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

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A Style and Performance Guide to Selected Piano Toccatas, 1957-2000 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 By 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. iii Copyright © 2013 by Eun-Joung Kim. All rights reserved. iv 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. v TABLE OF CONTENTS ABSTRACT ................................................................................................................................... iii ACKNOWLEDGEMENTS ............................................................................................................ v COPYRIGHT PERMISSIONS ..................................................................................................... vii 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 vi COPYRIGHT PERMISSIONS TOCCATA, OP. 155 by York Bowen. Copyright © 1996 by Josef Weinberger Ltd. Reprinted by Permission of JOSEF WEINBERGER LTD. TOCCATA, OP. 15 by Robert Muczynski. Copyright © 1971 (Renewed) by G. Schirmer, Inc. (ASCAP). International Copyright Secured. All Rights Reserved. Used by Permission. TOCCATA-TRONCATA from Selected Piano Works by Sofia Gubaidulina. Copyright © 1971 (Renewed) by G. Schirmer. Inc. (ASCAP). International Copyright Secured. All Rights Reserved. Used by Permission. 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. SERENADE-TOCCATA from Piano Sonata No. 3 by Emma Lou Diemer. Copyright © 2001 by Hildegard Publishing Company. Used by Permission of Composer. vii 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 viii 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 ix 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
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