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Description
As one of the composers living in an era filled with innovations, Anatol Konstantinovich Lyadov (1855-1914) has been relatively ignored by scholars and pianists to date. He is an unusual composer with multiple characteristics: solitary but expressive, talented but indolent. His compositional style never lacked critics—especially with respect to his persistent preference of miniatures. Nonetheless, his piano works embody the breathtaking beauty of the composer’s independent musical ideas and colorful musical language. Compared with the flourishing, dazzling, and nationalized music from other composers living in the same era, these light, flowing musical pieces from Lyadov have irreplaceable value.
Through the study of these small-scale piano works, one finds important connections with the music of other renowned composers (e.g. Chopin and Scriabin), and the employment of traditional aspects such as Russian folk tones and fairy tales. Stylistically, Lyadov was a representative of 19th-century Romanticism; however, his compositional style changed during his late period (after 1900), presenting a unique use of dissonance.
The scholarly research on Lyadov’s piano works remains limited. Most of the related resources can be found only in the Russian music literature. No in-depth study or dissertation on the complete piano works of Lyadov could be located, and therefore my research paper is intended to provide useful information to piano performers and teachers, hopefully encouraging more study and performance of Lyadov’s piano works. Despite their lyrical melodies and deep emotion, these works are thus far relatively unpopular and unknown, with only a few played occasionally as encore pieces.
Through the study of these small-scale piano works, one finds important connections with the music of other renowned composers (e.g. Chopin and Scriabin), and the employment of traditional aspects such as Russian folk tones and fairy tales. Stylistically, Lyadov was a representative of 19th-century Romanticism; however, his compositional style changed during his late period (after 1900), presenting a unique use of dissonance.
The scholarly research on Lyadov’s piano works remains limited. Most of the related resources can be found only in the Russian music literature. No in-depth study or dissertation on the complete piano works of Lyadov could be located, and therefore my research paper is intended to provide useful information to piano performers and teachers, hopefully encouraging more study and performance of Lyadov’s piano works. Despite their lyrical melodies and deep emotion, these works are thus far relatively unpopular and unknown, with only a few played occasionally as encore pieces.
ContributorsZhang, Xiaoyu (Author) / Hamilton, Robert (Thesis advisor) / Creviston, Hannah (Committee member) / DeMars, James (Committee member) / Meir, Baruch (Committee member) / Arizona State University (Publisher)
Created2018
Description
Biblical references play an important role in traditional programmatic music. Composers such as Kuhnau, Haydn, Liszt, Messiaen, and Bolcom produced considerable amounts of piano repertoire with biblical allusions: Musical Presentations of Some Biblical Stories in 6 Sonatas (1700) by Kuhnau, The Seven Last Words from Our Saviour on the Cross (1787) by Haydn, The Way of Cross (1878-1879) by Liszt, Twenty Contemplations on the Infant Jesus (1944) by Messiaen, and The Garden of Eden: Four Rags for Piano (1969) by Bolcom. The twentieth century American composers William Bergsma and Louis Weingarden participated in this tradition by producing piano pieces that contain direct biblical quotations. These works, which have received little attention, include two movements from Tangents (1951) by Bergsma and Triptych: Three Pieces for Piano (1969) by Weingarden.
This paper provides a comprehensive analysis of these piano works, considering structural, rhythmic, harmonic, and melodic elements. In particular, the paper examines Bergsma and Weingarden’s work through the technique of word painting in order to illuminate the relationship between the biblical text and music. Key findings include that Bergsma’s Tangents contains dissonant harmonies and irregular rhythms to reflect the agony of people on the biblical Judgement day, while the use of tonality reflects God’s love in other parts. Similarly, Weingarden uses an illustrative style of word painting in Triptych to closely reflect this biblical narrative and scene through the combination of some twelve-tone techniques with chromaticism. These works present a high degree of pianistic and musical elaboration that incorporates twentieth-century compositional techniques, and this paper argues that they merit more attention for recitals by college-level and professional pianists. This paper begins with an introduction which provides the methodological approach used in the paper and a biography of each composer. It then progresses to an analysis of Bergsma’s Tangents, followed by an analysis of Weingarden’s Triptych.
This paper provides a comprehensive analysis of these piano works, considering structural, rhythmic, harmonic, and melodic elements. In particular, the paper examines Bergsma and Weingarden’s work through the technique of word painting in order to illuminate the relationship between the biblical text and music. Key findings include that Bergsma’s Tangents contains dissonant harmonies and irregular rhythms to reflect the agony of people on the biblical Judgement day, while the use of tonality reflects God’s love in other parts. Similarly, Weingarden uses an illustrative style of word painting in Triptych to closely reflect this biblical narrative and scene through the combination of some twelve-tone techniques with chromaticism. These works present a high degree of pianistic and musical elaboration that incorporates twentieth-century compositional techniques, and this paper argues that they merit more attention for recitals by college-level and professional pianists. This paper begins with an introduction which provides the methodological approach used in the paper and a biography of each composer. It then progresses to an analysis of Bergsma’s Tangents, followed by an analysis of Weingarden’s Triptych.
ContributorsHwang, John Yoontae (Author) / Meir, Baruch (Thesis advisor) / Rogers, Rodney (Committee member) / Ryan, Russell (Committee member) / Arizona State University (Publisher)
Created2015
ContributorsZhang, Chi (Performer) / Kang, Bora (Performer) / Vutipadadorn, Hanah (Performer) / Zheng, Qianyao (Performer) / Szczepanek, Charles (Performer) / Huang, Kuang-Li (Performer) / Chou, Cecilia (Performer) / Yang, Josephine (Performer) / ASU Library. Music Library (Publisher)
Created2010-11-12
ContributorsMetz, John (Performer) / Metz, Barbara (Performer) / ASU Library. Music Library (Publisher)
Created2005-10-29
ContributorsShaia, Rosemary (Performer) / St. Amand, Naomi (Performer) / Ulianitsky, Ilia (Performer) / Vutipadadorn, Hanah (Performer) / Hu, Yi-Ting (Performer) / Lecluse, Aurelie (Performer) / Zhang, Chi (Performer) / Szczepanek, Charles (Performer) / Kim, Bora (Performer) / Yun, Ahyeon (Performer) / ASU Library. Music Library (Publisher)
Created2010-04-17
ContributorsZhang, Xiaoyu (Performer) / ASU Library. Music Library (Publisher)
Created2017-04-12
ContributorsZhang, Xiaoyu (Performer) / ASU Library. Music Library (Publisher)
Created2014-09-30
ContributorsVutipadadorn, Hanah (Performer) / ASU Library. Music Library (Publisher)
Created2014-04-06
ContributorsHwang, John Yoontae (Performer) / ASU Library. Music Library (Publisher)
Created2014-04-19
ContributorsDarveaux, John (Performer) / Beek, Helena van (Performer) / Jennifer, Ostrowski (Performer) / Tappendorf, Rebecca (Performer) / Kim, Bora (Performer) / Stefanski, Josh (Performer) / Jiang, Yuan (Performer) / Bates, Carly (Performer) / Weinland, Kandi (Performer) / Koehler, Sarah (Performer) / Ye, Qingqing (Performer) / Price, Mary (Performer) / Huish, Sarah (Performer) / Hontz, Joshua (Performer) / Li, Tian (Performer) / ASU Library. Music Library (Publisher)
Created2014-04-15