Performance Challenges and Their Possible Solutions: Franz Schubert’s Piano Sonata in B-flat Major, D. 960 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 2011 by Sujung Cho MM, University of Cincinnati, 2002 BM, Ewha Womans University, 1999 Committee Chair: bruce d. mcclung, PhD Abstract As a practical performance guide, this document identifies performance issues for Franz Schubert’s Piano Sonata in B-flat Major, D. 960, and proposes possible solutions. The introduction provides a brief historical background of Schubert’s piano sonatas in general and the B-flat Sonata in particular. Chapter one demonstrates how a harmonic analysis of the B-flat Sonata can inform such performance issues as timing, pacing, and tone color. Chapter two concerns performance practice issues related to playing this sonata, such as tempos, repeat signs, dynamics, pedaling, rhythm, and memorization. Through a comparison of two performing editions and a critical edition, chapter three suggests the best editions for the B-flat Sonata. Consequently, I hope this document will become a practical source to help pianists interpret and perform Schubert’s B-flat Sonata. ii Copyright © 2011 by Sujung Cho. All rights reserved. iii Acknowledgements I would like to express my sincere gratitude to Dr. bruce mcclung, the document committee chair, for his devoted advisement throughout this entire project. My four beloved teachers and mentors, Awadagin Pratt, Elisabeth Pridonoff, Eugene Pridonoff, and Sandra Rivers, have to be acknowledged as well. Their unconditional support and encouragement have always given me motivation and inspiration through all the difficult times of my study at CCM. I would like to extend special thanks to my parents, Kyuwook Cho and Sunoae Kim, who have always trusted and firmly believed in their daughter for the entire time of her study in the United States. My appreciation also goes to other family members and friends who have supported my final project. I would like to dedicate this document to my family members who are not with me anymore but must be proud of my final achievement and completion of a doctorate degree at CCM. iv Table of Contents Abstract ………………………………………………………………………………………….. ii Acknowledgements ………………………………………………………………………........... iv Copyright Permissions ……………………………………………………………...................... vi List of Musical Examples ……………………………………………………………………… vii Introduction …………………………………………………………………………...………..... 1 Chapter 1: Harmonic Analysis of Key Areas and Its Application to Performance First Movement, Molto moderato …………………………………………………........ 10 Second Movement, Andante sostenuto ……………………………………………….... 22 Third Movement, Scherzo: Allegro vivace con delicatezza ……………………………. 28 Fourth Movement, Allegro, ma non troppo ……………………………………...…….. 32 Chapter 2: Practical Performance Issues and Their Solutions Tempo ………………………………………………………………………………….. 37 Matter of Repeats ………………………………………………………………………. 47 Dynamics ………………………………………………………………………………. 53 Pedaling ...........................…………………………………………………………….... 60 Rhythm ……………………………………………………………………………....… 66 Memorization ……………………………………………………………….................. 74 Chapter 3: Choice of Edition ……………………………………………………….………...... 80 Conclusion …………………………………………………………………….…………...…... 96 Bibliography …………………………………………………………………….………...….. 100 Discography ............................................................................................................................... 106 v Copyright Permissions Schubert, Franz. Klaviersonaten Band I. Copyright © 1978 by G. Henle Verlag München. Used by permission. ———. Klaviersonaten Band II. Copyright © 1978 by G. Henle Verlag München. Used by permission. ———. Sonate in B für Klavier, D. 960, Urtext der Neun Schubert-Ausgabe. Copyright © 1997 by Bärenreiter Verlag. Used by permission. ———. Sämtliche Klaviersonaten Band 3. Copyright © 1999 by Wiener Urtext Edition. Used by permission. vi List of Musical Examples 1.1. Franz Schubert, Piano Sonata in B-flat Major, D. 960, first movement, mm. 1–9 ………... 11 1.2. Franz Schubert, Piano Sonata in B-flat Major, D. 960, first movement, m. 9, trill ….......... 12 1.3. Franz Schubert, Piano Sonata in B-flat Major, D. 960, first movement, mm. 19–23 ........... 13 1.4. Franz Schubert, Piano Sonata in B-flat Major, D. 960, first movement, mm. 44–51 ........... 14 1.5. Franz Schubert, Piano Sonata in B-flat Major, D. 960, first movement, mm. 78–85 ........... 15 1.6.Franz Schubert, Piano Sonata in B-flat Major, D. 960, first movement, mm. 118– 22 ...….. 16 1.7. Franz Schubert, Piano Sonata in B-flat Major, D. 960, first movement, mm. 193–97…..… 17 1.8. Franz Schubert, Piano Sonata in B-flat Major, D. 960, first movement, mm. 235–43 ….