AN EDITION OF OTTORINO RESPIGHI’S FANTASIA SLAVA, P. 50 WITH AN ANALYSIS OF HIS EARLY STYLE by JASON BRADLEY BAKER NOEL J. ENGEBRETSON, COMMITTEE CHAIR LINDA PAGE CUMMINS CRAIG P. FIRST TANYA L. GILLE DANIEL E. SWEANEY HOLLY L. GROUT A DOCUMENT Submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in the Department of Music in the Graduate School of The University of Alabama TUSCALOOSA, ALABAMA 2014 Copyright Jason Bradley Baker 2014 ALL RIGHTS RESERVED ABSTRACT Fantasia Slava, a 1903 work by Ottorino Respighi (1879-1936) for piano and orchestra, can be considered the embodiment of his early style. The characteristics of this style will be examined through brief analyses of four works written prior to Fantasia Slava: Violin Sonata in D Minor (1897), P. 15; Piano Sonata in F Minor, P. 16 (1897); Six Pieces for Violin and Piano, P. 31 (1901-2); and Piano Quintet in F Minor (1902). The characteristics developed over the course of these pieces directly affected the construction of Fantasia Slava and shows the young composer developing his compositional language. This document also includes an edition of Fantasia Slava for two pianos–one piano designated for the solo and another a piano reduction of the orchestral part. The sole publication of Fantasia Slava is the orchestral score from Ricordi, copyrighted in 1986. It is from this edition that the author has drawn his two-piano edition. The manuscript for Fantasia Slava, P. 50 was not available for review at the time of this document. Permission to utilize the first edition of the work in such a manner was graciously granted by Lucia Castellina, editor at Casa Ricordi, in a November 14, 2013, email to the author. The orchestral reduction is intended to reflect accurately the sonority and scope of the orchestra score, while remaining playable and true to the inherent properties of the modern piano. Critical notes following the edition reflect discrepancies between the orchestral score and the present edition. They also outline salient points regarding the edition’s creation. ii LIST OF ABBREVIATIONS BE Baker Edition bt. Beat bts. Beats Cb. Contrabass Cl. Clarinet in Bb FE First Edition Fg. Bassoon C.i. English Horn Fl. Flute Cr. Horn in F LH Left hand Ob. Oboe Perc. Percussion Pf. Piano Ott. Piccolo Tp. Timpani Tr. Trumpet in Bb Va. Viola Vc. Cello Vn. Violin iii ACKNOWLEDGEMENTS This document is incomplete without the acknowledgement of many individuals who unselfishly contributed their time, support, and expertise. The chair of my DMA committee, Dr. Noel Engebretson, has been at once my private instructor, mentor, and friend while a student at the University of Alabama. His encouragement accompanies me in every project, and I am blessed to henceforth have his influence in my teaching and musicmaking. Dr. Linda Cummins has been my advisor throughout my degree, but has made her impact felt in so many more ways. Her attention and care for others continue to be an inspiration to me, and I am endlessly thankful for her advice and wisdom on countless issues. Dr. Cummins will always have a special place in my heart. I am also indebted to the remainder of my committee for their remarkable influence throughout both my degree and the completion of this project. Their enthusiasm for detail pushed me to perform at my highest level, and they have inspired me to accept nothing less from myself as a scholar and a musician. Without their support and the influence of countless others, this project would have never come to fruition. Finally, I am thankful for the expertise of my friend and colleague, Dr. Amir Zaheri, and his assistance with the production of this edition. His experience with notational software and his willingness to assist me with the intricacies of notational conventions was without limit. He is truly an exemplary colleague, and sets a standard for unselfishness that I forever strive to meet. iv CONTENTS ABSTRACT .................................................................................................................................... ii LIST OF ABBREVIATIONS ........................................................................................................ iii ACKNOWLEDGEMENTS ........................................................................................................... iv LIST OF TABLES ......................................................................................................................... vi LIST OF EXAMPLES .................................................................................................................. vii PART ONE: 1. INTRODUCTION ...................................................................................................................... 