/N81 AI2319 Ti VILSKY' USE OF IEhPIAN IN HIS ORCHESTRAL WORKS THE IS Presented to the Graduate Council of the North Texas State College in Partial Fulfillment of the Requirements For the Degree of M1- JiROF JU.SIC by Wayne Griffith, B. Mus. Conway, Arkansas January, 1955 TABLE OF CONTENT4 Page LIST OF ILLUSTRATIONS . ,.. , , * . Chap ter I. THE USE OF PIANO1E A' Al ORCTHE TL I:ThUERIMT BEFOR 1910 . , , . , , l STRAICY II. S U6 OF 2E PIANO S E114ORCHES L ORK HIS OF "RUSIA PERIOD . 15 The Fire-Bird Pe~trouchka Le han u hossignol III. STAVIL C ' 0 USE OF TE PI 40IN 9M ORCHESTRAL .RKS OF HIS "NEO-CLASSIO" PERIOD . 56 Symphonyof Psalms Scherzo a la Russe Scenes IBfallet Symphony~in Three Movements BIIORPHYy * - . 100 iii 1I3T OF ILLUSTRATIONS Figure Page 1. Berlioz, Leio, Finale, (from Berlioz' Treatise on Instrumentation, p . 157) . 4 2. Saint-Saena, ym phony in 0-minor, (from Prof. H. Kling's Modern Orchestration and Instrumentation, a a.~~~~*f0" 0. 7 p. 74) . 0 0 * * * 3. Moussorgsky, Boris Godunov, "Coronation Scene,'" 36-40 mm.f . -a - - --. " " . 10 4. oussorgsky, Boris Godunov, "Coronation :scene," mm. 241-247 . f . * . 11 5. imsky-Korsakoff, Sadko , (from rimkir -Korsakoff' s Principles of 0rchtiration, Lart II, p. 135) . 12 6. ximsky-Korsakoff, The Snow aiden, (from Zimsky torsatoff'c tTTrin~lecs ofhOrchestration, Part II, . 01) . - - . - . * - - . 12 7 . i s akosy-. o Rf, TVe <now %aiN , (f 0r 1;i s^ky Korsaoif ' s Prciniles of Orchestration, Part II, 'p. 58) . aa. .a. .a- -.-"- -a-a -r . .". 13 8. Stravinsky, The Fire-Bird, "The Fire-Bird's Dance," 9. TheFire-Bird, "The Fire-Bird's Dance," m. 27 . * 22 10. ThFire-Bird, "The Fire-Bird's Dance," m. 29 . 23 11. TheFire-Bird, "Infernal Dance of K astchei ," Am. "e27-28 m.-0 - - 0* - 0 0 0 * . * . .0.f 23 12. The Fire-Bird, "The Fire-Bidi's Danee," mmi . 51-55 .- A.- . a- ..-- - - - . f a. .f.r. 24 13. The Fire-Bird, "InfernaL Dance of tastehei," M . 1- 0 * -- * * * * * * * * * * * * . * * 25 14. The Fire-Bird, "Infernal Dance of Kastenei," mm - 07076 - 0 * 0 * 0 * * . *.. 0 . 26 iv igure Page 15. The Fire-Bird, "Infernal Dance of kastchei ," . 0 27 16. Th e Fire-Bird , "Infernal Dance of astch.ei , 1 2 9 1 3 0 mm. - .-. , . , * . * . * . .-. 0 28 17. The Fire-Bird, "Infernal Dance of iastci ei, . 28 18. The Fire-Bird, "Infernal Dance of Ka thei, mm. 177-180 *.t-ik,. Ta . .a I . .... 8 . 0 29 19. 4stravinsky, Petrouchka, Tableau I, rm. 26-28 . 33 20. Petrouchka, Tableau I, mm. 23-27 . 34 21, etrouchka, Tableau I, . 42-51 . 35 22. Petrouchk, Tableau I, m. 74-82 . ., . 36 23. Petr.ouchka., Tableau I, "Russian Dance,U .. 9,.. , .* . , . 36 24. Petrouchkca, Tableau I, "Russian Dance," .. mm. 1- . n . 0 . 0 * 37 25* Petrouchka, Tableau I, "Russian Dance," ii.i 9-T. 0 . 38 26* Petrouchka, Tableau I , ".s9silDanee,I 1 -0 4-106 . .9 ., . 0,, . 458 27. Petrouchka , Tableau I, mn. 9-1 . 0 0 . 39 28. Ravel, Jeux d'Eau, m. 72 . , 0 . 40 29. Petroucka, Tableau II, mm. 19-20 . 0 ." . 40 30. Petroucka, Tableau II, mm. 27-28 . " . *. " 41 31. Petrouchka, Tableau II, mm. 33-36 . 