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Information to Users INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. University Microfilms International A Bell & Howell Information Com pany 300 North Zeeb Road. Ann Arbor. Ml 48106-1346 USA 313/761-4700 800/521-0600 Order Number 9218947 A background and an analysis of Mozart’s piano concerto No. 24 in C minor, K. 491: Aids towards performance Rhee, Meehyun, D.M.A. The Ohio State University, 1992 UMI 300 N. Zeeb Rd. Ann Arbor, MI 48106 A Background and an Analysis of Mozart's Piano Concerto No. 24 in C minor, K. 4 91: Aids Towards Performance D.M.A. Document Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School of The Ohio State University By Meehyun Rhee, B.M., M.M. * * * * * The Ohio State University 1992 D.M.A. Committee: Approved by Sylvia Zaremba, Adviser Jerry E. Lowder, D.M.E., Co-Adviser Lora L. Gingerich, Ph.D. To My Parents ii ACKNOWLEDGEMENTS I wish to thank my co-adviser, Professor Jerry Lowder, for his precise guidance and encouragement during my research. His clear direction and suggestions were vital to the completion of this document. I respectfully acknowledge my advisor, Professor Sylvia Zaremba, for her distinguished piano instruction, and I am grateful for her personal support and encouragement. My sincerest appreciation goes to Professor Lora L. Gingerich for her comments and suggestions and for her clear and prominent theory education. To my husband, Kieyoung, I offer special thanks for his ceaseless support and understanding which he gave me during his own graduate work, for his encouragement was my strongest motivation. I thank my daughter, Woojung, for understanding my frequent absences. I am also truly grateful to my parents for their endless care and support. Finally, the assistance of Mario Estrada is gratefully acknowledged. iii VITA Meehyun Rhee May 1, 1961 .................... Born - Seoul, Korea February, 1984 .................... B.M., Piano Performance, Hanyang University, Seoul, Korea February, 1986 ................. M.M., Piano Performance, Hanyang University, Seoul, Korea 1989 - 1991........................ Graduate Teaching Associate School of Music, The Ohio State University, Columbus, Ohio FIELDS OF STUDY Major Field: Music Studies in piano performance: Professor Sylvia Zaremba Studies in piano Literature: Professor Donald Gren Studies in Piano Pedagogy: Professor Jerry E . Lowder Studies in Music Theory: Professor Lora L . Gingerich Studies in Music History: Professor Keith Mixter iv ✓ PERFORMANCES Graduate Student ^Recital Series Tuesday, May 24, 1988. 6:00 P.M. Weigel Auditorium Meehyun Rhee, Piano Program Ten Variations on an Air .A.Mozart of Chr. W. Gluck, G Major, K. 455 Sonata, A Major, Opus 120 Schubert Allegro moderato Andante Allegro Klavierstiicke, Opus 119 Brahms Intermezzo, B Minor Rhapsodie, Eb Major Intermission Le Tombeau de Couperin Ravel Prelude Forlane Rigaudon Menuet Toccata This recital is presented in partial fulfillment for the degree Doctor of Musical Arts for Ms. Rhee v Graduate Student Recital Series Saturday, February 18, 1989. 5:00 P.M. Hughes Hall Auditorium Meehyun Rhee, Piano Program F^tes galantes No. 1 C. Debussy En Sourdine Fantoches Clair de Lune Sieben Friihe Lieder A. Berg Nacht Schilflied Die Nachtigall Traumgekront Im Zimmer Liebesode Sommertage Don Giovanni W.A.Mozart "In quali eccessi, o numi" "Mi tradiquell1 almaingrata" assisted by Seonmi Koh-Noh, Soprano Intermission vx Trio for piano, clarinet and violincello J.Brahms A Minor, Opus 114 Allegro Adagio Andantino grazioso Allegro assisted by Dan Lochrie, clarinet Barb Naragon, cello This recital is presented in partial fulfillment for the degree Doctor of Musical Arts for Ms. Rhee. vii Graduate Student Recital Series Saturday, June 30, 1990. 8:00 P.M. Weigell Auditorium Meehyun Rhee, Piano Program Sonata for two pianos, D Major, K. 448 W.A. Mozart Allegro con spirito Andante assisted by Tziming Yang, piano Piano Concerto No.1. Eb Major F. Liszt Allegro maestoso Quasi adagio- Allegretto vivace- Allegro marziale animato assisted by Mingshan Kong, piano This recital is presented in partial fulfillment for the degree Doctor of Musical Arts for Ms. Rhee. viii Graduate Student Recital Series Tuesday, April 2, 1991. 