1 2. RESPIGHI’S STYLE PRIOR TO FANTASIA SLAVA, P. 50 (1903) ......................................... 3 a. Violin Sonata no. 1 in D Minor, P. 15 (1897) ............................................................................. 3 b. Piano Sonata in F Minor, P. 16 (1897) ....................................................................................... 9 c. Six Pieces for Violin and Piano, P. 31 (1901-02) ..................................................................... 16 d. Piano Quintet in F Minor, P. 35 (1902) .................................................................................... 25 PART TWO: 1. INTRODUCTION TO FANTASIA SLAVA, P. 50 (1903) ......................................................... 36 2. CRITICAL COMMENTARY .................................................................................................. 48 3. FANTASIA SLAVA, P. 50 (1903) FOR TWO PIANOS ............................................................ 51 REFERENCES ............................................................................................................................. 81 RECORDINGS ............................................................................................................................. 84 v LIST OF TABLES 1.1. Compositions prior to Violin Sonata in D Minor, P. 15 (1897) .............................................. 8 1.2. Compositions between the Violin Sonata in D Minor, P. 15 (1897) and Respighi earning the violin diploma from Liceo Musicale Bologna in 1899 ................................................................... 9 2.1. Critical Commentary to Accompany the Edition ................................................................... 50 vi LIST OF EXAMPLES 1.1. Measures 1-7 from Violin Sonata in D Minor, P. 15: Mvt. I ................................................ 5 1.2. Measures 12-17 from Violin Sonata in D Minor, P. 15: Mvt. I ............................................ 6 1.3. Measures 41-44 from Violin Sonata in D Minor, P. 15: Mvt. I ............................................ 6 1.4. Measures 16-18 from Violin Sonata in D Minor, P. 15: Mvt. II ........................................... 7 1.5. Measures 5-8 from Violin Sonata in D Minor, P. 15: Mvt. III .............................................. 8 1.6. Measures 1-9 from Piano Sonata in F Minor, P. 16: Mvt. I ................................................ 11 1.7. Measures 26-27 from Piano Sonata in F Minor, P. 16: Mvt. I ............................................ 12 1.8. Measures 28-30 from Piano Sonata in F Minor, P. 16: Mvt. I ............................................ 12 1.9. Measures 34-36 from Piano Sonata in F Minor, P. 16: Mvt. II ........................................... 13 1.10. Measures 75-79 from Piano Sonata in F Minor, P. 16: Mvt. II ........................................... 13 1.11. Measures 1-4 from Piano Sonata in F Minor, P. 16: Mvt. III ............................................. 14 1.12. Measures 10-12 from Violin Sonata in D Minor, P. 15: Mvt. II ......................................... 14 1.13. Measures 1-9 from Piano Sonata in F Minor, P. 16: Mvt. III ............................................. 15 1.14. Measures 1-20 from Six Pieces for Violin and Piano, P. 31: Aria ...................................... 17 1.15. Measures 1-7 from Six Pieces fro Violin and Piano, P. 31: Leggenda ............................... 19 1.16. Measures 21-23 from Six Pieces for Violin and Piano, P. 31: Leggenda ........................... 19 1.17. Measures 1-6 from Six Pieces for Violin and Piano, P. 31: Berceuse ................................ 21 1.18. Measures 1-2 from Six Pieces for Violin and Piano, P. 31: Berceuse ................................ 22 1.19. Measures 1-4 from Six Pieces for Violin and Piano, P. 31: Melodia .................................. 23 1.20. Measures 4-9 from Six Pieces for Violin and Piano, P. 31: Serenata ................................. 25 vii 1.21. Measures 1-7 from Piano Quintet in F Minor, P. 35: Mvt. I ............................................... 27 1.22. Measures 1-8 from Johannes Brahms: Piano Quintet in F Minor, Op. 34: Mvt. I .............. 28 1.23. Measures 43-56 from Piano Quintet in F Minor, P. 35: Mvt I ............................................ 29 1.24. Measures 28-30 from Piano Quintet in F Minor, P. 35: Mvt. I ........................................... 30 1.25. Measures 144-146 from Piano Quintet in F Minor, P. 35: Mvt. III .................................... 31 1.26. Measures 61-63 from Piano Quintet in F Minor, P. 35: Mvt. I ........................................... 31 1.27. Measures 15-22 from Piano Quintet in F Minor, P. 35: Mvt. II .......................................... 32 1.28. Measures 27-30 from Piano Quintet in F Minor, P. 35: