CALIFORNIA STATE UNIVERSITY, NORTHRIDGE
GRADUATE RECITAL IN PIANO
An abstract submitted in partial fulfillment of the requirements
For the degree of Master of Music,
Performance
By
Maiko Yamagami
December 2013
The abstract of Maiko Yamagami is approved:
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Dr. Pei-Shan Lee
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Date
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Professor Edward Francis
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Date
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Dr. Dmitry Rachmanov, Chair
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Date
California State University, Northridge
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TABLE OF CONTENTS
Signature page…………………………………………………………………ii
Abstract…………………………………………………………….………….iv
Program……………………………………………………………………….xii
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ABSTRACT
GRADUATE RECITAL IN PIANO
By
Maiko Yamagami
Master of Music, Performance
Johann Sebastian Bach; Toccata in D Major, BWV 912
Johann Sebastian Bach’s compositions brought a tremendous impact on
Western music history. Bach embraced all the major styles, forms, and genres of
his time, blended them in new ways, and developed them further. Bach’s
compositions include seven clavier toccatas. The name Toccata was given since
the seventeenth century to keyboard compositions for harpsichord or organ.
Even though Bach varies the form, his toccatas are usually in four sections
including imaginative interlacing of improvisatory parts of running passages and
full chords with sections in fugal style.
Toccata in D major (BWV 912) was composed between 1707-1713, and
published in 1843. It consists of introduction, the Allegro, Adagio sections with
a fugato and a bridge followed by the fugue with a gigue-like rhythm followed
by the coda. It is considered as a four-section toccata, but Bach varies the form
with his ingenious skill. In the Allegro section, the subject at the opening is
repeated over and over while the left and right hands exchange the passage
alternately. In the Adagio section, the brightness of the proceeding Allegro is
gone, and it runs toward the minor key fugato. At the end of this section, the
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toccata-like bridge leads the final fugue, which is very light and cheerful. The
interval of a third is used for the entire fugue section.
Ludwig van Beethoven; Sonata No. 23 in F Minor, Op. 57
(“Appassionata”)
Beethoven’s career as a composer is usually divided into three periods. In the
first period of 1782-1802, Beethoven mastered the musical language and genres
of his time and gradually found his personal style of music. In the second period
of 1803-1814, he developed a style that achieved a new level of drama and
expression. In the third period, Beethoven’s language became increasingly
complex, personal and experimental. It became more difficult for performers to
play and difficult for listeners to comprehend.
One of Beethoven’s thirty-two piano sonatas, Piano Sonata No. 23 in F minor
Op. 57 (“Appassionata”), was composed at the beginning of his second period
between 1804 and 1805, and it was dedicated to Count Franz von Brunswick.
Beethoven composed the work using an Erard piano, which was given to him by
Court Ferdinand von Waldstein.
The first movement “Allegro assai” is in the sonata-allegro form with typical
three-part structure. The main subject consists of two themes; a down-and-up
arpeggio in dotted rhythm and the response of the first theme played in a higher
register. The most unusual aspect of this movement is the omission of the
repeated exposition. This is the first time Beethoven does not follow the
traditional classical sonata form in this regard. Beethoven made this movement
more interesting by using the extreme contrasts of dynamics such as sudden
shifting from pp to ff with a pervading atmosphere of suspenseful drama.
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Beethoven’s first time use of the extremely rare dynamic marking of ppp is
indicated at the end of this movement.
The second movement, “Andante con moto” is in a variation form, constructed
by the subject and four variations. After the intense coda of the first movement,
the second movement starts with clam D flat major chords. The subject has
simple two parts, each part of the subject and the subsequent variations are
repeated. The variations are very simple but have beautiful musical lines which
are different from the mood of the first movement. The subject of this movement
is related to the second motive of the first movement. The technical aspect of
this variation movement is very simple and the character of its beautiful musical
lines is different from the mood of the first movement.
