Swedish Nationalism and German Classicism and Romanticism in the Works for Piano and Strings of Wilhelm Stenhammar Item Type text; Electronic Dissertation Authors Choi, Kyungsun 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 25/09/2021 07:59:00 Link to Item http://hdl.handle.net/10150/347231 SWEDISH NATIONALISM AND GERMAN CLASSICISM AND ROMANTICISM IN THE WORKS FOR PIANO AND STRINGS OF WILHELM STENHAMMAR by Kyungsun Choi _______________________ Copyright © Kyungsun Choi 2015 A Document Submitted to the Faculty of the SCHOOL OF MUSIC In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS In the Graduate College THE UNIVERSITY OF ARIZONA 2015 2 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Document Committee, we certify that we have read the document prepared by Kyungsun Choi entitled Swedish Nationalism and German Classicism and Romanticism in the Works for Piano and Strings of Wilhelm Stenhammar and recommend that it be accepted as the fulfilling requirements for the degree of Doctor of Musical Arts. _________________________________________________________ Date: 11/24/14 Paula Fan _________________________________________________________ Date: 11/24/14 Tannis Gibson _________________________________________________________ Date: 11/24/14 Lisa Zdechlik 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 by my direction and recommend that it be accepted as fulfilling the requirement. _________________________________________________________ Date: 11/24/14 Document Director: Paula Fan 3 STATEMENT BY AUTHOR This document has been submitted in partial fulfillment of 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 from this document are allowable without special permission, provided that accurate acknowledgement of source is made. Requests for permission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the copyright holder. SIGNED: Kyungsun Choi 4 ACKNOWLEDGEMENTS I would like to express my sincere gratitude to the whole of the piano faculty at the University of Arizona for their constant encouragement and support during the course of my degree. Thank you, Professor Gibson, for your sharing time for serving me as a committee member. Your opinion, discussion, advice, and guidance have been important to me all the time. Thank you, Dr. Zdechlik. I really enjoyed your class. I remember every moment of my presentation, master class teaching, and many assignments. Those experiences help me very much. It became my philosophical foundation on teaching my students. Also, thank you for your time for serving me as a committee member. Lastly, I would especially like to offer my deepest gratitude to my major professor, Dr. Fan, for your guidance in clarifying certain aspects of my argument in the dissertation, and for always responding to editorial requests in spite of your busy schedule. I am so grateful of your thoughtful suggestions and I really appreciate your patience and trust in me. I know without it I could have not made this. Thank you, Dr. Fan. You are the best. I am really happy that I am your last student and you are my last teacher in my life. I will always remember you and your teaching wherever I go. I would like to acknowledge Toru, Nancy, and Tommy who performed with me at my lecture recital. Thank you for sharing your precious talent and time with me. Finally, I would like to say thank you to my wife Sungkyung and my daughter Jisue. This accomplishment was only possible because of your best support. 5 DEDICATION This document is dedicated to my mother, who despite suffering a stroke in 2014, continues to be an inspiration to me. 6 TABLE OF CONTENTS LIST OF TABLES ............................................................................................................. 8 LIST OF MUSICAL EXAMPLES .................................................................................... 9 ABSTRACT ..................................................................................................................... 13 CHAPTER 1: INTRODUCTION ……............................................................................ 14 Intent and Scope of This Study ………………………………………………… 14 Review of Scholarly Literature ………………………………………………… 16 CHAPTER 2: BACKGROUND INFORMATION ......................................................... 21 Life and Works of Wilhelm Stenhammar ……………………………………… 21 The First Period (1880-1900) …………………………………………………... 28 The Second Period (1901-1909) ……………………………………………..