Krzysztof Penderecki's Cadenza for Viola Solo as a derivative of the Concerto for Viola and Orchestra: A numerical analysis and a performer's guide Item Type text; Dissertation-Reproduction (electronic) Authors Reiter, Erica Amelia, 1968- Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 27/09/2021 13:40:03 Link to Item http://hdl.handle.net/10150/289622 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 ^ewriter face, while others may be from any type of computer printer. 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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. UMI A Bell & Howell Information Company 300 North Zeeb Road, Ann Arfjor MI 48106-1346 USA 313/761-4700 800/521-0600 KRZYSZTOF PENDERECKI'S CADENZA FOR VIOLA SOLO AS A DERIVATIVE OF THE CONCERTO FOR VIOLA AND ORCHESTRA: A NUMERICAL ANALYSIS AND A PERFORMER'S GUIDE by Erica Amelia Reiter Copyright© Erica Amelia Reiter 1997 A Docimient Submitted to the Faculty of the SCHOOL OF MUSIC AND DANCE In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS WITH A MAJOR IN PERFORMANCE In the Graduate College THE UNIVERSITY OF ARIZONA 1997 UMI Number; 9738965 Copyright 1997 by Reiter, Erica Amelia All rights reserved. UMI Microform 9738965 Copyright 1997, by UMI Company. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. UMI 300 North Zeeb Road Ann Arbor, MI 48103 2 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Final Examination Committee, we certify that we have read the document prepared by Erica Amelia Reiter entitled KRZYSZTOF PENDERECKI'S CADENZA FOR VIOLA SOLO AS A DERIVATIVE OF THE CONCERTO FOR VIOLA AND ORCHESTRA; A NUMERICAL ANALYSIS AND A PERFORMER'S GUIDE and recommend that it be accepted as fulfilling the requirements for the Degree of Doctor of Musical Arts Jg^ey^^owell Date u Mark Rush Date V. \ _0k L Date ohn Fitch Date Final approval and acceptance of this document is contingent upon the candidate's submission of the final copy of the document to the Graduate College. I hereby certify that I have read this document prepared under my direction and recommend that it be accepted as fulfilling the document requirement. 7 Director Jeffrey Showell Date 3 STATEMENT BY AUTHOR This document has been submitted in partial fulfillment of the requirements for an advanced degree at The University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library. Brief quotations fi'om this document are allowable without specific permission, provided that accurate acknowledgment of source is made. Requests for permission for extended quotation fi'om or reproduction of this manuscript in whole or in part may be granted by the copyright holder. SIGNED: 4 ACKNOWLEDGMENTS I am greatly indebted to my mentor. Dr. Jeffrey Showell, for his guidance throughout my doctoral studies. To him goes my most sincere gratitude. Many thanks to Dr. Janet Sturman and Dr. John Rtch, for their counsel and support as committee members. I extend my thanks and gratitude to my graduate advisor and mother. Professor Jocelyn Reiter, for everything she has shared with me. My heartfelt thanks to Barbara and Harold Sack, who have supported me throughout my academic career. To ray sisters, Jocelyn and Elena, for their unique insights. And to Darin, for just about everything! 5 TABLE OF CONTENTS LIST OF ILLUSTRATIONS 6 ABSTRACT 7 L INTRODUCTION 9 Kr^fsztof Pendendd's three oonqxisitioiial periods 9 Cadenza for Viola Solo and Concerto for l^ola and Orchestra. 22 n. PARAMETRIC STRUCTURE CHART. 26 m. NUMERICAL ANALYSIS. 27 IV. PERFORMANCE ANALYSIS 28 V. SECTION L 29 StroctureCbaiL 29 Numerical Analysis 34 Perfoimance Ankysis 36 VI. SECTION EL 37 Structure Chart 37 Numerical Analysis 42 Perfimnance Analysis 46 vn. SECTION m. 47 Structure Chart 47 Numerical Ana^sis 52 Petfonnance Analysis 55 Vm. SECTION IV. 56 Structure Chart 56 Numerical Analysis. 61 Petfimnance Analysis 65 DC SECTION V. 66 Structure Chart 66 Numerical Anafysis 71 Performance Analysis 73 X. SECTION VL 74 Structure Chart 74 Numerical Analysis 79 Petfonnance Analysis 82 XL SECTION vn. 83 Structure Chart 83 Numerical Anafysis. 88 Performance Analysis. 