The third movement “Allegro ma non troppo – Presto” follows the Andante by
the diminished-seventh chord as a sudden dramatic transition at the end of the
second movement. It is a masterpiece which is suitable for the final movement
of this “Appassionata” sonata. This movement is in the sonata form with
repeated development and recapitulation. The main subject of this movement
has much in common with the main subject of the first movement. Unlike the
first movement, Beethoven applies traditional classical sonata form to this last
movement. Beethoven introduces a new theme for the coda section, and closes
this piece with powerful, driven and passionate outburst.
Felix Mendelssohn; Fantasie in F-sharp Minor, Op. 28
Mendelssohn was one of the leading German Romantic composers who
blended influences of Bach, Handel, Mozart, Beethoven and his contemporaries
into his own unique idiom. Mendelssohn composed at an astonishingly fast pace
throughout his life while traveling frequently as a pianist and conductor, as well
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as holding a position of music director of the Gewandhaus. One of his piano
compositions, Fantasie in F sharp minor Op. 28, was published in 1834 and is
also known as the “Scottish Sonata.” Its characteristics include open harmonies,
special pedal effects creating fuzzy sonorities and powerful dissonant
crescendos.
The first movement in F sharp minor is in alternations of two tempi, the “Con
moto agitato” and “Andante”, and it is in ABA’B’A” form. It begins with
ascending line of wide-ranging arpeggios. The “Andante” section has a
melancholic character with a simple eight-measure theme. The tempo of this
movement varies, and its formal freedom and an improvised character
correspond to the spirit of a fantasia. The second movement is marked as
“Allegro con moto”, and it is set in A major. This movement has a scherzo-like
characteristic and is set in ABA form. The B section is in D major, which
presents new thematic material and gives a clear glimpse of Beethoven’s
influence. The third movement “Presto” is in the sonata form in the home key of
F sharp minor, its texture consisting of the type of figurations of Mendelssohn’s
virtuoso piano writing such as alternating hands.
Johannes Brahms; Three Intermezzi In B Minor, Op. 119 No. 1
In A Major, Op. 118 No. 2
In B-flat Minor, Op. 117 No. 2
Brahms was well-versed in music of the past, from Beethoven and the early
Romantic back to Renaissance and Baroque composers. He synthesized
elements from their music with current classical and folk idioms to create a
unique personal style. Brahms developed a highly individual piano style
characterized by full sonority such as broken-chord figurations, frequent
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doubling of the melodic line in octaves, thirds or sixths, multiple chord-like
appoggiaturas and frequent use of syncopations and polyrhythms. Brahms
composed six collections of intermezzi, rhapsodies and other short pieces in the
last two decades of his life. Most of them are in ABA’ form and have songlike
melodies, resembling songs without words and character pieces.
The Three Intermezzi Op. 117, one of Brahms’s late compositions, were
composed in 1892, and the composer described this collection as “lullabies to my
sorrows.” The first two intermezzi were inspired by the ancient English poem,
“Lady Ann Bothwell’s Lament” by Herder. The opening of the Intermezzo No. 2
in B-flat minor creates the dark mood by using the ii-i progression instead of
using the tonic at the opening. The sense of thematic and harmonic development
is integrated into this master piece.
The Six Pieces for Piano Op. 118, the second to last cycle composed for piano
solo by Brahms, consists of four intermezzi, a ballade and a romance. It was
completed in 1893 and dedicated to Clara Schumann. The Intermezzo No. 2 in A
major is often performed individually. The main theme is repeated in different
chord progressions with different dynamics. In the B section, the melody has a
melancholic feeling in the minor key followed by the dream-like episode
consisting of chord progressions.
The Four Pieces for Piano Op. 119, the last composition for solo piano by
Brahms, consists of three intermezzi and a rhapsody. Clara Schumann wrote in
her diary after receiving the Op.118 and Op. 119: “It really is marvelous how
things pour from him; it is wonderful how he combines passion and tenderness in
the smallest of spaces.” The first Intermezzo in B minor is written with
descending thirds throughout the piece. It is not a cheerful piece, but it also is
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not pessimistic or hopeless. The A section has a calm characteristic while the
middle B section has a dramatic moment.
