UNIVERSITY OF CINCINNATI _____________ , 20 _____ I,______________________________________________, hereby submit this as part of the requirements for the degree of: ________________________________________________ in: ________________________________________________ It is entitled: ________________________________________________ ________________________________________________ ________________________________________________ ________________________________________________ Approved by: ________________________ ________________________ ________________________ ________________________ ________________________ THE FIRST PIANO TRIO BY ROBERT MUCZYNSKI a thesis submitted to the Division of Research and Advanced Studies of the University of Cincinnati in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS in the Division of Keyboard Studies of the College-Conservatory of Music March, 2003 by Gregory Christian Kostraba B.A., The American University, 1989 M.M.., University of Cincinnati, 1991 Committee Chair: Robert Zierolf THE FIRST PIANO TRIO BY ROBERT MUCZYNSKI BY: GREGORY CHRISTIAN KOSTRABA THESIS ADVISOR: ROBERT ZIEROLF The purpose of this thesis is to provide a framework for the interpretative understanding of the First Piano Trio, Op. 24 (1966-67) by Robert Muczynski through a discussion of the distinctive qualities of his music, an overview of his chamber music with piano, and a detailed analysis of the trio. It is hoped that this study, which includes direct correspondence with the composer, will promote interest and performance of this distinctive yet little-known composition. The document includes four chapters. Chapter One provides an overview of the composer, including general style characteristics, biographical information, and awards and commissions he has received, then discusses the need for this study. Chapter Two summarizes the career of Muczynski's only composition teacher, Alexander Tcherepnin, as a means of determining the techniques that Muczynski was taught, then discusses in detail the distinguishing characteristics embedded in Muczynski's music. Knowing these elements-or "fingerprints"-can help guide performers through the complexities of Muczynski's music and provide an understanding that can lead to successful performances of his compositions. Chapter Three provides a brief overview of Muczynski's extensive body of chamber music with piano, including stylistic comments made by the composer, reviewers, and others who have studied the pieces. These observations will provide insight into particular characteristics of these works, including compositional style, musical and non-musical influences, and formal procedures. Chapter Four discusses the First Piano Trio in detail, including issues of form, harmonic motion, melodic and rhythmic content, and thematic transformation. It also focuses on performance considerations such as Muczynski's ensemble writing, and issues such as the balance between the instruments, the use of similar material in different guises by each instrument, and the unity and variety within the various textures employed. As a summary, Chapter Five places the fingerprints in the context of the First Piano Trio. Appendix A includes a bibliography and discography of Muczynski's chamber music with piano. Appendix B contains a complete list of the composer's works by genre. Copyright by Gregory Christian Kostraba 2003 All Rights Reserved ACKNOWLEDGEMENTS Special thanks to Robert Muczynski for his inspiration and friendship over the course of many years. I first became acquainted with Muczynski’s music early in my tenure at the College- Conservatory of Music. Robert Garcia and I went to the Hamilton County Public Library in downtown Cincinnati frequently to borrow LP and CD recordings. One day, while riffling through the stacks, I found two LPs of “Muczynski Plays Muczynski.” It was a composer with whom I was unfamiliar, so I took the recordings home and listened to them. The Second Piano Sonata struck me immediately as a masterpiece, so I purchased the score in Dallas in 1990 and began to learn it. After performing the sonata on a recital in the fall of 1992, I sent the recording to Muczynski. I did not receive an immediate reply, and in the meantime had found out about the Flute Sonata and played it on a doctoral recital the following spring (and on WGUC, an event that eventually led to my career in radio, but that’s another story). I sent that recording to Muczynski as well. This time, his reply came quickly. He enjoyed the performance of the Flute Sonata but was quite candid in his criticisms of the Second Piano Sonata. We have corresponded frequently in the intervening years as this doctoral thesis took shape, and as I have continued to champion Muczynski’s music in the concert hall and on the radio. Thanks also to Dr. David Tomatz and Gordon Epperson, my committee: Robert Zierolf, Stephanie Schlagel and William Black, Valerie Cisler, Marlon Kiser at WGTE-FM in Toledo, Greg Cornelius for his technical expertise, and many others for their time and assistance. I am grateful to my parents and wife for enduring many years of intermittent work on this project, thankful for the encouragement I received from Eugene and Elizabeth Pridonoff, and appreciative of the many years of inspired teaching by the late Richard Fields. Glory to God in all things! TABLE OF CONTENTS Page LIST OF TABLES ......................................................................................................................................... iii LIST OF MUSICAL EXAMPLES ......................................................................................................... iv Chapter I. INTRODUCTION AND BACKGROUND INFORMATION ....................................... 1 Need for the Study ....................................................................................................................... 5 II. ELEMENTS OF MUCZYNSKI'S STYLE: THE “FINGERPRINTS” ........................... 8 A. Studies with Alexander Tcherepnin ..................................................................................... 9 Scales ............................................................................................................................................. 11 Interpoint ...................................................................................................................................... 13 Individual Use of Traditional Forms ......................................................................................... 16 B. Other Fingerprints .................................................................................................................. 18 Rhythm .......................................................................................................................................... 18 Harmony ....................................................................................................................................... 20 The “Muczynski Chord” ............................................................................................................. 25 Widely-Spaced Sonorities ............................................................................................................ 28 Piano Writing ................................................................................................................................ 30 Melody ........................................................................................................................................... 32 Summary ........................................................................................................................................ 36 III. AN OVERVIEW OF MUCZYNSKI'S CHAMBER MUSIC WITH PIANO ................ 37 A. SONATAS ............................................................................................................................... 38 Sonata for Flute and Piano, Op. 14 ........................................................................................... 38 Sonata for Cello and Piano, Op. 25 ........................................................................................... 42 Sonata for Alto Saxophone and Piano, Op. 29 ....................................................................... 48 B. OTHER WORKS FOR TWO INSTRUMENTS ............................................................. 50 Time Pieces for Clarinet and Piano, Op. 43 ................................................................................ 50 Moments for Flute and Piano, Op. 47 ......................................................................................... 54 C. TRIOS ...................................................................................................................................... 57 Fantasy Trio for Clarinet, Cello, and Piano, Op. 26 ................................................................. 57 Second Piano Trio (Violin, Cello, Piano), Op. 36 ................................................................... 62 Third Piano Trio (Violin, Cello, Piano), Op. 46 ...................................................................... 68 IV. FIRST PIANO TRIO, OP. 24 .................................................................................................. 74 First Movement ............................................................................................................................ 77 Form ............................................................................................................................................