for living, but her works were not performed for many years, partly because her compositional conceptions never fell in line with the Socialist Realism pervasive in the Soviet Union from the 1930s to its dissolution.46

Gubaidulina first gained international attention in the early 1980s, when she was allowed to travel to the West; she has since become a world renowned composer. She received commissions from the Berlin and Holland Festivals, New York Philharmonic, Chicago Symphony Orchestra, and Japan’s NHK Symphony.47 She immigrated to Germany after the fall of the Soviet Union; in

Germany, she is a member of the Freie Adademie der Künste in Hamburg and Akademie der

Künste in Berlin. She has received numerous awards including the Heidelberger

Künstlerinnenpreis (1991), Russian State Prize (1992), the Spohr Preis (1992), and the Sonning

Prize in Denmark (1999).48

46 Vera Lukomsky, “Sofia Gubaidulina (1931-)” in Music of the Twentieth-Century Avant-Garde, ed. Larry Sitsky (London: Greenwood Press, 2002), 183.

47 Ibid., 184.

48 Ibid. 38

Gubaidulina is an avant-garde composer, associated with such contemporaries as Edison

Denisov and Alfred Schnittke.49 Her compositions include works for orchestra, solo voice, chorus, and piano, as well as concertos, chamber music, and film scores. She first studied

German masters including Haydn, Mozart, and Beethoven; she later studied other musical styles including the nineteenth-century Russian school, the Second Viennese School, and Wagner. The composers who influenced her most are Johann Sebastian Bach and Anton Webern;50 this is most explicitly demonstrated in her violin concerto Offertorium, which orchestrates the theme of

Bach’s Musical Offering using Webern’s twelve-tone row technique.51

Gubaidulina has always tried to represent new musical processes and experimentation in her works; of her compositional process, she says, “I go deeper and deeper into the labyrinth of my soul and I always find something new.”52 The resulting “modern” and “experimental” sounds are often difficult to compare with the music of other composers; hence Anders Beyer states,

“Gubaidulina has her own clear path to follow.”53 The composer considers her compositional style to fall into three periods: from 1965 to the early 1980s, she emphasized instrumental timbres and different sound qualities; from the 1980s to c. 2000, she composed with rhythms and numbers; and from the turn of the millennium to the present, she has focused on the idea of quarter-tones.54

49 John Warnaby, “Gubaidulina at 70,” Musical Opinion (September 2001): 256.

50 Anders Beyer, “Sofia Gubaidulina-Into the Labyrinth of the Soul” in The Voice of Music: Conversations with Composers of Our Time, eds. Anders Beyer and Jean Christensen (Aldershot: Ashgate, 2000), 51.

51 Warnaby, 257.

52 Beyer, 51.

53 Ibid.

54 Dmitri Sminow, “from where I sit”, interview with Sofia Gubaidulina (accessed 11 January 2013); available from http://homepage.ntlworld.com/dmitrismirnov/Gubaid.html, internet. 39

One of the most significant features throughout her career is extra-musical; religious elements and concepts are frequently guiding principles of her artistic choices. For instance, the piano concerto Introitus, the violin concerto Offertorium, and the cello concerto Detto II could be considered three parts of the proprium mass; all progress through a narrative of sacrifice, resurrection, and ascent to heaven. However, she is not referring to Catholic or Russian

Orthodox traditions, but rather creating her fantasy within music.55 She is also inspired by literature, such as the Russian poet Marina Tsvetaeva, whose works influenced both the

Concerto for Bassoon and Low Strings and The Hour of the Soul for percussion, mezzo-soprano and large orchestra.

A mathematical series, Fibonacci numbers, also plays a role in many of Gubaidulina’s pieces. This series was employed by other composers in the twentieth-century such as Igor

Stravinsky and Karl Heinz Stockhausen; for Gubaidulina, the sequence represents “the most universal and balanced law of life and nature,” and she applies it to balance her musical forms and locate the ideal climax.56 Likewise, as with many other twentieth-century composers,

Gubaidulina is noted for her melding of musical elements from Eastern and Western traditions of both instrumentation and philosophy;57 Im Schatten des Baumes incorporates Japanese koto and bass koto and Chinese zheng into the Western orchestra; timbres similarly unusual to Western listeners appear in Galgenlieder à 3, for mezzo-soprano, percussion, and contrabass.

Gubaidulina’s piano pieces were mostly composed in her early period, from the 1960s through the 1980s. The influence of Baroque music, and particularly of J. S. Bach, is evident in

55 Vera Lukomsky, “’The Eucharist in My Fantasy’: Interview with Sofia Gubaidulina,” Tempo (New Series), no. 206 (October 1988): 31.

56 Lukomsky, Music of the Twentieth-Century Avant- Garde, 186.

57 Valentina Kholopova, “Gubaydulina, Sofiya Asgatovna” in The New Grove Dictionary of Music and Musicians, 2nd ed., ed. Stanley Sadie (New York: Grove’s Dictionaries, 2001), 10: 491–2.

titles such as Chaconne, Toccata, and Invention; the other piano works are the Piano Sonata,

Musical Toys, and the piano concerto Introitus.

3.1.2 Toccata-Troncata

Gubaidulina composed Toccata-Troncata in 1971. It manifests her interest in diverse

sonorities, contemporary techniques, and general improvisational style combined with the typical

characteristics of the toccata. Clarke describes it as “an exercise in sonority.”58 The troncata is a

non-toccata section, from the word meaning “discontinuities” or “interruptions.”59

Formal and Phrase Structure

Even though Toccata-Troncata is a short piece, it is structured in several contrasting

sections; nonetheless, these are free-form, as Gubaidulina’s uncommon harmonic progressions of

the 1970s clashed with traditional formal structures.60 The sections are indicated by tempo

markings: Vivo, Tranquillo, and Rubato, with metronome marking (e.g. Vivo: dotted half

note=80; Tranquillo: quarter note=92); the fast toccata sections continuously alternate with the

slow sections (see Table 3.1 and Example 3.1).

Table 3.1, Sofia Gubaidulina, Toccata-Troncata, Formal Structure with Tempo Changes

Tempo Vivo(V) Tranquillo(T) V. T. V. T. V. T. Rubato a V. T. tempo(T) Measure 1-9 10 11- 13- 16 17- 20- 23- 26-28 29-32 33- 35- 12 15 19 22 25 34 39 (end) Feature Tonlos Improvisation Tonlos

58 Clarke, 131.

59 Sophia Gubaidulina, Selected Piano Works (Tokyo: Zen-On Music, 1991): 57.

60 Jenifer Denise Miline, “The rhythm of form: Compositional processes in the music of Sofia Gubaidulina” (Ph. D. thesis, University of Washington, 2007), 22.

Example 3.1, Sofia Gubaidulina, Toccata-Troncata, mm. 16-18 and m. 26

mm. 16-18

m. 26

Because the composition is focused on sonority and timbre, and improvisation is one of the main formal elements, the phrase structure is free and given little weight in comparison.

