Utah State University DigitalCommons@USU All Graduate Plan B and other Reports Graduate Studies 5-1970 Graduate Recital Robert S. Frost Utah State University Follow this and additional works at: https://digitalcommons.usu.edu/gradreports Part of the Music Education Commons Recommended Citation Frost, Robert S., "Graduate Recital" (1970). All Graduate Plan B and other Reports. 616. https://digitalcommons.usu.edu/gradreports/616 This Report is brought to you for free and open access by the Graduate Studies at DigitalCommons@USU. It has been accepted for inclusion in All Graduate Plan B and other Reports by an authorized administrator of DigitalCommons@USU. For more information, please contact [email protected]. GRADUATE RECTTAL by Robert S . Fr ost Report of ~ recital performed i_n partial f ul fillment of the. requirements for the degree of ~lASTER OF ~lUSIC UTAH STATE UNIVE'!SITY LoS" .:-tn , Utah 1 970 ACKN0 1.-n"EDG!1ENTS I wou l d l il'e to g i ve thanks to members of my conunittee , Professor Ral ph Hatesky , Dr . Max F. Dalby, and Dr . James P. Shaver, 1-1 i th s pecial appreciation to Professor t,_iatcs ky for hi s ~~uid.:.nce and encourngement in the study of the v i ola as my gr aduate instrument . I am [;rateful for the efforts spent in my behe l f by Jay 1-lauchl ey , my accompan ist , and Dan Pacl:: , a friend nne] colleague , 1-.1ho served as v i ol inist . I am most gro.teful and thank ful for my ,_,ife , DonCJ . lier support and patience in helpinb rue fulfill this assignment Here sincerely appreciated . Robert S . Frost TABLE OF Q)NTENTS Page INTRODUCTIOi'! • THE SUITE SONATc\ • 8 O'~N C E~TO 14 R.CC!TAL r'ROGR ..\.l ·l 19 PROG RAH fiOTES • 20 Antonio Vivaldi 20 Concerto in E minor for viol tt and pi cmo 22 Johann Sebastian Bach 25 Suite No . 1 for unacconpanied viol A 28 Ho lfg;:mg Amadeu s 1-bzart • 31 D..tet I·~ o. 1 f or violin nnG v i o l n 33 Arthur Honegger. 35 Sonata for viola and piano 37 l3I B L! OGRAP!.;'£ 40 VITA • 4 1 INTRODUCTION The acqu isitic n of nc·,., skills and the further development of previous skills has a luays been one of the ide ~ s beh ind the gr ~ du a te recital. Alo ng with ne\J skills come the knoHl edge ancJ ex r> erience necessary to affect the individual's own perforrntmce and t he perfonnance of t ho se Hhom he tea c hes . In music educ o: tion it is diff icul t t o teoch tha t which one has not vet e xperi enced or mastered and the grr; dU <:) te r e cital he l ps to fulfill t h e experience r equirenent and give nehr insights into understunding ll ll a spects of music as a lfistener, performe r, and teacher. The gradu Ate recita l trad ition a lly dra\·ls its liternture from a ll periods and representa tive f or ms . Be cause of the limited amount of literature available for the viola in some of these periods, it was ne cessary to u se sone tr E! nscriptions fror.1 the c e llo \Vorks of that period. The progrnrn Has selected in consultation 1,_, ith 1r..y viola ins t rueter, Professor Rc?. l ph l·~a tesky, and did confo rm to the e s tab­ lishe d standards for g r ~ du ate r eci t ~ l s . 111e recit ~ l report is used as an opportunity for the performer to study in s or.1c detail the evolution of the musica l forms th r! t \..•ere renr csented on his recit ~ l. The stud v of f: orn c.d ds dinension to the o u sic .:m d e nh ~ nces s-ood perf o rmance. Apprcci.:~tion fo r the \.'o r ks of e a c h of the cor:posers i s developed by studying a representative tvork in detail for its music r l structure . In addition to its historic c-~ 1 and t nusicolo g ic ~ l sir nific' nce , the l ife of t he composer i s viewed t.Jit ll i ts .ioys ;;nd sorrous--c:, c h phnsP in some Hc:J.Y Affecting the 2 music t hat \.J"as ·Hri tten . The development of the music,ol fo ~ m , the life of e~ ch of the compo sers , and the anal ys i s of the structural fonn of e ::- c h comt;os i t i on are given here as a rec apitul ation of the Gr;:!