91 xn. SECTION vm. 92 Structure Chart 92 Numerical Ana^isis 97 Performance Analysis 99 Xm SUMMARY. 100 APPENDIX A: PERMISSION FOR USE OF COPYRIGHT MATERIAL 105 REFERENCES i 106 6 LIST OF ILLUSTRATIONS FIGURE 1. Pendeiedd notadonal examples 11 FIGURE 2. Pendeiedd TTirenody, inm.8-9 12 FIGURE 3. Pendeiecld Threnody, mm. 1-2 13 FIGURE 4. Pendeiedd 7%reno4'. measure 70 14 FIGURE 5. Pendeiedd Dimensions of Time end Silence, mm. 46-47 15 FIGURE 6. Pendeiedd iTburescences; mm. 1-5 17 FIGURE 7. Pendeiedd Stabat Mater, mm. 90-94 18 FIGURE 8. Pendeiedd SL Luke Passion, Series 1 19 FIGURE 9. Pendeiedd St Luke Passion, Series 1 20 FIGURE 10. Pendeiedd Paradise Lost, Act 2, scene 5 21 FIGURE 11a. Numerical Key. 27 FIGURE lib. Pendeiedd Concerto for Viola and Orchestra, Lines 1-5 29 FIGURE 11c. Stiuctuie Chart, Lines 1-5 30 FIGURE 12. Penderedd Cadenza for Viola Solo, Lines 1-3 31 FIGURE 12a. Structure Chart, Lines 1-3 32 FIGURE 13. Penderedd Concerto for Viola and Orchestra, Lines 6-9 37 FIGURE 13a. Structure Chart, Lines 6-9 38 FIGURE 14. Penderedd Cadenza for Viola Solo, Lines 4-8 39 FIGURE 14a. Structure Chart, Lines 4-8 40 FIGURE 15a. Pendeiedd Cadenza for Viola Solo, Lines 7-8 46 FIGURE 15b. Penderxki Concerto for Viola and Orchestra, Lines 11-12, 20-21 47 FIGURE 15c. Stnictuie Chart, Lines Lines 11-12, 20-21 48 FIGURE 16. Penderedd Cadenza for Viola Solo, Lines 8-11 49 FIGURE 16a. Structure Chart, Lines 8-11 50 FIGURE 17. Penderedd Concerto for Viola and Orchestra, Lines 22-25 56 FIGURE 17a. Structure Chart, Lines 22-25 57 FIGURE 18. Penderedd Cadenza for Viola Solo, Lines 12-19 58 FIGURE 18a. Structure Chart, Lines 12-19 59 FIGURE 19. Penderedd Concerto for Viola and Orchestra, Lines 26-28 66 .FIGURE 19a. Structure Chart, Lines 26-28 67 FIGURE 20. Penderedd Cadenza for Viola Solo, Lines 19-22 68 FIGURE 20a. Structure Chart, Lines 19-22 69 FIGURE 21. Penderedd Concerto for Viola and Orchestra, Lines 21, 96-97 74 FIGURE 21a. Structure Chart, Lines 21,96-97 75 FIGURE 22. Penderedd Cc^lenza for Viola Solo, Lines 22-24 76 FIGURE 22a Structure Chart, Lines 22-24 77 FIGURE 23. Penderedd Concerto for Viola and Orchestra, Lines 28-29, 37, 48,65 83 FIGURE 23a. Structure Chart, Lines 28-29, 37,48,65 84 FIGURE 24. Penderedd Cadenza for Viola Solo, Lines 24-27 85 FIGURE 24a. Structure Chart, Lines 24-27 86 FIGURE 25. Penderedd Concerto for Viola and Orchestra, Lines 113-116 92 FIGURE 25a. Structure Chart, Lines 113-116 93 FIGURE 26. Penderedd Cadenza for Viola Solo, Lines 29-34 94 FIGURE 26a. Structure Chart, Lines 29-34 95 7 ABSTRACT The intent of this study is to ecplore the musical, structural, and intervallic relationship between Knqrsztof Penderecki's two works for viola, the Concerto for Viola and Orchestra and Cadenza for Viola Solo. The Concerto for Viola is a twenty-minute work accompanied by full orchestra; the Cadenzafor Viola Solo is an eight-minute solo work. In these viola works, Penderecki has encapsulated the characteristics of the viola: the tone, technical capacity, and character. Both of Penderecki's viola works demand and reinforce the unique qualities of the viola. This document provides a performance guide to help a performer develop more insight and understanding of the viola's individual qualities that are represented in these pieces. The comparison between the Concerto for Viola and Cadenza for Viola Solo is discussed in three sections. First, the two works are divided into logical sections and compared to one another in a parametric structure chart. The musical and structural features discussed in the performance analysis include motivic elements, articulations, rhythmic ideas, dynamics. The highest tier consists of larger concepts, such as structure, phrasing, and sequential patterns. The lower tiers focus on detailed comparisons including dynamics, note patterns, and fingerings. These musical and structural analyses of the Concertofor Viola and Cadenza for Viola Solo are represented in flowcharts. These flowcharts evaluate, along an aerial view, similarities and dissimilarities between sections, the merging of one section with another, and the formal structure of the two works.