Download - CSUN ScholarWorks

CALIFORNIA STATE UNIVERSITY, NORTHRIDGE
GRADUATE and CONCERTO IN PIANO
WORKS BY BACH, BEETHOVEN, CHOPIN, DEBUSSY, MUCZYNSKI, AND
GRIEG
An Abstract submitted in partial fulfillment of the requirements
For the degree of Master of Music
In Performance
By
Zhenlin Zheng
December 2013
The abstract of Zhenlin Zheng is approved:
____________________________________
_____________________
Dr. Pei-shan Lee
Date
____________________________________
_____________________
Dr. Jacqueline M Salas
Date
____________________________________
_____________________
Dr. Dmitry Rachmanov, Chair
Date
California State University, Northridge
ii
Table of Contents
Signature Page………………………………………………………………………………… ii
Abstract…………………………………………………………………………………………..iv
iii
ABSTRACT
RECITAL and CONCERTO WORKS BY BACH, BEETHOVEN, CHOPIN,
DEBUSSY, MUCZYNSKI, AND GRIEG
By
ZHENLIN ZHENG
Master of Music in Piano Performance
Edvard Grieg: Piano Concerto in A minor Op. 16
Piano Concerto in A minor stands out as one of the notable landmarks in Grieg’s
creative output, due to its high popularity among not only the Norwegian musician’s
own works but among all the piano concerti in the piano literature. Being recognized
as the best work of Grieg’s early period, this piece has always been compared to the
piano concerto by Robert Schumann. They are associated with each other because
their overall styles are closer than any other romantic piano concerti. It seems that
Grieg was definitely influenced by the Schumann concerto as he heard this work
before 1860. However, Grieg succeeds in producing a work of its own unique value.
The structure of the first movement Allegro molto moderato typically is cast in a
sonata form. Grieg eschews the double exposition characteristic of the classical
concerti. The concerto opens with the grand piano theme introduced by the impressive
timpani roll in the first bar, creating a festive mood. The orchestral part enters at bar 7
and plays the lyrical yet rhythmically incisive main theme with solo piano following
suit. The second subject is poetic and gentle. In the cadenza, one can find a
combination of melodic octaves in which the right hand plays accompanying thirtysecond notes and the left hand gives rapid and wide-ranging arpeggios. Finally, the
iv
first movement ends with a series of descending octaves in triplets, corresponding to
the opening theme.
The second movement is Adagio in D-flat major and the atmosphere of its
thematic material and harmonic language suggests a lyricism of a nordic flavor. The
orchestral introduction states the main theme. A few bars later, the piano comes in
with a serene passagework outlining the main theme, accompanied by the strings, and
it reaches an exultant climax in bar 54. After a cantabile closing theme, a peaceful
conclusion is gradually achieved resting on the D flat major chord.
The third movement has an “A-B-A” form in which the varieties of themes of the
“A” section have a lively and playful character. The first and third themes feature
folk-like dance style, which stands in sharp contrast to the lyrical middle section,
beginning from bar 162. The whole piece finally concludes with the coda exuding a
feeling of a grand apotheosis.
Johann Sebastian Bach: Italian Concerto BWV 971
The Italian Concerto was published in 1735 along with the French Overture. The
title indicates that the composer imitates the architecture of a baroque concerto grosso
that had been developed since the late seventeenth century. This type of concerto is
represented by a number of soloists (or the concertino) versus the full orchestra (or the
tutti). It seems that the nature of the idea of this antiphonal inter change between these
two groups of players attracted Bach’s interest and drove him to imitate this concerto
grosso style on the harpsichord. Bach employs rich texture of octave doubling for
forte versus single tone for piano dynamics and uses them with fine efficiency.
v
In the first movement, distinct sections represent the concertino parts in ritornello
style. Bach opens with the F major chord to bring in the tutti. The main subject stands
for the orchestral tutti. The concertino sections are marked by fortes in the right hand
and piano in the left hand, as in bar 30, or, as in bars 67-86 and 129-138 with both
hands playing piano.
The second movement begins with the rising and falling aria-style theme in the
right hand. While accompanying figurations in left hand remain piano, forte stays for
a solo instrument is implied in the right hand. Such dynamic balance again follows the
conventional idea of the concerto grosso. Bach creates the forte parts in the style of a
violin solo and the left hand part functions as its accompaniment. The main contrast
between the first two movements lies in the fact that the concertino and the tutti styles
are no longer completely separate in the second movement. Here the accompaniment
at times gets softer than its corresponding solo parts. A clavichord effect may be
achieved by applying small crescendos and diminuendos.