Gubaidulina provides time signatures for each section to ensure an accurate time plan and exact pulse for each phrase, except in the improvisation sections. The fast sections, marked 12/8, vary from as little as one to as long as three, as the fast and short phrases are suddenly interrupted by other elements (see Example 3.2).

Example 3.2, Sofia Gubaidulina, Toccata-Troncata, mm. 1-8

The piece is similar in formal and phrase structure to the music of Anton Webern and his followers. Rather than the grouped and linear structures that underlie traditional formal conceptions, each note is important, with its unique position, value, and dynamic establishing small phrases within the larger structure.

Texture

Eighth-note motions with staccato or staccatissimo dominate the fast toccata sections, and create the percussive motion and intensity in the vivo. The following measures contain the

43 word “Tonlos,” (literally, “without sound”), asking the performer to depress keys silently (see

Example 3.2).61 The damper pedal is also used, activating the harmonics of other tones when they are struck.62 This sudden juxtaposition creates space to explore different sonorities and harmonies. The slow sections marked Tranquillo move largely in longer note values: quarter, half, dotted half, whole, and dotted whole, establishing textural contrast with the fast toccata sections (see Example 3.1 and 3.5). The intense mood of the toccata is further released in dynamic contrasts, as the ff toccata sections are interrupted by mp troncata sections.

Gubaidulina frequently used improvisation in her works, particularly in the solo and chamber pieces.63 In Toccata-Troncata, free and flowing improvisation plays against measured sections which specify the exact pulse.64 Improvisation is notated with open note-heads connected with eighth-note beams;65 horizontal stems indicate held pitches (see Example 3.3).66

Example 3.3, Sofia Gubaidulina, Toccata-Troncata, mm. 26-27

61 Sofia Gubaidulina, Editor’s note. Toccata-Troncata. Moscow: Sovetsky Kompozitor Publishers, 1978.

62 Clarke.

63 Miline, 19.

64 Ibid.

65 Ibid., 17.

66 Gubaidulina, Editor’s note. 44

Rests, fermatas, and slurs add textures. The rests are treated with the same importance as the notes, and occur with fermatas at the end of small sections to change the mood, color, and tempo. Slurs connect long notes as they move from slow to fast and fast to slow (see Example

3.4).

Example 3.4, Sofia Gubaidulina, Toccata-Troncata, mm. 28-39

Melody and Rhythm

Since the phrases are irregular and short passages are interrupted by other materials,

Gubaidulina may not have been concerned with lyrical melodic lines; certainly, it is hard to hear any such lines, as the notes typically move in large leaps.

In the 12/8 toccata sections, eighth notes are grouped in three. Their fast, percussive sound is essential to the toccata character (see Example 3.2). Although the slow sections specify time signature, they sound very free due to the use of rests between notes and absence of repetitive rhythmic patterns (see Example 3.5).

Example 3.5, Sofia Gubaidulina, Toccata-Troncata, mm. 13-15, 17-18, and 23-25

mm. 13-15

mm. 17-18

mm. 23-25

The unmeasured improvisation section is notated only with open-head pitches, allowing the performer complete rhythmic freedom with note values and length of rests (see Example 3.3).

Distinctive Features

The structural conception of toccata plus troncata distinguishes this piece from many other works exploring the toccata genre. Rather than limiting that exploration to a single genre,

Gubaidulina expanded it through contrast, the troncata sections highlighting the toccata characteristics by presenting alternate tempos, textures, and rhythms. The improvisation section,

46 so highly dependent on the performer's interpretation of note and rest lengths (see Example

3.3),67 enlarges the structure and allows for the inclusion of contemporary aesthetics at the desire of the performer, part of an overall emphasis on new sounds exemplified particularly by the

“Tonlos” sections.

Performance Suggestions

To perform this short piece, it is important to emphasize the distinct conceptions of the toccata and non-toccata sections. The performer needs to maintain a strict pulse and strong key attack to create intensity in the toccata sections. The first section, staccatissimo played fortissimo, requires a sharp and strong character which can be achieved by playing with the fingertips. For the troncata and improvisation sections, the performer should determine the length of rests, fermatas, and note values to establish a thoroughly contrasting character. Physical relaxation and playing with the flat side of the fingers will produce a relaxed sound best suited to the section’s release of tension.

Creating the contemporary “Tonlos” timbre requires sufficient practice to playing the actual notes and avoiding real sound. Keys must be depressed silently, which calls for less power and tension in the fingers. Furthermore, enough time should be taken between each note and harmony to fully convey the full sound spectrum to the audience; notes marked “Tonlos” should be sustained as long as possible to create resonance.68

67 Kevin David Richmond, “Non-Traditional Notation and Techniques in Student Piano Repertoire” (DMA diss., The University of Texas at Austin, 2003), 90.

68 Ibid.

3.2 Nikolai Kapustin

3.2.1 Biographical Sketch and Compositional Style

Nikolai Kapustin was born in 1937 in Ukraine, U.S.S.R. He began learning piano at age seven, studying with Avrelian Rubakh,69 and later with Alexander Goldenweiser at the Moscow

Conservatory, where he graduated in 1961. Kapustin considered Goldenweiser too old to teach him, but learned much from his discussions of Russian composers such as Rachmaninoff and

Medtner.70 Kapustin initially intended to be a pianist; however, in his early twenties he became deeply interested in jazz, and in composition rather than performing.71 He made his compositional debut with the Concerto for Piano and Jazz Orchestra Op. 1 at the Sixth

International Festival of Youth and Students in Moscow in 1957.72 Before he discovered jazz, his musical style was academic but not contemporary.73 After he graduated, he toured the Soviet

Union as a pianist with Oleg Lundstrem’s Symphony Orchestra of Light Music (1961-1972),74

Vadim Lyudvikovsky’s Television and Radio Light Orchestra (1972-1977), and the State

Cinematography Symphony Orchestra (1977-1984).75 While he was performing, he also composed piano and orchestra music using the jazz style.

69 His other students included Simon Barere and Vladimir Horowitz.

70 Martin Anderson, “Nikolai Kapustin, Russian Composer of Classical Jazz” Fanfare (September/October 2000); 94.

71 Ibid.

72 Alla V. Grigor’yeva, “Kapustin, Mikolay Girshevich” in The New Grove Dictionary of Music and Musicians, 2nd ed., ed. Stanley Sadie (New York: Grove’s Dictionaries, 2001), 13: 364

73 Anderson.

74 Grigor’yeva.

75 Ibid.

Since 2000, Kapustin has gained tremendous fame for his integration of jazz and classical music. He has composed for large ensembles, including many concertos for orchestra and for wind and string instruments. He has composed also numerous works for piano: twenty piano sonatas; six piano concertos; Eight Concert Etudes, Op. 40; Variations, Op. 41; Twenty-Four

Preludes, Op. 53; and many other inventions, ballads, suites, impromptus, and scherzos. His music is described as a fusion of classical formal structures and jazz idioms. Although jazz elements are the defining musical characteristic, Kapustin maintains the use of classical titles.