_duate recital. 3 TilE SUITE TI1e suit e or p:1rtita had its origin in the music and d.:mces of the eo.rly sixteenth century. The sui te t-Jas a co;.tbination of six- teen th century dances , and these dances '~·ere closel y connected Hith the music of that time . t~sic in the sixte enth century wns l argel y decora tive and was generally given in '' ••• the form of madrigal s and d ~ nces perf orl!lcd between the scenes of spoken drm!la."l h.v cn in the drama , the dances l.Jere close l y connect ed lvith vocal rr.us ic. " The French d ~ nces of the sixteenth centur y occupied a p ~. rticular p l ace ; they lvere popul ar everywhere. "2 The most popul ar French dnnces o f this period lvere the p.:tvane , gclillarde , allemande , courr:nte , and basse- d t'l nse. The pavane , of Spanish origin, Has executed i n slo\1.~ solemn move ments and ui th dignified g estures . It lvas usu ally \.o.rr i tten in s l oH dupl e ti r:~ e . The gaillnrde \vas " a 16th century d a nce in mo d erately qui ck triple time, lvith or \V i thout U !1 be£' t . I t t·as exe c ute d Hith exaggerated le.:w s u hich , tov:ard t ile. end of t he. 1 6th ce.nt urv, took on fea tures of gro ss obscenity ."3 1'he a llet"Jande tvas a dance in a moderate dupl e time . 'Ihis d nnce of l?rench orig in used simpl e dance steps o.nd no extr.r ordinory mo t ions. The couran te , also lnee.kmo.n c . Cannon , Al vin H. Johnson , .:!nd Hilliam G. Ha i te , The Art of !-!usic ( Ne\~ Yorio: Thomns Y. Cro\le ll Company , 1960), p . 221. 2Paul Henry Lang , l·_\.lsic In 1·lc s tern Civilization <r·:c\J York: t·l . \l. t:orto n & Company , I nc., 1941) , p . 2h5 . 3tiilli :1.pel , Ha rva rd Diction.1rv o f i ,u;· ic (Cambridge , Uassachuset ts: ll2.rv.1rd Univcr s i t ~ ' Pr 2. ss , 1 058 ) , p. 290-.--- 4 of Pre nch orie in, lv :::s " ••• a d ance ,.Ji.th juu::> ing move::ten ts a nG l.:ith a gre ~ t v a riety of e v ::> lu tions , .;> cco rding t o the. a bility and f .1 nc:l o f the dcmcer. "4 The courante was usua lly writ ten i n a moder a t e 3/2 or 6/4 tiBe Hith a frequent shift from one meter t o nnothcr . 11\iS shift o f me t er resulted in shifting accents \vi thin the r hyt hr.l Hhich bc c :i me a ty ·-· ica l fea ture of this dance . 'I'he b asse-dan se in contr a st t o the jumping ~ ovements in da nces such .:' S the gD ill a rde. u sed a gliding or lvalking movemen t of the f eet . It had a Glodcrat c tempo and uas \Yritten in duple time . These d ances were a lso fo :md in l:.ng l and, Spain , It ~ l y , and Ge rn ~ ny . The n nmes of the d 2. nces designa ted their chDr a ctc.r a nd made refere n ce to the ir geogrn.phic orig in .. The d ance forms appeared t!lOSt ofte n i n the count r y of the ir orig in; but when the d 2nce be.c "oe the b asis for a n ins·:: r umenta l foro, it quick ly be- c ame an i ntern.3ti o na l property .. In It."l y the dr>nces seemed to be more purel y instrur.1enta.l than i n Fr an ce , and in Geroany the poe tic origin of the d ances Has v e r y no t i ceabl e . TI1e Ger·1 an d .'::. nce.s Here b roken into b :o g r o u ps ; tlte Schreittanz , a slm-1 Ha lking da nce in bin.1ry tir·Ie , a nd the ."l pring t:mz , a lively d0nce in ternary time . In ,1l l the d"mces t he music :. l construc~ion is cl e. ..-. rl y periodic. A period of eight r.1e-1.sures , re ~ ... e ated Hi t h a differ ent c ndence at t he end , constitutes a fin i shed little mu s ic.r l fori'' ·.,·h ich bC:c:1me t he bn.s i s of al l instrut:-t c nt <'"! l :Jnd voc i"! l fo r ns of f u ture c enturie.s.