… 18 1.9. Franz Schubert, Piano Sonata in B-flat Major, D. 960, second movement, mm. 1–5 .......... 22 1.10. Franz Schubert, Piano Sonata in B-flat Major, D. 960, second movement, mm. 63–65 ………………………………………….…………………………………………............... 24 1.11. Franz Schubert, Piano Sonata in B-flat Major, D. 960, second movement, mm. 103–10 ………………………………………………………………………….…………………... 25 1.12. Franz Schubert, Piano Sonata in B-flat Major, D. 960, third movement, mm. 1–15 ................................................................................................................................................ 28 1.13. Franz Schubert, Piano Sonata in B-flat Major, D. 960, third movement, mm. 41–57 …………………………………………………………………………………….....……... 29 1.14. Franz Schubert, Piano Sonata in B-flat Major, D. 960, third movement, mm. 91–112 ………………………………………………………………………….....………………... 30 1.15. Franz Schubert, Piano Sonata in B-flat Major, D. 960, fourth movement, mm. 1–20 ………………………………………………………….....………………………………... 32 1.16. Franz Schubert, Piano Sonata in B-flat Major, D. 960, fourth movement, mm. 156–62 ……………………………………….....…………………………………………………... 33 1.17. Franz Schubert, Piano Sonata in B-flat Major, D. 960, fourth movement, mm. 487–513 ………………………………………….....………………………………………………... 34 vii 2.1. Franz Schubert, Piano Sonata in B-flat Major, D. 960, first movement, Molto moderato, Tempo Chart ……………………………………………………....………….……...... 40–41 2.2. Franz Schubert, Piano Sonata in B-flat Major, D. 960, second movement, Andante sostenuto, Tempo Chart …………………………………………......................…….…………....….. 42 2.3. Franz Schubert, Piano Sonata in B-flat Major, D. 960, third movement, Allegro vivace con delicatezza, Tempo Chart …………………………………..……............…………...... 43–44 2.4. Franz Schubert, Piano Sonata in B-flat Major, D. 960, fourth movement, Allegro, ma non troppo, Tempo Chart ……………………………………...........…………..…………..…. 45 2.5. Franz Schubert, Piano Sonata in B-flat Major, D. 960, first movement, mm. 115–21 …………………………………………………………………………....………………... 48 2.6. Franz Schubert, Piano Sonata in B-flat Major, D. 960, first movement, first repeat, diagram ………………………....………………………………………………………… 49 2.7. Franz Schubert, Piano Sonata in B-flat Major, D. 960, first movement, draft, mm. 92–98 ………………………………....…………………………………………………………... 51 2.8. Franz Schubert, Piano Sonata in B-flat Major, D. 960, second movement, mm. 66–76 ……………………………………………....……………………………………………... 58 2.9. Franz Schubert, Piano Sonata in B-flat Major, D. 960, first movement, mm. 63–68 ………………………………………………....…………………………………………... 59 2.10. Franz Schubert, Piano Sonata in B-flat Major, D. 960, first movement, mm. 27–32 ...........................................................................................................................................… 63 2.11. Franz Schubert, Piano Sonata in A Minor, D. 784, second movement, mm. 1–16 ….......................................................................................................................................… 64 2.12. Franz Schubert, Piano Sonata in B-flat Major, D. 960, second movement, mm. 50–58 …………………………………………………………....………………………………... 67 2.13. Assimilation Practice ………………………………...…………………………………... 68 2.14. Franz Schubert, Piano Sonata in C Minor, D. 958, second movement, mm. 32–34 ....….. 69 2.15. Franz Schubert, Piano Sonata in B-flat Major, D. 960, second movement, rhythmic alignment between dotted rhythm and sextuplet, diagram …………………….....…....… 72 2.16. Franz Schubert, Piano Sonata in B-flat Major, D. 960, fourth movement, mm. 184–96 ………………………………………....…………………………………………………... 73 viii 2.17.a. Franz Schubert, Piano Sonata in B-flat Major, D. 960, first movement, Exposition, mm. 5–9 ………………………………………………………………………...………... 77 2.17.b. Franz Schubert, Piano Sonata in B-flat Major, D. 960, first movement, Recapitulation, mm. 219–24 …………………….....……………………………………………………... 77 2.18.a. Franz Schubert, Piano Sonata in B-flat Major, D. 960, second movement, Exposition, mm. 1–2 ……………………………………………………...…………...……………… 78 2.18.b. Franz Schubert, Piano Sonata in B-flat Major, D. 960, second movement, Return, mm. 90 – 91 ……………………………………………...………………………………. 78 2.19.a. Franz Schubert, Piano Sonata in B-flat Major, D. 960, fourth movement, Exposition, mm. 57–63 ………………………………………………………...……………………... 78 2.19.b. Franz Schubert, Piano Sonata in B-flat Major, D. 960, fourth movement, Recapitulation, mm. 338–43 …………………………………………..………...………………………... 79 3.1.a. Franz Schubert, Piano Sonata in B-flat Major, D. 960, first movement, mm. 1–20, Henle Urtext …………………………………………….....……………………………... 83 3.1.b. Franz Schubert, Piano Sonata in B-flat Major, D. 960, first movement, mm. 1–21,