Grigor’yeva considers this typical of “the ‘third stream’, a stylistic trend associated with experiments to synthesize jazz and more formal music.”76

Despite the predominance of jazz elements in his music, Kapustin does not consider himself a jazz musician.77 All his music is written down precisely, never improvised: “I am not interested in improvisation—and what is a jazz musician without improvisation?”78 Nonetheless, jazz pianists were enormously influential to his compositions, particularly the Canadian jazz pianist and composer Oscar Peterson.79 Critics also noted the influence of jazz pianists Bud

Powell, Art Tatum, and Earl Hines.80 In the 1960s Kapustin explored the traditions of George

Gershwin, Duke Ellington, Aleksandr Tsfasman, and other Russian pianists;81 by the 1970s, he embarked on a fused style based on jazz.82

76 Ibid.

77 Anderson.

78 Ibid.

79 Lynn Rene Bayley, “Kapustin 8 Concert Etudes, 24 Preludes in Jazz Style,” Fanfare 35, no. 4 (March/April, 2012).

80 Ibid.

81 Grigor’yeva.

82 Ibid. 49

3.2.2 Toccatina from Eight Concert Etudes, Op. 40

Kapustin composed two toccatas: Toccatina, Op. 36, composed in 1983; and Toccatina,

Op. 40, no. 3 from Eight Concert Etudes. This study will consider the latter piece.

The Eight Concert Etudes for piano, Op. 40, composed in 1984, are the most popular and frequently performed among Kapustin’s piano works; Kapustin recorded these pieces—Prelude,

Reverie, Toccatina, Reminiscence, Raillery, Pastoral, Intermezzo, and Finale83—the following year. According to the title, Franz Liszt’s piano music, especially his etudes, influences these pieces, which contain the same virtuosic aspects.84

Formal and Phrase Structure

Toccatina, Op. 40 no. 3 is composed with traditional classical formal structure in mind:

Introduction–AA’B–(AA’B)’–coda. After seven measures introduction, the main body of the structure, AA’B appears which is then repeated in variation and followed by a coda containing similar musical material to the introduction (see Table 4.1). The introduction sets forth the rhythmic motion pervading this piece. A is the first theme, followed by A’ and the B section containing the second theme; the repeat of AA’B section is largely in the same format.

Table 4.1, Nikolai Kapustin, Toccatina Op. 40, no. 3, Formal Structure

Form Introduction A A’ B ( A A’ B )’ Coda Measure 1-7 8-15 16-23 24-35 36-43 44-51 52-62 63-69

Phrases are also clearly and traditionally structured. A is 4+2+2; B is 4+4+4. The repetition of B is 4+4+3, eliding one measure in the transition to the coda.

Texture

83 Nikolai Kapustin, Eight Concert Etudes for Piano Op. 40 (Tokyo: Prhythm Edition, 2008).

84 Masahiro Kawakami, “Introduction” Eight Concert Etudes for Piano, Op. 40 (Tokyo: Prhythm Edition, 2008).

The main texture is sixteenth notes, with strict repeated tones creating percussive character within a multi-voice melody plus accompaniment structure. In all sections, when one hand carries the melody, the other provides accompaniment. In the A section, the right hand provides the melodic line in the upper voice and repeated motion in the lower voice, while the left hand creates multi-voice counterpoint with eighth notes accompaniment (see Example 4.1).

Example 4.1, Nikolai Kapustin, Toccatina Op. 40, no. 3, mm. 8-14

The first A section is thin and light; A’ adds notes in all the voices to thicken the texture

(see Example 4.2).

Example 4.2, Nikolai Kapustin, Toccatina Op. 40, no. 3, mm. 16-24, A’

In the B section, the right hand provides chordal texture with songlike melodic lines and the left hand repeats sixteenth notes constantly (see Example 4.3).

Example 4.3, Nikolai Kapustin, Toccatina Op. 40, no. 3, mm. 24-36

The large-scale repetition (AA’B)’ increases textural complexity through the use of sixteenth notes and chords with repeated motion, establishing thickness and imparting a virtuosic character (see Example 4.4).

Example 4.4, Nikolai Kapustin, Toccatina Op. 40, no. 3, mm. 44-48

Harmony

Kapustin applies traditional strong tonal harmonic language in E minor. The combination of classical harmonic concepts with jazz harmonies creates the unique harmonic language characteristic of the composer.

The harmonic progressions are largely confined to the tonic in the introduction, although

Kapustin includes a number of harmonic elements from jazz: flattened, or blue, fifth tones; extended ninth and eleventh chords; and polychords (see Example 4.5).

Example 4.5, Nikolai Kapustin, Toccatina Op. 40, no. 3, mm. 1-6

After two measures of repeated motion in E Minor in the introduction (mm. 5-6), the first theme begins. The theme features tonal prolongation of the tonic key (mm. 8-11; see Example

4.1); the larger harmonic progression, mm. 8-14, is i-IV-(V6/4-5/3)-IV-i. A two-measure melody in the tonic (mm. 8-9) is repeated and extended by seventh and diminished seventh chords, while the bass descends from E to A to create i-IV-V6/4-5/3 (mm. 10-11) (see Example 4.1). A V6/4-5/3 in

B functions as neighboring to A in the next measure, then leads to the tonic to conclude the first theme (mm. 12-14) (see Example 4.1). The A’ theme is harmonically expanded with the use of the flattened mediant, ii7-V harmonic motion, and circle of fifths in the bass (G-C-F-B-E; see

Example 4.2). The F-B-E of the circle of fifths creates bII7-V-i (see Example 4.2). The B section has a progression of i-VI-[E-flat Major-B-flat Major-G-flat Major 6∕4-D-flat Major5∕3-e minor 6∕ 4]-

V5∕3-i. Chromatic bass line; E-Flat-D-D-Flat-C (mm. 30-33) leads to V-i cadence at the end of the

B section (see Example 4.3). In this harmonic progression, Kapustin continuously applies jazz elements: semitones, blue notes, flattened mediants, and ninth, eleventh, and thirteenth chords.

The repeat/variant (AAB)’ section is harmonically similar, but features more harmonic richness and a broader register. The coda is in the tonic.

Melody and Rhythm

The two main themes, A and B, are melodically in jazz style; the A melody is rhythmic and the B songlike. The 4/4 rhythm features offbeats, dotted rhythms, and swing. In the first theme in particular, these rhythms are roughly articulated by rests rather than connected to each other melodically. In the B section, however, long notes create a smooth melodic line.

Kapustin varies the (AA’B)’ form through harmonic and rhythmic alterations. Perpetual and repeated motion is extreme; the main melodic lines are not written with long notes but rather consistent moving sixteenth notes, sometimes emphasized by accents (see Example 4.6).

