INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. University Microfilms International A Beil & Howell Information C om pany 300 North Z eeb Road. Ann Arbor, Ml 48106-1346 USA 313/761-4700 800/521-0600 Order Number 9227213 John Ireland’s first sonata for violin and piano: An introduction to its study Harper, Nelson Owen, D.M.A. The Ohio State University, 1992 UMI 300 N. ZeebRd. Ann Arbor, MI 48106 JOHN IRELAND’S FIRST SONATA FOR VIOLIN AND PIANO: A N INTRODUCTION TO ITS STUDY DOCUMENT Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School of The Ohio State University by N elson Ow en H arper, B.M., M.M. * * #■ * * The Ohio State University 1992 Document Committee: Approved by: Professor Rosemary Platt 1— 0 ^ jQai.—(JL Document Adviser Professor Eileen Davis School of Music Professor Lora Gingerich Dedicated to Michael David Davis, my parents, and to the memory of Gregory von Stein ACKNOWLEDGEMENTS I would like to express my sincerest thanks to Dr. Rosemary Platt for her help and guidance throughout the years of Doctoral work, and a special word of thanks to her for seeing me through some especially difficult times along the way. In addition, I would like to thank the members of my Document and Recital committees for their constant support: Dr. Lora Gingerich, Professor Eileen Davis, Dr. Keith Mixter, Dr. Peter Costanza and Professor Helen Swank. I am grateful to Dr. Robert A. Fritz of the Library of Congress, Washington, D.C., for his help in finding the first version of Ireland's first sonata. Finally, eternal gratitude to Michael Davis for his input, for his beautiful performances of the work with me in London, Chicago and Columbus, and for all his caring and support. VITA April 20,1953 Born - Dayton, Ohio 1975 B.M.,The Ohio State University, Columbus 1978 M.M.,The Ohio State University, Columbus 1978-1986 Faculty Pianist, Jefferson Academy of Music, Colum bus 1984......................................................................................................Visiting Assistant Professor of Music, Antioch College 1986-1992...............................................................................................Adjunct Faculty, Denison University, Granville, Ohio 1991-Present.......................................................................................Lecturer in Piano, The Ohio State University FIELDS OF STUDY Major Field: Music Studies in Piano Performance and Chamber Music TABLE OF CONTENTS DEDICATION...................................................................................................................ii ACKNOWLEDGEMENTS............................................................................................iii VITA.................................................................................................................................. iv LIST OF EXAMPLES.....................................................................................................vii LIST OF FIGURES............................................................................................................ x LIST OF TABLES............................................................................................................. xi CHAPTER PAGE I. INTRODUCTION...........................................................................................1 Introduction.................................................................... 1 Biography..................................................................................................9 n. SONATA NO. 1 IN D MINOR FOR VIOLIN AND PIANO.............. 18 Background Information ......................................................................18 Structure..................................................................................................23 H arm ony.................................................................................................46 M elody.....................................................................................................54 Performance Problem s .........................................................................62 IE. FIRST VERSION OF IRELAND'S SONATA IN D MINOR.............. 71 First Movement......................................................................................72 Second Movement................................................................................. 75 Third Movement.......................... 76 v CONCLUSION .................................................................................................77 APPENDICES A. Music Deleted from First Movement in Revision................................78 B. Music Deleted from Third Movement in Revision...............................81 BIBLIOGRAPHY........................................................................................................... 85 LIST OF EXAMPLES Example Page 1. Theme Al. I: m. 1-15.................................................................................... 25 2. Juxtaposition of unrelated harmonies and tritone relationship. I: m. 17-18..................................................................25 3. Melodic and harmonic tritone....................................................................26 4. Them e A2.1: m. 25-31.................................................................................. 27 5. Theme B. I: m. 51-58..................................................................................... 27 6. Transition to development. I: m. 107-112 ................................................28 7. Development motive. I: m. 124-125.......................................................... 28 8. Close of first m ovement. I: m. 331-340..................................................... 30 9. Additional measures in recapitulation. I: m. 195-204........................... 31 10. Recapitulation, Theme B. I: m. 240-243..................................................32 11. Exposition segment. I: m. 102-106 ............................................................32 12. Segment alteration in recap. I: m. 291-295.............................................33 13. V7/V in recapitulation. I: m. 296-300 ..................................................... 34 14. Approach to coda. I: m. 311-315...............................................................34 15. Second movement introduction. II: m. 1-3............................................35 16. B section opening. II: m. 89-92..................................................................36 17. B section tritone and tonic statement. II: m. 93-99............................... 37 vii 18. Return of introduction. II: m. 138-143.................................................... 38 19. Close of second movement. II: m. 163-172 ............................................39 20. Third movement introduction. Ill: m. 1-10............................................41 21. Augmentation of Rondo theme. Ill: m. 57-64........................................42 22. Impressionistic accompaniment with Rondo theme. Ill: m. 181-183............................................... 43 23. Episode C. Ill: m. 73-83...............................................................................44 24. Episode D (beginning). IE: m. 84-92........................................................45 25. Episode E (beginning). El: m. 137-145 .................................................... 46 26. Major-minor alteration. II: m. 68-70 .........................................................47 27. Dominant chord ambiguity. Ill: m. 224-228 ..........................................48 28. Successive seventh chords. I: m. 12-15................................................... 49 29. Beginning seventh chord. I: m. 25-27 ..................................................... 49 30. Seventh chord arpeggios. El: m. 180-183............................................... 50 31. Chordal chromatic motion. I: m. 119-123............................................... 51 32. Chromatic motion with outer voice. I: m. 95-98.................................. 51 33. Added seconds. Ill: m. 6-10 ...................................................................... 52 34. Pedal tone. I: m. 112-116 ............................................................................52