A STUDY OF J. S. BACH’S TOCCATA BWV 916; L. VAN BEETHOVEN’S SONATA OP. 31, NO. 3; F. CHOPIN’S BALLADE, OP. 52; L. JANÁČEK’S IN THE MISTS: I, III; AND S. PROKOFIEV’S SONATA, OP. 28: HISTORICAL, THEORETICAL, STYLISTIC AND PEDAGOGICAL IMPLICATIONS by JANA KRAJČIOVÁ B.M., Northwestern State University of Louisiana, 2010 A REPORT submitted in partial fulfillment of the requirements for the degree MASTER OF MUSIC Department of Music College of Arts and Sciences KANSAS STATE UNIVERSITY Manhattan, Kansas 2012 Approved by: Major Professor: Dr. Sławomir P. Dobrzański Abstract The following report analyzes compositions performed at the author’s Master’s Piano Recital on March 15, 2012. The discussed pieces are Johann Sebastian Bach’s Toccata in G major, BWV 916; Ludwig van Beethoven’s Sonata in E flat major, op. 31, No. 3; Frederic Chopin’s Ballade in F minor, op. 52; Leoš Janáček’s In The Mists: I. Andante, III. Andantino; and Sergei Prokofiev’s Sonata in A minor, op. 28. The author approaches the study from the historical, theoretical, stylistic and pedagogical perspectives. Table of Contents List of Figures ................................................................................................................................ vi List of Tables ................................................................................................................................. ix Acknowledgements ......................................................................................................................... x Preface............................................................................................................................................ xi CHAPTER 1 - Toccata in G major, BWV 916 ............................................................................... 1 Brief Biography of Johann Sebastian Bach ................................................................................ 1 Manualiter Toccatas, BWV 910-916 ...................................................................................... 3 Toccata in G Major, BWV 916 ............................................................................................... 4 Theoretical Analysis ................................................................................................................... 6 I. (Allegro) .......................................................................................................................... 6 II. Adagio ............................................................................................................................. 8 III. Allegro e presto............................................................................................................. 10 Stylistic and Technical Considerations ..................................................................................... 15 Articulation ........................................................................................................................... 15 Tempo/ Meter ........................................................................................................................ 17 Dynamics .............................................................................................................................. 20 Ornamentation ....................................................................................................................... 21 Pedal ...................................................................................................................................... 22 Final Thoughts ...................................................................................................................... 24 CHAPTER 2 - Sonata in E-flat Major, op. 31, no. 3 .................................................................... 25 Brief Biography of Ludwig van Beethoven .............................................................................. 25 Beethoven’s Piano Sonatas ................................................................................................... 27 Sonata No. 18 in E-flat major, op. 31, no. 3 ......................................................................... 28 Theoretical Analysis ................................................................................................................. 30 I. Allegro .......................................................................................................................... 30 II. Scherzo. Allegretto vivace ............................................................................................ 36 III. Menuetto. Moderato e grazioso. ................................................................................... 39 IV. Presto con fuoco ........................................................................................................... 41 iii Stylistic and Technical Considerations ..................................................................................... 45 Articulation and Phrasing ..................................................................................................... 45 Tempo ................................................................................................................................... 46 Dynamics .............................................................................................................................. 48 Technique .............................................................................................................................. 48 Final Thoughts ...................................................................................................................... 52 CHAPTER 3 - Ballade in F minor, op. 52 .................................................................................... 53 Brief Biography of Fryderyk Franciszek Chopin ..................................................................... 53 Ballade in F minor, op. 52 .................................................................................................... 55 Theoretical Analysis ................................................................................................................. 57 Stylistic and Technical Considerations ..................................................................................... 65 Articulation, Dynamics and Phrasing ................................................................................... 65 Tempo ................................................................................................................................... 67 Pedal ...................................................................................................................................... 68 Final Thoughts ...................................................................................................................... 69 CHAPTER 4 - In the Mists: I, III ................................................................................................. 70 Brief Biography of Leoš Janáček .............................................................................................. 70 In the Mists ........................................................................................................................... 72 Theoretical Analysis ................................................................................................................. 74 I. Andante ......................................................................................................................... 75 III. Andantino ...................................................................................................................... 78 Stylistic and Technical Considerations ..................................................................................... 81 Articulation and Phrasing ..................................................................................................... 81 Dynamics .............................................................................................................................. 83 Pedal ...................................................................................................................................... 84 Tempo ................................................................................................................................... 85 Final Thoughts ...................................................................................................................... 86 CHAPTER 5 - Sonata No. 3 op. 28 .............................................................................................. 87 Brief Biography of Sergei Sergeyevich Prokofiev ................................................................... 87 Sonata No. 3 in A minor, op. 28 ........................................................................................... 89 Theoretical Analysis ................................................................................................................. 91 iv Exposition ............................................................................................................................. 92 Development ......................................................................................................................... 96 Recapitulation ....................................................................................................................... 99 Coda .................................................................................................................................... 100 Stylistic and Technical Considerations