Example 4.6, Nikolai Kapustin, Toccatina Op. 40, no. 3, mm. 44-48

Rhythmic variation is created by replacing and adding notes; as a result, while the first

AA’B section does feature melodic lines with accompanied motion, that toccata characteristic is emphasized in (AA’B)’ (see Example 4.7).

Example 4.7, Nikolai Kapustin, Toccatina Op. 40, no. 3, mm. 52-56

Distinctive Features

Such jazz rhythms and melodic features distinguish Kapustin’s compositions in general, and bring a new aesthetic to the classical virtuosic approach of the toccata genre. The repeated and perpetual motion and virtuosity characterizing the toccata are well-matched to jazz elements.

Performance Suggestions

In his edition, Masahiro Kawakami notes that it is possible to make the sixteenth notes sound like a clear 8-beat; therefore, the piece should not be played too fast.85 The jazz rhythm is essential, with accents placed mostly on the weak beats. This is in contrast to classical practice, which can sometimes lead to difficulties for the classical performer in feeling the swing and

85 Ibid.

58 bounce with dotted rhythms and offbeats. To get used to jazz rhythm, the performer should listen to numerous jazz pianists, feeling the rhythm with the body.

The first AA’B section should be lighter than its repeat/variant. The performer should increasingly bring out the virtuosic character in (AA’B)’. Since it is traditional in formal and phrase composition, the performer is required to bring out the toccata character and long melodic lines simultaneously. Kawakami suggests that even through a slur is not given, it is helpful to play with a feeling of a long phrase.86

The piece requires considerable technique from the performer. Even rhythmic motion within the rapid tempo can be achieved through a fast and quick touch to keys. The phrases should not be legato, but the feeling of long phrases should carry through the piece. The melodic lines in AA’B call for more weight on the upper voice than in the middle voices; the bass should be strong to clearly underline the harmonic motions. The unusual harmonies can be negotiated by fingerings derived from jazz (see Example 4.8).87

86 Kawakami.

87 Ibid. 59

Example 4.8, Nikolai Kapustin, Toccatina Op. 40, no. 3, mm. 1-6

CHAPTER 4

Diemer’s Toccata for piano and Serenade/Toccata

4.1 Emma Lou Diemer

4.1.1 Biographical Sketch and Compositional Style

Emma Lou Diemer is one of the best known women composers in the United States.

Born in 1927 in Kansas City, Diemer is not only famous as composer, but also as pianist, church organist, and teacher. Growing up in a musical family, she began to compose when she was six years old; although she could not notate music, her piano teacher transcribed the improvised pieces while Diemer played.88 Diemer performed several times in public as a child, and was a church organist at age thirteen. She later studied piano with Wiktor Labunski, the director of the

Kansas City Conservatory; organ with Edna Scotten Billings; and composition with Gardner

Read, who introduced her to serial music.89

Although Diemer enrolled at the Eastman School of Music to study composition, theory, and piano in 1945, she attended Central Missouri State Teachers’ College because her father was the president of the school. Later she transferred to Yale School of Music to finish her undergraduate degree. At Yale, she studied composition with Richard Donovan. However, she was more heavily influenced by Paul Hindemith, also a professor at Yale; although she did not use his compositional methods, she greatly admired his “Gebrauchmusik” and contrapuntal technique,90 and “also absorbed the ability to write for any medium and any level of difficulty.”91

88 Ellen Grolman Schlegel, Emma Lou Diemer: A Bio-Bibliography (Westport, CT: Greenwood Press, 2001): 3.

89 Jane Weiner Lepage, Women Composer, Conductors, and Musicians of the Twentieth Century: Selected Biographies (Metuchen, N. J., & London: The Scarecrow Press, 1980): 55.

90 Chin-Min Lin, “Three Sonatas by Emma Lou Diemer” (DMA diss., Louisiana State University, 2007), 3.

91 Schlegel, 9.

She stated, “Hindemith had the philosophy of writing music for all kinds of ensembles. And also he had written music for children as well as for professional orchestras. Those two philosophies have followed me all my life.”92 She was moreover influenced by Hindemith’s use of neo- classical elements such as free tonality and avoidance of harsh dissonances.93

She received her bachelors and masters degrees from Yale in 1949 and 1950, respectively.

At Yale, she composed many piano pieces, including Chromatic Fantasy (1946), Piano Suite No.

1 (1947), Second Suite for Piano (1948), and Sonata for Piano in One Movement (1949). She received the Fulbright Scholarship to study piano composition at the Royal Conservatory in

Brussels, Belgium, from 1952 to 1953. After she came back to the U.S., she studied composition with Roger Sessions and Ernst Toch at the Berkshire Music Center at Tanglewood Institute, in the summers of 1954 and 1955; Sessions influenced her use of musical structure. In 1957, she enrolled at the Eastman School again, for a Ph.D. in composition, and studied with Bernard

Rogers and Howard Hanson. From Rogers, she learned more about neo-Classicism; Hanson taught her about writing emotion into music.94 Hanson’s avoidance of serial technique also influenced Diemer’s fairly tonal approach to composition.95 Harpsichord Concerto (1958) and

Fantasie for organ (1958) were composed during Ph.D. studies.

She was appointed composer-in-residence for secondary schools in Arlington, Virginia, one year before her graduation; she also served as composer-consultant for the Music Educators

92 JoAnn Kinghorn Rediger, “Videotapted Interviews with Emma Lou Diemer: Her Compositional and Personal Perspectives” (D.A. diss., Ball State University, 1994), 41, quoted in Lin 3.

93 Ibid.

94 Schlegel, 11.

95 Kristal Bang, “Emma Lou Diemer’s Solo Piano Works Through 2010: A Study of Pedagogy and Performance in the Context of 20th - and 21st- Century Music Making” (DMA diss., University of Cincinnati, 2012), 7.

National Conference. During her time in Arlington, she wrote Time Pictures for piano (1961) and Seven Etudes for Piano (1965); these were composed as Gebrauchmusik, avoiding atonality and complex musical elements such as changing meters and complicated rhythms.96 This philosophy of musical accessibility led her to compose many works for amateur orchestra and choirs: “[Music] should be written to be listened to and finally understood and even enjoyed.”97

She taught piano, composition, theory, orchestration, and contemporary analytical technique at the University of Maryland, College Park, until 1970. In 1971, she took a position as professor of theory and composition at the University of California, Santa Barbara (UCSB). At this time, she focused on electronic music, founding the UCSB Electronic Studio (now The

Center for Research in Electronic Art Technology). Her electronic works harmonize traditional musical concepts with electronic sounds; during the 1970s and ‘80s, she composed over one hundred works. Her music from this time also extends twentieth-century piano techniques, in pieces such as Toccata for Piano (1971), Seven Pieces for Marilyn (1982), Space Suite (1988), and Adventure in Sound (1989). Although Diemer retired in 1991, she has continued composing.