8:00 P.M. Weigel Auditorium Meehyun Rhee, Piano Program Sonata Opus 10, No. 2, F Major Beethoven Allegro Allegretto Presto Sonata No. 2, Opus 35, Bb Minor F. Chopin Grave-Doppio Movimento Scherzo Marche Funebre Finale-Presto Intermission Quejas o la Maja y el Ruisenor E . Granados (The Maiden and the Nightingale) from "Goyescas" Fantasia Baetica Manuel de Falla This recital is presented in partial fulfillment for the degree Doctor of Musical Arts for Ms. Rhee. TABLE OF CONTENTS ACKNOWLEDGEMENTS .............................................. iii VITA .............................................................. iv LIST OF TABLES................................................. xii LIST OF FIGURES............................................. xiii CHAPTER PAGE I. INTRODUCTION.............................................. 1 Background.......................................... 5 Historical Background of W.A. Mozart.......... 5 Historical Background of the Concerto....... 12 List of References..................................17 II. RELATED LITERATURE AND SOURCES........................ 19 Description of research methods, sources........ 19 List of References................................. 30 III. PRESENTATION AND ANALYSIS.............................. 32 First Movement: Allegro............................ 33 F o r m ............................................. 34 Melodic characteristics 3 9 Harmony 4 5 Technical Characteristics..................... 50 Second Movement: Larghetto 5 6 F o r m ............................................. 57 Melodic characteristics....................... 60 Harmony......................................... 65 Technical Characteristics..................... 69 Third Movement: Allegretto 7 2 F o r m ............................................. 72 Melodic characteristics 7 6 Harmony......................................... 83 Technical Characteristics..................... 8.6 List of References..................................91 x IV. SUMMARY AND CONCLUSIONS................................ 93 BIBLIOGRAPHY 9 6 BOOKS ..........................................................9 6 ARTICLES...................................................... 97 MUSIC SCORES..................................................98 DISCOGRAPHY...................................................9 9 xi LIST OF TABLES TABLE PAGE 1. A List of Mozart's Piano Concertos.................... 12 2. Form of the First Movement............................. 35 3. Form of the Second Movement............................ 58 4. Form of the Third Movement............................. 73 xii LIST OF FIGURES FIGURES PAGE 1. First theme, 1st Movement............................ 40 2. Transition 2, Measures 35-40 ......................... 41 3. Measures 80-87, 1st Movement......................... 41 4. Piano theme 1, 1st Movement.......................... 42 5. Piano theme 2, 1st Movement.......................... 42 6. (a) Imitation at the octave, Measures 44-50; (b) Immediate repetition, Measures 148-154; (c) Imitation at the octave, Measures 200-207, 1st Movement....................................... 43 7. Measures 387-390, 1st Movement....................... 44 8. Nine-measure theme, 1st Movement.................... 4 6 9. (a) Measures 223-227; (b) Measures 234-239; (c) Measures 16-21, 1st Movement..................... 48 10. Interpretation of the first piano theme.............. 51 11. Measure 100, 1st Movement............................ 51 12. Pedalling in measures 123-134 ........................ 52 13. Exercise in measure 2 2 3 ............................. 53 14. Fingering in measures 337-338 and 341-342 ............54 15. First measure of Hummel's Cadenza................... 55 16. Fingering on long trills, Cadenza................... 56 17. Last measure of cadenza, 1st Movement............... 5 6 18. Theme, 2nd Movement................................... 60 xiii Measures 9-15, 2nd Movement................... 61 First episode, 2nd Movement................... 62 Measures
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