UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE A COMPOSITIONAL AND PERFORMER’S ANALYSIS OF DINU LIPATTI’S FUGUE, ROMANTIC SONATA, AND NOCTURNES A DOCUMENT SUBMITTED TO THE GRADUATE FACULTY in partial fulfillment of the requirements for the Degree of DOCTOR OF MUSICAL ARTS By DANIEL J. MILAN Norman, Oklahoma 2019 A COMPOSITIONAL AND PERFORMER’S ANALYSIS OF DINU LIPATTI’S FUGUE, ROMANTIC SONATA, AND NOCTURNES A DOCUMENT APPROVED FOR THE SCHOOL OF MUSIC BY THE COMMITTEE CONSISTING OF Dr. Barbara Fast, chair Dr. Jane Magrath, co-chair Dr. Marvin Lamb Dr. Jennifer Saltzstein Dr. Cătălin Teodoriu © Copyright by DANIEL J. MILAN 2019 All Rights Reserved. Acknowledgements First, I must acknowledge and thank my parents Jim Milan and Patty Milan, for without them I would not be doing this project or anything else at all. I sincerely thank you for your continuous and generous support personally, emotionally, academically, financially, and in every other way. I also give my gratitude and appreciation to both of my grandmothers, Marjorie Magee and the late Teresa Milan, for supporting and fostering my personal and musical development throughout my life. And to the rest of my family, friends, peers, and colleagues in general, I say thank you very much. In the United States, I give my sincerest thanks, gratitude, and appreciation to my professors and advisors Dr. Jane Magrath and Dr. Barbara Fast for the continuous support, guidance, advice, edits, and for indulging my passion-driven Romanian musical endeavors, and the remaining members of my doctoral committee for graciously serving and offering support and advice as well: Dr. Marvin Lamb, Dr. Jennifer Saltzstein, and Dr. Cătălin Teodoriu. A special thank you and appreciation is given to Dr. Matt Stock of the University of Oklahoma Fine Arts Library for guiding me on research needs and helping to process my many, many interlibrary loan requests; Dr. Silvan Negruţiu, Assistant Professor of Piano at Millikin University for his willingness to assist me in my research by sharing his own Dinu Lipatti monograph, suggesting sources, contacts, institutions, and for taking the time talk on the phone; Cătălin Teodoriu and Lavinia Teodoriu for their kindness, generosity, support, language and cultural insights, and for attending concerts both in the United States and România; my friend and flutist Octavian Moldovean for the support, laughs, and Romanian culture and language help; Robin Noad and Karen Noad for their wonderful friendship and for Robin’s help in the Media Library at the University of Oklahoma; Kirill Gerstein (Concert Pianist and Recording iv Artist) for introducing me to Mark Ainley’s “The Piano Files,” that include a significant amount of research on Dinu Lipatti; and Dr. Laura Melton and Dr. Donna Lee for their perpetual support and insights, both musically and personally. Thank you so much. In România, I give my sincerest thanks, gratitude, and appreciation to Grigore Bărgăuanu (Pioneering Lipatti Scholar, alongside and preceded by the late Dragoș Tănăsescu) and Viniciu Moroianu (Professor of Piano at Universitatea Naţională de Muzică Bucureşti) for so graciously responding to my e-mail inquiries as a foreign stranger and providing excellent information and perspective; Doina Rotaru, Award-Winning Composer and Artist-in-Residence and Professor at Universitatea Naţională de Muzică Bucureşti for her generous support, time, and efforts in using her credentials to assist in obtaining manuscripts and related research materials on Dinu Lipatti in Bucharest; Matei Bănică, Branch Manager at Librăria Muzicală George Enescu and Editor-in-Chief at Editura Muzicală Grafoart in Bucharest for answering so many questions, being such a crucial contact and support, and introducing me to the latest Romanian publications on the life and music of Dinu Lipatti; Oana Tinu-Beca, Event Organizer at Casa Artelor “Dinu Lipatti” in Bucharest for her tour and information about Casa Artelor “Dinu Lipatti” in Bucharest; Camelia Pavlenco, Professor at Universitatea Naţională de Muzică Bucureşti for her kindness, enthusiasm, and support; Alin Ionescu, Piano Teacher at Universitatea din Pitești for providing me (as merely a stranger on Facebook who wrote to him unannounced) with the crucial text, In Memoriam Dinu Lipatti – 60; and Cristina Popescu for referring me to the right people at Biblioteca Academiei Romane, and especially Anca Vitan at the same institution for scanning and sending the available Dinu Lipatti manuscripts in their possession. I would also like to acknowledge and thank in general the following institutions: Universitatea Naţională de Muzică Bucureşti; Universitatea Transilvania din Brașov; Uniunea v Compozitorilor și Muzicologilor din România; Librăria Muzicală George Enescu; Casa Artelor “Dinu Lipatti”; and Editura Muzicală Grafoart. Thank you to everyone who has been of assistance in this entire process. Cu stimă (Sincerely), Danny Milan vi TABLE OF CONTENTS Acknowledgements.........................................................................................................................iv Table of Contents...........................................................................................................................vii Abstract...........................................................................................................................................ix Chapter One: Introduction...............................................................................................................1 Purpose of Study..................................................................................................................5 Need for Study.....................................................................................................................5 Procedures............................................................................................................................8 Limitations...........................................................................................................................8 Organization of Study..........................................................................................................9 Related Literature...............................................................................................................10 Chapter Two: Biographical Sketch................................................................................................19 Chapter Three: Overview of Compositions...................................................................................39 Chapter Four: Fugue in E Minor, B. 4 (1934)...............................................................................62 Overview............................................................................................................................62 Compositional Analysis.....................................................................................................63 Performer’s Analysis.........................................................................................................69 Chapter Five: Romantic Sonata, B. 13 (1937)...............................................................................76 Overview............................................................................................................................76 Compositional Analysis.....................................................................................................77 Performer’s Analysis.........................................................................................................89 Chapter Six: Nocturne in A Minor (on a Moldovan Theme), B. 14 (1937)..................................92 Overview............................................................................................................................92 Compositional Analysis.....................................................................................................93 Performer’s Analysis.......................................................................................................102 Chapter Seven: Nocturne in F-Sharp Minor, B. 20 (1939)..........................................................106 Overview..........................................................................................................................106 Compositional Analysis...................................................................................................108 Performer’s Analysis.......................................................................................................113 Reflections...................................................................................................................................116 Bibliography................................................................................................................................118 vii Books...............................................................................................................................118 Articles and Journals........................................................................................................119 Dissertations.....................................................................................................................121 General Reference Material.............................................................................................122 Websites...........................................................................................................................122 Musical Scores.................................................................................................................122