Diemer has received numerous awards including the Missouri Federation of Music Clubs

Award for Second Sonata for Piano (1955), the Arthur Benjamin Award for Orchestral Music for the second movement of the Symphony on American Indian Themes (1959), and a Certificate of Merit in 1977 from the Yale School of Music Alumni Association. Diemer composed for orchestra, chamber music, concertos, electronic music, choral, and voice; representative works include: Homage to Tchaikovsky for orchestra; A Requiem for woodwind quintet and string

96 Schlegel, 13.

97 Ibid. 63 quintet; Homage to Poulenc, Mozart, and MacDowell for flute, cello, and piano; Poem of

Remembrance for Clarinet and Chamber Orchestra; Concerto for flute; and Wedding Songs.98

Diemer’s music is best known for its embrace of various musical styles, neo-Classical and neo-Romantic elements, and easy accessibility for musicians as well as non-musicians.99

According to Chin-Min Lin, Diemer’s musical styles can be divided into three periods based on her compositional interests.100 Her early period, until 1970, was especially influenced by

Prokofiev and Hindemith.101 In her middle period, starting around 1970 and lasting through her retirement from teaching, she focused on electronic music, embracing many twentieth-century techniques and mediums, and harmonizing these elements with her earlier style.102 Toccata for solo piano (1979) was composed during this period. In her latest period, she has become more interested in jazz and folk music, influenced by composers such as Ravel, Gershwin, and

Copland.103 Piano Sonata No. 3 (2000) displays her use of jazz and folk idioms, and how she continuously incorporates new musical interests into her compositional style: “I like the elements of chance in composing. I like to feel I’m not bound by a certain set of rules. I can make my own rules and I always do. I guess I don’t have a system.”104

98 Catalog (accessed 10 January 2013); available from www.emmaloudiemermusic.com, internet.

99 J. Michele Edwards, “Diemer, Emma (Lou).” in The New Grove Dictionary of Music and Musicians, 2nd ed., ed. Stanley Sadie (New York: Grove’s Dictionaries, 2001), 7: 327–28.

100 Lin, 9.

101 Ibid., 10

102 Ibid., 14

103 Ibid., 16

104 Rediger, 27. quoted in Lin, 9.

4.1.2 Toccata for piano

Toccata for piano was composed in 1979 for Nozomi Takahashi, a piano student at

UCSB.105 Because Takahshi had small hands, Diemer composed this piece to emphasize “sound” rather than virtuosity.106 Diemer states that “Stylistically, I wanted to combine elements of earlier keyboard music with some 20th-century innovation: the general lightness of the motives, the repeated notes, the tightness of the melodic lines as well as the use of wider-ranged leaps were inspired by Scarlatti.”107 The piece features a wide range and lightness of the motives, and combines the generic features of the toccata with the very modern technique of creating sound effects by manipulating the piano from inside.

Formal and Phrase Structure

Toccata for piano is structured in ternary form. Diemer uses bar lines to indicate phrases and sections, instead of division by meter.108 Phrase structures are irregular; although the publishing company Arsis Press indicates 4/4, Diemer does not specify a time signature.

According to an e-mail exchange between Seon Hwa Song and the composer, that may be an automatically generated computer notation; it has no meaning.109 The motives in the first section are minimalist with a light character; this section also features rhythmic variety with syncopation and accents. A special sound effect is created by placing one hand flat on the strings while the other hand plays the motive. The second section uses the left arm to silently depress the keys of the lower two octaves, while the right hand plays various rhythmic and melodic motives which

105 Song, 48.

106 Schlegel, 109.

107 Ibid.

108 Ibid.

109 Song, 49. 65 appear in the first section. Fermatas between these motives change the mood and color. The third section follows the sfff. Opening with the motivic idea of the first section suggests recapitulation; however, the sound effects made inside of the piano are extended in this section. Indeed, the last part of this section does not have sound produced by keys, but rather by the strings inside the body of the piano. In this way, Diemer uses modern techniques to enlarge the traditional ternary form.

Texture

The overall musical textures are influenced by minimalism and focus on sound effects.

The light texture created by the continuously repeated short motivic single line in the right hand dominates the piece. These motives move within the fourth interval, and are moto perpetuo (see

Example 5.1).

Example 5.1, Emma Lou Diemer, Toccata for Piano, mm. 9-11

The toccata element is also present in the single note or chordal texture accompanied by repeated motion (see Example 5.2).

Example 5.2, Emma Lou Diemer, Toccata for Piano, mm. 1-2

The simple single line texture also plays the role of accompaniment motion when the “real” melodic line appears. These motions are notated with staccato, which results in a more percussive sound than toccatas usually have (see Example 5.3).

Example 5.3, Emma Lou Diemer, Toccata for Piano, mm. 4-5

The chordal motions with accents are also typical of the toccata genre (see Example 5.4).

Example 5.4, Emma Lou Diemer, Toccata for Piano, mm. 18-19

Making sounds from inside the piano creates overtone textures; this is most prominent in the second section, where the left hand plays tone clusters, because the dampers in the lower register are raised while the right hand plays short motives in upper register (see Example 5.5).110

110 James Harrington, “Muses Nine” American Record Guide 75, no. 3 (May–June 2012): 202-203. 68

Example 5.5, Emma Lou Diemer, Toccata for Piano, middle of m. 20

Melody and Rhythm

Because this toccata was composed to present new sounds, and because of the minimalistic motives, melodic lines are infrequent. However, in the beginning of the first section, the motives are enlarged by leaps covering an octave from middle B to b (B-C, B-E, E-F, E-G,

E-A, E-B) (see Example 5.2). Through this development, the dynamic also increases from pp to mf, intensifying the mood. This is followed by a descending and ascending melodic line (see

Example 5.3); a similarly scalar gesture later reappears with contrary motion in the left hand (see

Example 5.4, m. 18).

Rhythm is a more important element in this piece. Diemer uses syncopation and hemiola to create the rhythmic motion. Eighth notes syncopations frequently appear, bringing the excited character of jazz to the piece (see Example 5.2). While syncopation and hemiola are varied and

69 repeated in the right hand, the left hand plays repeated and perpetual motion with eighth notes

(see Example 5.2). When one hand is placed on the string inside the piano, the other hand plays repeated sixteenth notes rhythmic patterns with perpetual motion (see Example 5.1). The quarter note rhythm played by alternating hands and staccato eighth notes generate a percussive character (see Example 5.4). Diemer also manipulates rhythmic motions through different groupings. For instance, there are rhythmic groups of two to eight notes; because the time signature is not given, there is no limitation in combining these groups. Freely melding rhythmic groups with the use of accents and rests produces variation in color and atmosphere (see

Example 5.6)

Example 5.6, Emma Lou Diemer, Toccata for Piano, middle of m. 20

Distinctive Features

This toccata is especially distinctive because of the composer’s combination of toccata character and new piano techniques emphasizing “sound” rather than the virtuosity standard in toccata composition. Diemer employs new piano techniques to present modern sounds: using the extreme ranges of the piano, tremolo, pedal effects, dynamic changes, and arm clusters.