… 32 The Third and Final Period (1910-1927) ………………………………….…… 37 CHAPTER 3: THREE MUSICAL TRAITS OF WILHELM STENHAMMAR ……… 43 Nationalism …………………………………………………………………….. 43 Vocal Music ……………………………………………………………. 47 Instrumental Music …………………………………………………….. 54 Sibelius and Nielsen ……………………………………………………. 60 German Romanticism ………………………………………………………….. 64 Influence of Brahms and Schumann …………………………………… 64 Influence of Wagner …………………………………………………… 67 German Classicism …………………………………………………….….……. 69 7 TABLE OF CONTENTS - Continued CHAPTER 4: ANALYSIS OF THREE WORKS FOR PIANO AND STRINGS .......... 73 Allegro brillante for Piano Quartet in E-flat Major (1891) ……………….……. 74 General Analysis …………………………………………………….….. 74 Folk Elements …………………………………………………….…….. 79 Romanticism ……………………………………………………….…… 85 Classicism …………………………………….………………………… 90 Allegro non tanto for Piano Trio in A Major (1895) …………………….……... 93 General Analysis ………………………………………………….…….. 93 Folk Elements …………………………………………………….…….. 97 Romanticism ……………………………………………………………. 99 Classicism ………………………………………………….………….. 102 Sonata for Violin and Piano in A Minor, op. 19 (1899-1990) ………….……... 106 General Analysis ………………………………………………….…… 106 Folk Elements ………………………………………………..….…….. 114 Romanticism ……………………………………………………..….… 117 Classicism ……………………………………………………………... 121 CHAPTER 5: CONCLUSION ....................................................................................... 124 APPENDIX: PERMISSION LETTERS FROM PUBLISHERS .................................... 128 REFERENCES ............................................................................................................... 129 8 LIST OF TABLES Table 2.1. Stenhammar’s Chamber Works …..…………………………….…………… 26 Table 2.2. Stenhammar’s Early Compositions (1880-1890) ………………..………....... 29 Table 2.3. Stenhammar’s Compositions Written in His Twenties (1891-1900) ............... 30 Table 2.4. Stenhammar’s Compositions from the Second Period (1901-1909) ………… 32 Table 2.5. Stenhammar’s Compositions from the Third and Final Period (1910-1927) ... 38 Table 3.1. History of the Nordic Region …………………………………….………….. 43 Table 3.2. Stenhammar’s Art Songs and Poets …….…………….……………..………. 48 Table 3.3. Stenhammar’s Opera/ Incidental Music and Librettists ………………….… 50 Table 3.4. Stenhammar’s Music for Choir and Poets ……..……………….…….…….. 51 Table 3.5. Stenhammar’s Works for String Quartet ..……..…………………….……… 56 Table 3.6. The Concert Program of Aulin Quartet: 1901-1902 Season ………………… 70 Table 3.7. Stenhammar’s Piano Recital Program in 1906 …………………………….... 71 Table 4.1. Structural Analysis of Allegro brillante for Piano Quartet (1891) ………..… 75 Table 4.2. Structural Analysis of Allegro non tanto for Piano Trio (1895) ………..…… 94 Table 4.3. Structural Analysis of Sonata for Violin and Piano, op. 19; Mvt. 1 ….…….. 107 Table 4.4. Structural Analysis of Sonata for Violin and Piano, op. 19; Mvt. 2 ............... 110 Table 4.5. Structural Analysis of Sonata for Violin and Piano, op. 19; Mvt. 3 ………... 112 9 LIST OF MUSICAL EXAMPLES Musical Example 3.1. Stenhammar, Symphony No. 2, op. 34; Mvt. 1, mm. 1-9……..… 55 Musical Example 3.2. Stenhammar, String Quartet No. 4; Mvt. 4, Vn, mm. 1-18.……... 58 Musical Example 4.1a. Allegro brillante, Exposition First theme, mm. 1-9.……….…… 76 Musical Example 4.1b. Allegro brillante, Exposition Second theme, mm. 67-73.……… 76 Musical Example 4.2a. Allegro brillante, Development Material 1, mm. 145-154…...… 76 Musical Example 4.2b. Allegro brillante, Development Material 2, mm. 171-177…..… 77 Musical Example 4.2c. Allegro brillante, Development Material 3, mm. 185-190..….… 77 Musical Example 4.2d. Allegro brillante, Development Material 4, mm. 221-228..….… 77 Musical Example 4.3. Allegro brillante, Transition to Coda, mm. 361-372.………..…... 78 Musical Example 4.4. Allegro brillante, Coda, mm. 415-426…..………..……….…..… 78 Musical Example 4.5a. Allegro brillante, mm. 67-70..………………………….………. 79 Musical Example 4.5b. Vil du min lille' trekant, Danish Folksong.................................... 79 Musical Example 4.5c. Se Norges blomsterdal, Norwegian Folksong.............................. 79 Musical Example 4.6. G Phrygian Mode........................................................................... 80 Musical Example 4.7. Allegro brillante, mm. 318-324..……………………….………... 80 Musical Example 4.8a. Allegro brillante, mm. 331-342..…………………….…………. 81 Musical Example 4.8b. Simple Polka