Claude Debussy; L’isle joyeuse
Debussy exercised an enormous influence on his contemporaries, and he
created music of new sounds and delicate colors. One of his piano works, L’isle
joyeuse, was composed in 1904 and was inspired by Watteau’s painting
L’Embarquement de Cythère. It is also said that another inspiration for him was
the Channel Island of Jersey, where Debussy escaped with his wife Emma
Bardac and revised this piece. L’isle joyeuse is based on the whole tone scale,
lydian mode and diatonic scales. The cadenza-like introduction sets the mood of
this piece. In Modéré et très souple section, its mysterious whole tone theme is
supported by repeated dance-like figures in the left hand. In this piece, each
theme is associated with a particular figuration, chord or succession of chords,
scale type, dynamic level, and range of the piano. The soft right hand figuration
at the introduction comes back at the end in loud dynamics and is repeated over
and over. The piece ends with a run descending to the lowest note of the piano
energetically.
György Ligeti; Etude No. 8 Fém from Book 2
Ligeti was an influential composer who broke new ground for late twentieth
century, and he developed unique techniques and styles exploring the use of
micropolyphony, counterpoint, microintervals and polyrhythms. He strongly
influenced avant-garde styles by the development of cluster composition in the
1960s.
Ligeti composed a cycle of eighteen etudes for solo piano between 1985 and
2001. It combines virtuoso technical problems with expressive content and
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addresses new technical ideas. These eighteen etudes are organized into three
books, and each etude has its own title which is a mixture of technical terms and
poetic descriptions. One of Ligeti’s etudes, No.8 Fém, means metal in
Hungarian. According Ligeti, even though the title “Fém” means “metal”, the
piece itself has the implication of brilliance, since it is similar to the word “feny”,
which means “light” in Hungarian. This piece is based on chords of the open
fifth throughout. The time signature is indicated as 12/8, but Ligeti doesn’t
specify any stronger or weaker beats or any accents. It is played very
rhythmically with a swing.
Alexander Scriabin; Piano Concerto in F-sharp Minor Op. 20
Scriabin began writing nocturnes, preludes, etudes and mazurkas in the manner
of Chopin, and then gradually absorbed the chromaticism of Liszt and Wagner,
gradually beginning to employ very unusual harmonies and textures. The
changes in his musical language can be seen in his late piano sonatas, composed
between 1912-13 dispensing with key signatures and tonality.
Scriabin wrote only a small number of orchestra works, including one piano
concerto. His first orchestra work, Piano Concerto in F-shrap Minor, Op. 20
was composed in 1896. While clearly influenced by Chopin’s music in a manner
of lyrical expression, the concerto features Scriabin’s own ideas of rhythm, key
changes and a variation of languid and ecstatic moods.
The concerto has three movements. The first movement is in the sonata form
with an introduction. Unlike in the classical concerto, the piano comes in right
after a short orchestra’s introduction. The first subject is played lyrically and
passionately, and the second subject has a mazurka-like characteristic. The
second movement is cast in a form of theme and variations, which is the only
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variation form that Scriabin ever published. The main theme can be divided into
three parts. It is very simple and sweet in character. The third movement is in a
rondo sonata form. The first subject has a polonaise-like characteristic while the
second subject has a lyrical line. This concerto features beautiful themes which
represent the late Romantic period. It is rarely played as compared to
Rachmaninov piano concertos.
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PROGRAM
Toccata in D Major, BWV 912
Johann Sebastian Bach (1685-1750)
Sonata No. 23 in F Minor, Op. 57 “Appassionata”
Ludwig van Beethoven (1770-1827)
Allegro assai
Andante con moto
Allegro ma non troppo – Presto
-intermission-
Fantasy in F-Sharp Minor, Op. 28
Felix Mendelssohn (1809-1943)
Con moto agitato
Allegro con moto
Presto
Intermezzo in B Minor, Op. 119 No. 1
Johannes Brahms (1833-1897)
Intermezzo in A Major, Op. 118 No. 2
Intermezzo in B-Flat Minor, Op. 117 No. 2
Etude No. 8 Fém from Book 2
György Ligeti (1923-2006)
L’isle joyeuse
Claude Debussy (1862-1918)
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