The extremely high register of the piano is used for sound effect rather than achieving an exact pitch (see Example 5.7).

Example 5.7, Emma Lou Diemer, Toccata for Piano, mm. 23-24

Fermatas create echoes, and even silence when they last long enough for the sound to almost disappear (see Example 5.8).111

Example 5.8, Emma Lou Diemer, Toccata for Piano, middle of m. 20

111 Emma Lou Diemer Toccata for Piano, (Washington: Sisra Publication, 1980).

The use of tremolo is very unusual for toccatas (see Example 5.5).112 The pedal markings provide unusual detail as well; Ped. I is marked as the soft pedal and Ped. III is the damper pedal.113 Diemer desired sounds that needed one or both pedals (see Example 5.2 and 5.5).

Extreme dynamic changes, ranging from ppppp to sfff, offer more unusual sound effects.

The closing dynamic is particularly unexpected; while toccatas generally have striking and loud endings to fit the showpiece character, Diemer’s piece fades away over ppppp (see Example 5.9).

Example 5.9, Emma Lou Diemer, Toccata for Piano, ending

The silent arm cluster in the left hand continues over two pages, while the right hand introduces short motives with rests and fermatas (see Example 5.6 and 5.8).

Sounds produced inside the body of the piano include placing the hand flat on the strings, using glissando on strings, and tapping the strings with a flat hand. Diemer indicates how these should be executed exactly. To “gradually place flat of L. H (or R. H.) very lightly (or hard) on strings,” one hand depresses the strings for the pitches played by the other hand, causing a sound with pitch but without vibration. The other indications are “gradually lift hand off strings,”

112 Song, 51.

113 Diemer, Toccata for Piano.

“depress silently with left arm the keys of the lower two octaves,” “rapid glissando on strings with back of fingernails,” and “pat strings with flat of hand” (see Example 5.10).

Example 5.10, Emma Lou Diemer, Toccata for Piano, middle of mm. 15, 17, 20, 30, and 33-34

The other distinctive feature of this piece is lack of functional harmony, despite the presence of a tonal center.

Performance Suggestions

The first step for the performer is understanding the exact intent of Diemer’s indications on the score. In addition to the specifications above, Diemer provides detailed descriptions for dynamic, pedal, and sound effects, such as in the marking cresc. “very gradual” seen in Example

5.2. For the repeated motives with sixteenth notes, the individual notes are not necessarily to be

74 heard, but the general sonority needs to be emphasized; this is indicated by “legato” (see

Example 5.11).114

Example 5.11, Emma Lou Diemer, Toccata for Piano, mm. 6-7

For sound effects, the composer’s directions are also very detailed, for instance, “rapid glissando on strings with back of fingernails” and “pat strings with flat of hand.” It is necessary to follow the composer’s exact indications to boost the effect of performance.

The techniques used in this piece appear in many other twentieth-century piano works.

For this piece, the performer needs to get used to utilizing the strings inside the piano. Diemer manipulates different techniques to produce modern sound and tone colors; therefore, the performer must familiarize themselves with unusual techniques and sounds. These techniques also carry new physical demands, such as changing the posture from sitting position to standing while pedaling; performers should practice these motions thoroughly.

The exaggeration of dynamics, jazz syncopation rhythms, irregular staccato rhythms, accents, and articulations is necessary for effective performance, as is the management of silence and echo effects and accurate pedaling. The performer needs to consider different tone colors and timbres, listening carefully for resonance.

114Song, 53.

4.1.3 Serenade/Toccata from Piano Sonata No. 3

Diemer’s toccatas cover multiple styles, having been composed roughly twenty years apart.115 Her Toccata for piano (1979) and Serenade/Toccata from the Piano Sonata No. 3

(1996–2000) reflect Diemer's embrace of different musical styles—from neo-Classicism and neo-Romanticism to jazz, folk, and electronic music—at different stages in her career.116 The

Serenade/Toccata is an unusual combination of two very distinct genres. In incorporating the lyrical serenade elements into the fast toccata, each genre is expanded by the characteristics of the other.117

Diemer composed Piano Sonata No. 3 between 1996 and 2000. It is structured as three titled movements: Serenade/Toccata, Interlude, and Tango Fantastique. The Serenade/Toccata was published separately in October 1996, and was premiered by Kathleen Muarry in January

1999 at the Festival of Contemporary Piano Music at Lawrence University, Appleton, Wisconsin.

Muarry went on to perform the premiere of the entire sonata in March 2001, at the Festival of

Women Composers International held at Indiana University of Pennsylvania. Because Diemer composed the piece for the Los Angeles pedagogue and pianist Carol Lancaster, it is the least technically demanding of her piano sonatas.118

Formal and phrase structure

115 Edwards.

116 Lin, 9.

117 Albert Mühlböck, “Touch: Toccata Projcet I” American Record Guide 73, no. 2 (March–April 2010): 208.

118 Ibid., 47.

Diemer defines “sonata” as a “sound piece” rather than a formal structure.119 In

Serenade/Toccata, large sections are marked by double bars; each section is further divided into

six subsections differing in thematic relationship, texture, and mood. Grouping the sections by

two produces a sonata structure: sections 1 and 2 are exposition; sections 3 and 4 development;

and sections 5 and 6 recapitulation plus coda (see Table 6.1).

Table 6.1, Emma Lou Diemer, Serenade/Toccata from Piano Sonata no. 3, Formal Structure

Sections I II III IV V VI Double bar mm. 1-107 108-188 189-203 204-231 232-282 283-402 Division (measure) Sonata form Exposition Development Recapitulation Coda Thematic Division mm. 1-107 108-188 189-231 232-282 283-362 362-402 (measure)

The first section introduces the first and second themes. The second section slows the

tempo while introducing new thematic motives in E-flat and D; this results in a more scattered

mood.120 In the third section, lyrical lines start to mingle with the percussive and repeated motion

typical of toccata; the section closes with a reappearance of the first theme as a fragment

transitioning to the next section (m. 203).121 Toccata characteristics dominate the fourth section,

with the first theme undergoing rhythmic and thematic variation. Both themes are recapitulated

at the beginning of the fifth section. The coda follows a short dramatic transition (mm. 343-361),

ending this piece with brilliant toccata chordal motion and moto perpetuo.

The first theme (mm. 1-10) is a lyrical melody consisting of two small phrases. It is

structured as 2+3 and 2+2+1 (see Example 6.1).

