The University of Sheffield Stravinsky’s piano works from three distinct periods: aspects of performance and latitude of interpretation Mengjiao Yan A thesis submitted for the degree of Doctor of Philosophy Department of Music The University of Sheffield Jessop Building, Sheffield, S3 7RD, UK September 2019 1 Abstract This research project focuses on the piano works of Igor Stravinsky. This performance- orientated approach and analysis aims to offer useful insights into how to interpret and make informed decisions regarding his piano music. The focus is on three piano works: Piano Sonata in F-Sharp Minor (1904), Serenade in A (1925), Movements for Piano and Orchestra (1958–59). It identifies the key factors which influenced his works and his compositional process. The aims are to provide an informed approach to his piano works, which are generally considered difficult and challenging pieces to perform convincingly. In this way, it is possible to offer insights which could help performers fully understand his works and apply this knowledge to performance. The study also explores aspects of latitude in interpreting his works and how to approach the notated scores. The methods used in the study include document analysis, analysis of music score, recording and interview data. The interview participants were carefully selected professional pianists who are considered experts in their field and, therefore, authorities on Stravinsky's piano works. The findings of the results reveal the complex and multi-faceted nature of Stravinsky’s piano music. The research highlights both the intrinsic differences in the stylistic features of the three pieces, as well as similarities and differences regarding Stravinsky’s compositional approach. These are considered important factors which could influence the interpretation of performers, and their decision making in regard to these three piano works. 2 Acknowledgments This research project would not have been possible without the assistance of a number of people. First, I would like to thank my parents for their consistent support and encouragement. Second, my thanks are also given to the staff at the Sheffield University Department of Music, in particular to my supervisor Prof. George Nicholson. I am also grateful for the support offered by Prof. Renée Timmers. I would also like to thank the six interviewees for their encouragement and the valuable information they provided. Third, I am particularly grateful to the Doctoral Development Support courses provided by the English Language Teaching Centre with special thanks to Dr. George Turner. 3 Table of Contents Chapter 1 Introduction ................................................................................................... 7 1.1 Motivation and personal interest ......................................................................................... 7 1.2 Background ......................................................................................................................... 9 1.3 Research aims .................................................................................................................... 10 1.4 Definition of latitude of interpretation .............................................................................. 11 1.5 Overview of thesis structure .............................................................................................. 12 Chapter 2 Literature Review ......................................................................................... 13 2.1 Introduction ....................................................................................................................... 13 2.2 Critical appraisal of key sources ........................................................................................ 14 2.2.1 Stravinsky’s own writings .......................................................................................... 19 2.2.2 Walsh biographies of Stravinsky: the role of Robert Craft ........................................ 22 2.2.3 Andriessen and Schönberger’s Apollonian Clockwork: On Stravinsky ..................... 27 2.2.4 Unifying elements in Stravinsky’s music .................................................................... 33 2.2.5 Stravinsky’s piano works: Griffiths (2013) Joseph (1983) ........................................ 35 2.3 Historically informed performance ................................................................................... 38 2.3.1 Tempo rubato ............................................................................................................. 40 2.3.2 Criteria of ‘good’ performance .................................................................................. 42 2.3.3 Summary..................................................................................................................... 43 2.4 Romanticism ...................................................................................................................... 44 2.4.1 Different perspectives on romanticism ....................................................................... 45 2.5 Objectivity ......................................................................................................................... 47 2.5.1 Different perspectives on objectivity .......................................................................... 48 2.5.2 Stravinsky’s concept of ‘pure music’ ......................................................................... 49 2.5.3 Chrononomy ............................................................................................................... 51 2.6 Early recordings ................................................................................................................ 53 2.6.1 Style changes in recordings ....................................................................................... 55 2.6.2 Recordings and the original score ............................................................................. 56 2.7 Summary of Chapter 2....................................................................................................... 58 2.7.1 Identifying gaps in the literature ................................................................................ 60 Chapter 3 Methodology ................................................................................................ 62 3.1 Introduction ....................................................................................................................... 62 3.2 Research approach ............................................................................................................. 63 3.2.1 Inductive reasoning .................................................................................................... 63 3.2.2 Qualitative research ................................................................................................... 64 3.2.3 Case studies ................................................................................................................ 64 3.3 Data-collection methods .................................................................................................... 66 3.3.1 Semi-structured interviews ......................................................................................... 67 3.3.2 Sampling of participants ............................................................................................ 68 3.3.3 Interview procedure ................................................................................................... 69 3.3.4 Recital ........................................................................................................................ 70 3.4 Data analysis ...................................................................................................................... 71 3.5 Research ethics .................................................................................................................. 71 3.6 Summary ........................................................................................................................... 71 Chapter 4 Overview of Stravinsky’s Compositional Career ............................................ 73 4.1 Introduction ....................................................................................................................... 73 4.2 Russian period ................................................................................................................... 73 4.2.1 Russian pedagogy ...................................................................................................... 73 4.2.2 The Belyayev Circle ................................................................................................... 75 4.2.3 Glazunov and Stravinsky ............................................................................................ 77 4.2.4 The piano as a percussion instrument ........................................................................ 78 4.2.5 Development of the piano........................................................................................... 79 4 4.2.6 Influence of folk music ............................................................................................... 81 4.2.7 The age of machines and technology ......................................................................... 83 4.2.8 Piano tone .................................................................................................................. 84 4.2.9 Influence of jazz and ragtime ....................................................................................