42 32. Petrouchka, Tableau II, mm. 51-53 . 43 33. Petrouchka, Tableau II, mm. 76-77. 0 . 43 34. Petrouchka, Tableau III, "Vet-iurses' Dance," fn. 39-40 . ". *. 0.".-." ., ." .0 .0 .0 0. *. 0 . 44 V Figure 35. etrouchka, Tabieau IV, "Gypsies an a Rake ort mm. 10-12 44 36. 2r c a, Table IV, Th Ziv-T, F 45 . 2etrocchna, Tableau IV, "Dance of tie Coachmen," mm s . 8 - 2 . .r 4*. 0. a, 0.0 ". : .f .'. 45 66. Qetrouchk.a, Tableau IV, "'vswueraaer'," im. 4 '75j * * * . , * * . * - - * * " . * . 46 39. Petrouchka, abieau IV, Sas uerades mm. 1-2 . * * * 0 , . 9 47 40. Pe trouchka, Tabieau V , "The Shuffie," mm. 12-13 . , . " . 47 41. travinsky, te Oant duosigno , m-. 33-35 . 50 42. Le Chant Su ossigioi, MM. 151-153 . 50 43*. Le Chant diu osignot i, . .. f " 44. Le Chant du j:osigno1, imn. 130-131 . 45. L Cat du ossignol, mm. 198-204 . 52 46. Le Chant dujocsi1nomm. 367-369 . 53 7. ehant uSsinol, . 294-295 . 54 48. Le Chant d u R sig mm. 344-350 . 55 49. Stravinsky, . yjo of Psalms, First 4oveen " mm 1o . ' - * * - - - . 65 50. Symphony of' salms, First movement, mm. 15-20. 66 1. zhony .of Psalms, First :iovement,m. 65-67 68 52. Syphony 0v _ Psalms, First Movement, mm. 72-73 . 69 53. Syphonyo_ Psalms, Tiird iovunent, n i. 38-39 . 0 70 54. Sjyphny of Psalms, Third M ovement, Mm.T.911F. - - - -! -* -* -a -# -" -* .e 0 . 70 vi Figure Page 55, xyaphoy of Psalms, Third ovement , mm. 4-6 . 71 56. ymhon of Psalms, Third Moveme nt, tam. 39-41 . 72 57. ymphony of Psalms, Third Movement, mm. 92-97 . 73 58. yhonyof Psalms, Thi rd movement .*160 16 . 0 0. 75 59. Scherzo la a Russ, Trio I, mm. 5-7 . 76 60. Scherzo a_ is ,sse,t 1-4 . 77 61. Scherzo a I Russe, Trio II, mm. 1-2 . 78 62. Scenes de Ballet, Variation of the Ballerina, . 0 0 0 0 . * * * 0 0 . * * * . * 79 M 01-3 0 63. Scenes de Ballet, Introduction, mm. 1-5 . 80 64. Scenes de Ballet, Varia tion of the Ballerina, mm1. 30~-~3A . s.".s. .. .".". " . 81 65. cenes Ballet, de Pantomime, ma. 18-19 . 82 66. cencs de Ballet, 'tPas de Deux, " .mm.31-32 . 82 67. Scenes de Ballet, Tances ("corps de ballet"), mm. 36-39 * . 83 68. Scenes d e allt, "Pas de Deux," mm. 40-41 . 84 69. Scenes de Ballet, Apotheosis, mm. 18-22 . 86 70, ympony in Three Jovesents, First Movement, mm. ". - "- f- .- "-.-f- "- "-"- 1-4 "- . "." ". f. 88 71. JymJony in Three Movements, First Movement, .. 2- - *7 .- . 89 72. _ymp__n in Tiroe WMovoinen ts, Fir st Movonment 90 0 0 * .0 4 0 0 0, . a -~aU ". , honin Three Movements, First Movement, ran. 1 ~ s 7 . " " " " " . " r.".". .".f.". ". 90 74. symphony in t Movements, First hove-ent, mm. 144~~b2 . .' . 92 vii igure age 75. ymphny in Three movements, Firs tMovanent rum. 318~~7320T 7. ., . ,. 93 76. Syphn inThree hovanents, Third hovanent, mm. 113-118 . .. , . , * . ' . * 94 77. Symphony in Three Movements, Third Movaent, 781-4 in Three overents, - hir ho-v.em.ent, . 78. ymphny n Thee ovement , Third Movement, m. 2 2-205 ,! ,. , , , , , , a , , , , 9 viii CHAPTER I THE USE OF THE PIANO AS AN ORCHESTRAL INSTRUMENT BEFORE 1910 The use of the piano with the orchestra can be divided into three categories: as a solo instrument, as an accom panying instrument, or as a percussion instrument. 