Sonata No. 2 in F Sharp Minor, Op. 13 by Nikolai Yakovlevich Miaskovsky: A detailed analysis and comparative study. Item Type text; Dissertation-Reproduction (electronic) Authors Haeseler, Lynn Cheryl. 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 03:50:16 Link to Item http://hdl.handle.net/10150/187444 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. 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Contact UMI directly to order. UMI A Bell & Howell Information Company 300 North Zeeb Road, Ann Arbor MI 48106-1346 USA 313n61-4700 8001521-0600 SONATA NO.2 IN F SHARP MINOR, OP. 13 BY NIKOLAI YAKOVLEVICH MIASKOVSKY: A DETAILED ANALYSIS AND COMPARATIVE STUDY by Lynn Cheryl Haeseler A Document 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 PIANO PERFORMANCE In the Graduate College THE UNIVERSITY OF ARIZONA 1 995 OMI Number: 9624149 UMI Microfonn 9624149 Copyright 1996, by UMI Company. All rights reserved. This microfonn 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 Lynn Cheryl Haeseler entitled Sonata >.10 2 in F sharp minor, op )3 by NjkoJai Yakovlevich Miaskovsky: A Detailed Analysis and Comparative Study and recommend that it be accepted as fulfilling the requirements for the Degree of Doctor of Jiusical Arts Date 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 requirement. Director Date 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 area allowable without special permission, provided that accurate acknowledgment 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 head of the major department or the Dean of the Graduate College when in his or her judgment the proposed use of the material is in the interests of scholarship. In all other instances, however, permission must be obtained from the author. (! SIGNED: 4 ACKNOWLEDGEMENTS I would like to thank the University of Arizona School of Music and my committee members Dr. Paula Fan, Dr. Rex Woods and Professor Nicholas Zumbro for their support and guidance in the completion of my doctoral degree program. Dr. William and Sarah Heed, Dr. Kim Hayashi and Dr. Barbara Kosta have my deepest gratitude for their devoted attention and boundless assistance in overseeing the development of this study. I would like to thank my good friend Richard Cameron who so graciously loaned the State Music publication of Miaskovsky's nine sonatas. I would like to acknowledge Cynthia Barlow who so earnestly prepared the musical examples. I am grateful to Vladimir and Reve EI for the Russian translation of many passages from important resources. And finally, I would like to express sincere appreciation to Dr. Paula Fan whose outstanding support and advice guided and nurtured my musical and professional development during my residence at the University of Arizona. 5 DEDICATION This paper is dedicated to Ma Miriam of Zion 6 TABLE OF CONTENTS LIST OF FIGURES ............................................................................................... 8 ABSTRACT .......................................................................................................... 1 0 1. INTRODUCTION ................................................................................................ 1 1 2. HISTORICAL SETTING................................................................................... 1 7 3. MIASKOVSKY'S BIOGRAPHICAL BACKGROUND .................................. 2 1 4. MIASKOVSKY - THE PEDAGOGUE ............................................................. 54 5. SONATA NO.2 IN F# MINOR, OP. 13: A HISTORICAL PERSPECTIVE AND SUMMARY OF FORM AND STYLE .............. 5 8 6. SONATA NO.2 IN F# MINOR, OP. 13: AN ANALYSIS ..................... 67 7. BACKGROUND AND OVERVIEW OF MIASKOVSKY'S PIANO SONATAS .................................................................................... 87 8. CONCLUSION .................................................................................................. 1 04 APPENDIX A - PEDAGOGIC GENEALOGY OF RUSSIAN COMPOSERS ........................................................................................ 1 06 APPENDIX B - A CHART GIVING THE FORM AND INFORMATION ON SONATA NO. 2 .................................. 108 APPENDIX C - ADDITIONAL INFORMATION TO SLONIMSKY'S LIST OF PIANO SONATAS ............................................................ 1 1 1 APPENDIX D - TRANSLATION OF KUNIN'S "DATES IN THE LIFE AND WORK OF NIKOLAI YAKOVLEVICH MIASKOVSKY".1 1 4 APPENDIX E - SCORE OF SONATA NO.2 IN F# MINOR ....................... 1 26 7 TABLE OF CONTENTS-Continued REFEREN"CES .......................................................................................................... 1 5 7 8 LIST OF FIGURES FIGURE 1: Beginning and ending measures juxtaposed ................... 62 FIGURE 2: Theme of introduction .............................................................. 67 FIGURE 3: Analysis of first six measures of introduction ............... 6 8 FIGURE 4: Octatonic scale on c# .................................................................. 6 9 FIGURE 5a: Foreshadowing of the exposition's first theme .............. 70 FIGURE 5b: First theme pitches from f# minor scale ........................... 70 FIGURE 6: Beginning of exposition ............................................................ 7 1 FIGURE 7: Exposition material sequenced.............................................. 72 FIGURE 8: Scale derived from motives y and z .................................. 7 3 FIGURE 9: Climax of exposition ................................................................... 74 FIGURE 10: Transition to second theme .................................................... 75 FIGURE 11: Definition of home key ............................................................. 7 5 FIGURE 12: Modulation to key of second theme .................................... 76 FIGURE 13: Second theme................................................................................ 7 6 FIGURE 14: Transition to first variation .................................................... 7 7 FIGURE 15: First variation of second theme ............................................ 77 FIGURE 16: Transition to second variation ............................................... 7 8 FIGURE 17: Second variation of second theme ....................................... 78 FIGURE 18a: Medieval chant "Dies Irae" ...................................................... 79 FIGURE 18b: Closing theme ................................................................................ 80 FIGURE 19: Beginning of development ...................................................... 8 1 FIGURE 20: Second section of development.. ........................................... 8 1 FIGURE 21: Third section of development.. .............................................. 8 2 FIGURE 22: Beginning of recapitulation ..................................................... 8 3 FIGURE 23: Beginning of coda ........................................................................ 84 FIGURE 24a: Modified first theme at climax of coda.............................. 8 5 FIGURE 24b: First theme....................................................................................