119 Emma Lou Diemer, e-mail message to Chin-Min Lin, 18 May 2007, Lin, 45.

120 Emma Lou Diemer, “Composers’ note” Piano Sonata No. 3, (Bryn Mawr: Hildegard Publishing Company, 2001).

121 Ibid. 77

Example 6.1, Emma Lou Diemer, Serenade/Toccata from Piano Sonata no. 3, mm. 1-10

The first phrase (2+3) reappears several times throughout the piece in varied form or fragmented, as 2+4 and 2+2+2 (see Example 6.2a and 6.2b).

Example 6.2a, Emma Lou Diemer, Serenade/Toccata from Piano Sonata no. 3, mm. 11-

Example 6.2b, Emma Lou Diemer, Serenade/Toccata from Piano Sonata no. 3, mm. 68-

Sometimes, this theme is manipulated by sequence (see Example 6.3).

Example 6.3, Emma Lou Diemer, Serenade/Toccata from Piano Sonata no. 3, mm. 215-

225

The theme may also be shortened (see Example 6.4).

Example 6.4, Emma Lou Diemer, Serenade/Toccata from Piano Sonata no. 3, mm. 256-

263

The variation of the thematic motive creates both regular and irregular phrases.

Texture

The serenade sections have a thin texture. While one hand plays the melodic line in eighth notes, the other has an accompaniment motion with long notes (see Example 6.1 and 6.2).

This light texture gradually changes with the addition of sixteenth notes that produce driving motion. These sixteenth notes are used in both melodic lines and accompaniment motion. The chordal motions thicken to establish a virtuosic character (see Example 6.5a and 6.5b).

Example 6.5a, Emma Lou Diemer, Serenade/Toccata from Piano Sonata no. 3, mm. 80-

Example 6.5b, Emma Lou Diemer, Serenade/Toccata from Piano Sonata no. 3, mm. 189-

197

Descending chordal motion in the middle voice also appears frequently (see Example 6.1).

The second section is more disjointed, with short chunks of many different textures.

Sixteenth-note Alberti bass accompanies the melodic line in mm. 133-148 and mm. 163-178 (see

Example 6.6).

Example 6.6, Emma Lou Diemer, Serenade/Toccata from Piano Sonata no. 3, mm. 163-

172

Because the main thematic elements return several times in different moods, the texture initially remains thin but with a different color. For instance, the texture of the first serenade section returns in the fourth section at m. 232, using staccato rather than slur, articulating with rests, and detached or accented notes rather than long notes, creates a very different mood (see Example

6.1 and 6.7).

Example 6.7, Emma Lou Diemer, Serenade/Toccata from Piano Sonata no. 3, mm. 232-

234

This is enhanced by the use of octave motion rather than single notes (see Example 6.1 and 6.8).

Example 6.8, Emma Lou Diemer, Serenade/Toccata from Piano Sonata no. 3, mm. 264-

269

The coda contains the thickest texture, with chords, tone clusters, and octaves creating a sense of dramatic climax (see Example 6.9a and 6.9b).

Example 6.9a, Emma Lou Diemer, Serenade/Toccata from Piano Sonata no. 3, mm. 379-

382

Example 6.9b, Emma Lou Diemer, Serenade/Toccata from Piano Sonata no. 3, mm. 387-

391

Other textural features in the piece include ascending and descending scales, arpeggio-like passages, grace notes, and glissando (see Example 6.2a, 6.2b, 6.10a, 6.10b, and 6.10c).

Example 6.10a, Emma Lou Diemer, Serenade/Toccata from Piano Sonata no. 3, mm.

326-333: glissando and arpeggio-like passage

Example 6.10b, Emma Lou Diemer, Serenade/Toccata from Piano Sonata no. 3, mm.

371-374: grace notes

Example 6.10c, Emma Lou Diemer, Serenade/Toccata from Piano Sonata no. 3, mm.

397- 399: glissando

Melody and Rhythm

The opening lyrical serenade theme is generically traditional: calm, peaceful, and light.

However, the melody continuously develops through repeating perpetual motions and rhythmic patterns of 3+3+2; this eventually produces the driving forward momentum associated with the toccata genre (see Example 6.1).122 In melodic fragments, the first theme is reversed (see

Example 6.2b), played by the opposite hand (see Example 6.3), and alternates between both hands (see Example 6.4).

The second theme, in E minor, has the same rhythmic pattern, but is darker and heavier in character. The eighth notes that comprised the main melodic line in the first theme are used for

122 Lin, 33 85 accompaniment motion in the second, while the melodic line is characterized by long notes (see

Example 6.11).

Example 6.11, Emma Lou Diemer, Serenade/Toccata from Piano Sonata no. 3, mm. 22-

29: second theme

The second section introduces new melodic lines; the four eighth notes create rhythmic stability in 2/4 (see Example 6.6). The fourth section changes the rhythmic value of the first theme by shortening note lengths and indicating staccato (see Example 6.7). The melodic line in this part loses its lyrical and peaceful character, becoming percussive and motoric. From m. 283, the recapitulation elements appear briefly in lyrical melodic lines, but soon vary with the use of the toccata character. Later, increasingly toccata-like sections do not contain specific melodic lines, focusing instead on rhythmic development.

Diemer changes the meter very frequently (8/8, 11/8, 3/8, 6/8, 9/8, 2/4). Melodic lines and textures vary section by section, but the main rhythmic pattern (3+3+2) is continuous. The combination of this pattern 3+3+2 over varying meters results in rhythmic swing, urgency, and propulsive motion.

Harmonic Progression

This piece is composed with traditional harmonic language and tonal concepts (see Table

6.2). The key signature is G major, but the piece ends with an A minor ninth chord missing both the third and fifth intervals. In general, Diemer leans more toward consonance rather than complex dissonance in this piece; this is considerably different from the Toccata for piano and other music composed in her middle period, which are modernized in part through dissonant writing.

Table 6.2, Emma Lou Diemer, Serenade/Toccata from Piano Sonata no. 3. Harmonic structure

Sections 1-107 108-188 189-231 232-282 283-361 362-402 (measure) Harmonic G e f Eb D C# G D Bb G e C A Progression 22 133 163 203 215 294

The harmonic progression outlined in Table 6.2 follows the bass motion. Despite the G major opening and the prevalence of consonance in this piece, the harmonic progression is not traditional. Harmonies sometimes have diatonic functions, for instance in the dominant-tonic harmonic relationship in mm. 6-11; tonic-relative minor relationship of the second theme in E minor (see Example 6.1 and 6.11); and many instances of circle of fifths bass motion (see

Example 6.11, mm. 26-29: G#-C#-F#; see Example Ex. 6.12, mm. 371-382: C-G-D-A-E-B).

Example 6.12, Emma Lou Diemer, Serenade/Toccata from Piano Sonata no. 3, mm. 371-

382

However, most progressions are not harmonically functional. Chromatic or diatonic descending harmonic progressions lead from one large harmonic progression to the next. For instance, the first theme reoccurs with variation in mm. 57-73; following this, the bass moves from G to D through m. 94 with both diatonic and chromatic descending scales (G-F#-E-D-C-B-A-G#-F#-E-

D). Similar descending motion occurs in mm. 215-232, from middle D to B-flat two octaves lower (D-C-B-A-G-F-Eb-diatonic scale-Bb).