1 The piano was used only as a solo instrument in the time of Mozart and Haydn since the concept of orchestration at that time was "to bring out the melodic and harmonic structure of a work and to reveal all the musical substance it con tained.a 2 As lesson states: A diminutive orchestra in itself, the piano generally refuses to associate with the orchestra except in the piano concerto where it plays the domi nating part. The timbre of the piano blends poorly with the orchestra; it remains insoluble. This fact has been pointed out previously by Fetis (in his Curiosities of Music, 1829) after that eminent musi cologist had heard in London symphony concerts directed at the piano by Sir George Smart and Dr. Crotch.3 There exist comparatively few symphonic works in which the piano is treated simply as an instrument in the orchestra on the same footing as the other instruments, either as an >.aurice Gardner, &eOrchestrator's handbook, p. 48. 2 Boris de Schloezer, "Stravinsky; His Technique," Dial, LXX VI (January, 1929), 14. 3rnest Closson, History of the Piano, p. 10. 1 2 accompanying instrument or as a percussion instrument.4 In speaking of the treatment of the piano as just another in strument in the orchestra, Bernard Rogers states: Contemporary composers show an occasional dis position to add the piano to the orchestral ranks. Since it is in principle allied to the percussion instruments, it will be considered briefly here. The piano's traditional role as rival to the orchestral ensemble has gradually changed to that of color com plement; its wide palette has been incorporated into that of the orchestra. The piano's range slightly exceeds that of the full orchestra. Its color may be merged more or less freely with that of the other instruments. The modern attitude perhaps views the piano as a sonorous and rhythmic resource rather than as a lyric adjunct. How ever, melodic doublings are often found, especially in the higher and deeper areas. The upper tones of the piano add verve and clarity: they mix vividly with woodwinds and pizzicato, with harp and with the smaller percussive instruments. The deep sounds have great power and substance, especially valuable for bell-like suggestion. In this region, fine changing mixtures are possible with the large percussion, deep pizzicato, and low brass. The imaginative use of the damper pedal widens the piano's color scheme; the "una corda" effect is a fine one in the softer dynamics. Like other percussion instruments, the piano con sorts best with the wind choirs. Its tone is too ob jective and precise to form a natural union with (bowed) strings.5 Although the piano has become popular as an instrument in the orchestra only since the time of Stravinsky and his contemporaries, it appeared in symphonic works as early as 4 For purposes of this thesis, these two treatments will be considered as one.