The last movement features a series of continuous taking turns between forte and
piano in both hands occur right after the first “tutti”. With clear cadential divisions
marking individual sections, the succession of concertino and tutti produces a varied
and lively effect in creating a dynamic finale.
Ludwig van Beethoven: Sonata Op. 31 No. 3
As the third and last one of Beethoven’s Op. 31 piano sonatas, the Sonata in E-flat
major dates from 1802. Throughout this work, Beethoven maintained a sense of
humor, despite the fact that in that year the great composer wrote to his relatives and
expressed the decision to devote himself to art after abandoning the suicidal thoughts
that haunted him due to his ever worsening deafness. Just like many of his early
vi
works, profound strength of character and depth of emotion are concealed by the
facade of a jocularity in this piece.
Allegro
An evocative, off-tonic opening theme is apparent and the starting point holds the
conventional closure signs like the cadential progression and motivic repetition. A
lyrical minuet consists of generic and syntactic components and is reserved for the
later stages. This contrasts the second subject’s brilliant style that begins with a
weakly articulated tonic but gradually gives way to a perfect cadence. New context is
introduced and additional meanings are invested in the recapitulation. The specially
designed provisional coda displays the composer’s superb skills.
Scherzo: Allegretto vivace
Unlike many regular scherzos, this movement is written in the sonata allegro form.
It is highly original and achieves a Mendelssohnian gossamer lightness with
unexpected pauses and jocular but raucous turns. Four themes are differentiated in the
exposition by using varied rhythmic patterns and pitch shapes to realize a tonal drama.
The recapitulation, in which modifications against expected devices created earlier, is
made again. The main theme in fluent semiquaver motions appears as an embedded
parting summary.
Menuetto: Moderato e grazioso
Compared with other movements, this one is surprisingly more serious when both
the minuet and the trio are presented in a sweet and tender manner. An unbroken
lyricism is found in the minuet style of the third movement in which long melodic
lines prevail over harmonic articulation at the ends of phrase. This is quite rare in
vii
classical minuets. The trio continues to explore relatively emphatic and concise ideas
before the “da capo” section returns. The coda, using only short thematic fragments,
dies away on the tonic pianissimo chords.
Presto con fuoco
This finale is sonata form and has an idea which is preoccupied with cadences.
Here the comically asynchronous accompaniment of Alberti bass, like triplet figures,
includes accented dissonant neighbor notes. The theme varies as cadences are
presented more and more strongly in close succession, and followed by the
recapitulation, and the coda that ends with a quiet dominant pedal. Finally, the last
movement ends with positive fortissimo chords in E flat major.
Frédéric Chopin: Fantasy in F minor Op. 49
Chopin once wrote in one letter to his friend that his intention for this particular
piece was to show some sort of freedom from regular rules, in addition to giving a
romantic expression. This is in line with the fantasy’s original meaning, rooted in the
art of improvisation that reemerged around the turn of the nineteenth century. As one
of Chopin’s most important and largest compositions, this masterpiece develops an
extremely free dialogue with the traditional archetypes. Its power and beauty are
undeniable and beckon to be played in a successful performance.
A prologue, characterized as a slow march with dotted rhythm, is introduced
before the main body of the work. Similar manipulation can also be found in the
music of the1830s and 1840s- specifically the chorale-like choruses of French opera
at that time. A heavy-footed procession in the first theme smoothly and effortlessly
switches between F minor and A-flat major as a sort of composite tonic. Attention has
viii
to be paid to the establishment of a comfortable but substantial motivic transition
from the opening material to the development of main theme. A more freely moving
section acts as an end to the march in which various keys are clearly organized
together. It serves as an awakening that dispels the steady pulse of the opening
processional theme.
The middle section opens up as a choral cast in B major, which has a hymnal
feeling. This B major episode serves the entire structure as a brief slow movement.
Modulatory chord and tonal instability appear and further propel the funeral march to
a huge climax. Then a moment of delicately beautiful reflection is given before a calm
and quiet close in A-flat major.
In the end, it should be noted that Chopin experiments on a large scale with tonal
relationships in this magnificent beautiful fantasy.
Claude Debussy: Estampes
“Estampes” is one of the most representative piano works by French composer
Claude Debussy. Written in 1903, it laid the foundation to Impressionist piano music.
Looking closely into this collection which consists of three movements, one can find
the composer’s formative influences of his later life: rich elements of Symbolism,
Impressionism, and the exotic music culture of the 19th century.