Bitonality and modal scales also appear in this piece. The bitonality is created by juxtaposition of one tonality in the right hand and another in the left (see Example 6.2a, mm. 17-

21, and 6.13).

Example 6.13, Emma Lou Diemer, Serenade/Toccata from Piano Sonata no. 3, mm. 38-

41 and mm. 54-56

mm. 38-41

mm. 54-56

Diemer also uses the Lydian mode in this piece (see Example 6.14).

Example 6.14, Emma Lou Diemer, Serenade/Toccata from Piano Sonata no. 3, mm. 30-

Distinctive Features

Diemer’s compositional style in her late period is described as “eclecticism” or encompassing of diverse styles.123 Serenade/Toccata is emblematic of this style, incorporating jazz, popular music, folk music, new age, and even impressionistic elements. Hindemith’s musical philosophy influenced the piece’s level of difficulty and complexity, which allows the work to be played by both professionals and amateurs.124 It is unique in that, while the harmonic language and tone color is quite traditional, the process by which the toccata elements are created is distinctly untraditional. The opening lyrical theme evolves into a more toccata-like statement gradually. For instance, the “more aggressive” at m. 203 (see Example 6.15) heightens the standard propulsion associated with the genre;125 likewise, the fourth section (mm. 232-282) uses detached, accented, and articulated variation to add a percussive character to the theme (see

Example 6.7).

Example 6.15, Emma Lou Diemer, Serenade/Toccata from Piano Sonata no. 3, m. 203

Finally, the extreme range of register and colorful lyricism distinguishes this work from traditional toccatas.

123 Ibid. 16.

124 Ibid.

125 Emma Lou Diemer, Piano Sonata No. 3, (Bryn Mawr: Hildegard Publishing Company, 2001).

Performance Suggestions

The performer needs to establish distinct ideas for each section. For example, the opening serenade should be peaceful and lyrical; the second section calls for more rubato to deliver the free and diffuse atmosphere to audience the audience, but from m. 232 the performer should use a very strong touch to detach and accent each note. The performer must quickly move from relaxation to intensity to convey the contrast between the lyrical serenade sections and toccata sections. Likewise, rhythmic clarity is essential, as the piece contains many changes in meter

(e.g., in mm. 14–17, from 11/8 - 8/8 - 6/8 -8/8). The performer needs to have complete control over the meter shifts to present all of the rhythms precisely. The performer needs to follow

Diemer’s specifications for tempo and metronome markings in each section (e.g., in m. 1, dotted quarter note=132-138; in m. 108, quarter note=120). Diemer also indicates tempo changes: fast but lyrical, slight rit., a tempo, accel., a little slower, and slower.

Even though this piece is not as technically demanding as Diemer’s other sonatas, the performer still needs to practice appropriate fingering—a specification Diemer did not provide.

The performer should find fingering best suited to deliver the composer’s intent. Diemer also notes that “expressive range from a dolce cantabile to a driving and rhythmic urgency is needed.”126 Sound-wise, this requires the performer to clearly produce accented and detached sections, loud sections, and dreamy sounds for the lyrical melodic lines. This dreamy sound calls for a different conception of touch; rather than a core or compact sound from a deep touch, a light touch on the surface of the key is recommended. Diemer suggests playing freely to allow for diversity in harmonic color and timbre between the serenade and toccata sections.127

126 Diemer, “Composer’s note.”

127 Ibid. 91

CHAPTER 5

Conclusion

As the genre of toccata in piano literature reemerged in the Romantic period, its musical features highlighted with moto perpetuo, repeated and rapid motion, technical virtuosity, and brilliant character. These features have made the toccata a “showpiece” presenting the performer’s capacity for musical and technical brilliance. That virtuosic character led many composers in the twentieth-century to explore the toccata for solo piano: Debussy, Ravel,

Prokofiev, Khachaturian, Rorem and Antheil successfully modernized the genre through merging those toccata characteristics with Impressionism, Neo-Classicism, chromaticism, percussive treatment of keyboard, jazz and folk elements, and mechanical sounds. Post-1950, the toccata in piano literature has been continually enlarged through similar applications of diverse musical languages and new musical idioms. Toccatas composed by York Bowen, Robert Muczynski,

Sofia Gubaidulina, Nikolai Kapustin, and Emma Lou Diemer show these composers’ individual musical styles while maintaining the typical musical traits of the genre.

Bowen’s Toccata, Op. 155, maintains traditional harmonic and formal ideas, enriched with chromatic lines, subtle harmonies, thick textures with chordal perpetual motion, and technical difficulty. Muczysnki’s Toccata, Op. 15, represents his own style and feeling of “rage” through extreme chromaticism, polychords, intervallic motives of the fourth, tonal center among dissonances, ostinato patterns, hemiolas, and tone-clusters, all within traditional ternary form and regular phrases. Gubaidulina’s Toccata-Troncata uses contrasting formal structures to explore the characteristics of the toccata. The use of troncata and improvisation sections leave interpretation to the performer, emphasizing timbre and sonority above virtuosity. Kapustin’s

Toccatina, Op. 40, no. 3, incorporates jazz swing and harmonic progressions within a traditional

92 formal plan and typical perpetual and repeated toccata motion. Diemer’s Toccata for Piano emphasizes modern techniques by using inside the piano, and sonorities. Her Serenade/Toccata uses traditional harmonic languages full of consonances, yet most of the harmonies have no harmonic function. The toccata character is associated with jazz- and folk music-influenced rhythmic patterns and thematic variation.

In examining these toccatas, the genre’s emphasis on virtuosity remains intact, but these above mentioned composers are also constantly making use of the abundance of new techniques in pianism that remove formal, melodic, rhythmic, and technical limitations. Because the toccatas are short, they can move beyond technical virtuosity to explore many new musical idioms and concepts of twentieth-century composers.

There are other composers who composed toccatas in the late twentieth-century, including Lowell Liebermann (Toccata from Album for the Young), and Rodion Shchedrin

(Rondo Toccata from Piano Sonata No. 1). These examples and other compositions discussed in this study show that the toccata in the contemporary era through post-1950 not only appeared as an independent piece, but also appeared as a part of a suite or sonata. Just as other diverse musical movements in the twentieth and twenty-first centuries such as atonality, Neo-

Romanticism, Experimentalism, Minimalism, and Post-Modernism, the toccata genre in the contemporary era as can exist as a short piece as well as a part of bigger genre reveals various musical movements not only by engaging with the typical character of a toccata, but also by associating with a diverse formal plan, contrasting textures, various pianistic techniques, different genres, and unique timbres.

It is hoped that this study has contributed to an understanding of how composers in the late twentieth-century engaged with the genre, allowing performers to enhance and expand their musical and technical interpretations of these works.

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