Pagodes
Current literature suggests that the initial inspiration for Debussy’s work on this
first movement comes from his fascination with oriental art. This influence came after
hearing the Javanese gamelan orchestras during Debussy’s visits to the Paris
International Expositions in 1889 and 1900. A Pagoda is a highly decorated
ix
consecrated building that is used for religious rituals, especially in the Buddhist
tradition countries such as India, China and Japan. A certain type of solemnity can be
found in this kind of architecture and the musical expression created in this piece.
Along with the grace of classic drama, a pentatonic atmosphere of eastern mysticism
is recognizable and embodied in the arabesques. Debussy achieves an amazing
balance and successfully affects an oriental atmosphere by creatively applying the
western idea of analysis. As a whole, the texture can be analyzed through the gamelan
aspect, the scale aspect, the oriental aspect, and the western aspect. These four
different aspects are mixed together, using pentatonic scale to form a harmonic entity.
La soirée dans Grenade
A creative source of this piece is largely inspired by the musical folklore, found
in the kaleidoscopic nocturnal life of Grenada. The languid melody with smooth
twists and turns originates in the Moorish heritage of Spain. The prevalent rhythm of
the habanera is employed throughout the entire piece, unifying all of the thematic
materials. At the very beginning, the habanera theme applied here is somewhat
different from a common tempo. It is expected in the usual way that the first sixteen
bars flow a little bit faster, but Debussy created an exactly tardy and slow tempo that
turned back to the normal tempo from the seventeenth bar.
Jardins sous la pluie
This final movement exhibits a French style which is totally distinct from the
vividly Asian and Spanish flavors found in the previous parts. To achieve this goal,
Debussy adapted segments of several popular French nursery rhymes of the times. A
lively and invigorating scene is vividly described by the composer.
x
Robert Muczynski: Toccata Op. 15
Robert Muczynski is an American-born composer-pianist who has often been
described as one of the important figures in American piano music during the second
half of the twentieth century. There are influences of the Russian style in his work:
Muczynski had an educational experience with his most significant mentor Alexander
Tcherepnin, who comes from a Russian tradition. Muczynski also had a dual
background as a performer and composer, which explains his expertise in balancing
technical study and artistic beauty, as is reflected in the Toccata, Op. 15.
This toccata is a unique one-movement piece because it represents the composer’s
personal emotional reaction to serious traffic accidence. Muczynski expresses his rage
in creating every element such as unexpected leaps and dramatic climax. Most of all,
Toccata, Op.15, unfolds with a continuous percussive nervousness, driving without
pause from beginning to end. The composer carefully employs the interval of a fourth
that plays an important role linearly and vertically. Two melodic types, involving
angular and chromatic scales, are introduced successively. Moreover, a chromatic and
multi-tonal harmony is achieved by using the interval of a fourth. Finally, a rhythmic
unity made up of eight notes is also based on the interval of a fourth. The toccata’s
style is tonal, moderately, dissonant, using of highly rhythmic pulse.
xi
PROGRAM I
CALIFORNIA STATE UNIVERSITY, NORTHRIDGE
COLLEGE OF ARTS, MEDIA, AND COMMUNICATION
MUSIC DEPARTMENT
PRESENT
ZHENLIN ZHENG
A student of Dmitry Rachmanov
In her Master of Piano Concerto Recital
Second piano by Qin Ouyoung
Saturday, May 5, 2011, 2:30 PM
Music Recital Hall
PROGRAM
Piano Concerto in A Minor, Op.16
Edvard Grieg
(1843-1907)
I. Allegro molto moderato
II. Adagio
III. Allegro moderato molto e marcato
*In partial fulfillment of the Master of Music in piano performance
1
PROGRAM II
CALIFORNIA STATE UNIVERSITY, NORTHRIDGE
COLLEGE OF ARTS, MEDIA, AND COMMUNICATION
MUSIC DEPARTMENT
PRESENT
ZHENLIN ZHENG
A student of Dmitry Rachmanov
In her Master of Piano Graduate Recital
Saturday, Oct 26, 2013, 4:30 PM
Music Recital Hall
PROGRAM
Italian Concerto, BWV 971
J.S Bach
(1685-1750)
I. [no tempo indication]
II. Andante
III. Presto
Piano Sonata in E flat Major, Op. 31 No.3
L.V Beethoven
(1770-1827)
I. Allegro
II. Scherzo. Allegretto vivace
III. Menuetto. Moderato e grazioso
IV. Presto con fuoco
Intermission
2
Fantasie in F minor, Op. 49
Frédéric Chopin
(1810-1849)
Estampes
Claude Debussy
(1862-1918)
I. Pagodes
II. La soirée dans Grenade
III. Jardins sous la pluie
Toccata Op. 15
Robert Muczynski
(1929-2010)
*In partial fulfillment of the Master of Music in piano performance
3