PPiittttssbbuurrgg SSttaattee UUnniivveerrssiittyy PPiittttssbbuurrgg SSttaattee UUnniivveerrssiittyy DDiiggiittaall CCoommmmoonnss Electronic Thesis Collection 5-2016 GGRRAADDUUAATTEE VVIIOOLLIINN RREECCIITTAALL Yixuan Huang Follow this and additional works at: https://digitalcommons.pittstate.edu/etd Part of the Music Commons RReeccoommmmeennddeedd CCiittaattiioonn Huang, Yixuan, "GRADUATE VIOLIN RECITAL" (2016). Electronic Thesis Collection. 89. https://digitalcommons.pittstate.edu/etd/89 This Thesis is brought to you for free and open access by Pittsburg State University Digital Commons. It has been accepted for inclusion in Electronic Thesis Collection by an authorized administrator of Pittsburg State University Digital Commons. For more information, please contact [email protected]. GRADUATE VIOLIN RECITAL A Thesis Submitted to the Graduate School In Partial Fulfillment of the Requirements For the Degree of Master of Music Yixuan Huang Pittsburg State University Pittsburg, Kansas May, 2016 GRADUATE VIOLIN RECITAL Yixuan Huang APPROVED: Thesis Advisor _____________________________________________________ Dr. Raúl A Munguía, Department of Music Committee Member _________________________________________________ Dr. Hyerim Mapp, Department of Music Committee Member _________________________________________________ Dr. Paul Smith, Department of English and Modern Language ACKNOWLEDGEMENTS I appreciate Dr. Raul Munguia for his patience and infinite support. Without his accurate instruction, I could not finish my academic work at the University of Pittsburg. I also appreciate the committee members, Dr. Smith and Dr. Mapp, for their sincere help on my thesis. Especially, I would like to thank Dr. Jones, my academic advisor, for his consistent care during these two years. Finally, I would like to take this opportunity to express my big appreciation to my parents. Their unconditional love offered me power to overcome any difficulties. iii GRADUATE VIOLIN RECITAL An Abstract of the Thesis by Yixuan Huang This thesis consists of a violin recital and the accompanying program notes. The graduate violin recital includes the following repertoire: Johann Sebastian Bach, First Violin Sonata in G minor; Tomaso Antonio Vitali, Chaconne; Samuel Barber, Concerto for Violin and Orchestra, Opus 14. These works display a variety of styles in different period, ranging from baroque to the twentieth century. The program notes for each piece contains biographical sketch, analysis of the work, and performance concerns. iv Pittsburg State University Pittsburg, Kansas DEPARTMENT OF MUSIC GRADUATE RECITAL YIXUAN HUANG, VIOLIN Assisted by BARBARA YORK, PIANO Thursday, April 21 2016 Sharon Kay Dean Recital Hall Recital Hall 7:30 p.m. PROGRAM First Violin sonata in G minor, BWV 1001 J. S Bach (1685-1750) I. Adagio II. Fugue Chaconne in G minor Tomaso Antonio Vitali (1663-1745) INTERMISSION Concerto for Violin and Orchestra, Opus 14 Samuel Barber (1910-1981) I. Allegro moderato II. Andante III. Presto in moto perpetuo This recital partially fulfills requirements for the Master of Music degree for Miss Yixuan Huang. The Department of Music is a constitution of the College of the Arts and Sciences. v TABLE OF CONTENTS CHAPTER…………………………………………………………………………PAGE I. JOHANN SEBASTIAN BACH……………………………………..1 Johann Sebastian Bach Biographical Sketch…………………………..1 Sonatas and Partitas for Solo Violin Historical Background…………....4 Analysis of Bach First Violin Sonata, BWV 1001 Adagio and Fugue.…..6 Adagio and Fugue: Interpretation………………………………………....8 II TOMASO ANTONIO VITALI………………………………………11 Tomaso Antonio Vitali Biographical Sketch…………………………..11 Chaconne in G minor for Violin and Continuo Historical Background.....12 Analysis of Vitali’s Chaconne Transcribed by Léopold Charlier………..13 Vitali Chaconne: Interpretation……………………………………….15 III SAMUEL BARBER………………………………………………….19 Samuel Barber Biographical Sketch……………………………......... 19 Concerto for Violin and Orchestra, Opus 14 Historcal Background…….22 Analysisn of Barber’s Violin Concerto………………………………..24 Barber Violin Concerto: Interpretation………………………………...32 BIBLIOGRAPHY………………………………………………………………..……36 vi CHAPTER I JOHANN SEBASTIAN BACH Biographical sketch As one of most revered composers today, Johann Sebastian Bach’s music had been played all around the world as the touchstone for great musicians. Behind Bach’s high achievements in composing was his lifelong hard work only for a living with little fame and money. Even Bach’s childhood was filled with pain and suffering. Although he was lucky to be a member of a great musical family, less than ten-year-old Bach became an orphan, as both his parents passed away in the same year1. He moved to live with his eldest brother, Johann Christoph Bach, who became his guardian and music teacher as well. Under the instruction of J.C. Bach, little Bach learned to play the clavichord. Despite being forbidden to touch the music paper, what enlightened him most would be the music he secretly copied from famous composers under dim light at night. It seemed that Bach’s early music education was mainly self-taught for no one privileged him a better study opportunity. Not being the favorite pupil of any influential figures, nor 1 Williams Peter, The Life of Bach, England: Cambridge University Press, 2004, page 13. 1 having studied abroad in world-class universities as lots of successful composers did, transcribing the music score remained one of the effective ways for Bach to learn composing. Johann Bach later attended St. Michael’s School in Lüneburg where he received the training in singing and playing the organ and harpsichord. Gradually growing up into an outstanding keyboardist, Bach successively served several musical posts in different churches in Weimar as the organist or music director, shortly after he was graduated. Not just a good keyboard performer, Bach was also a prolific composer. At this time, a large number of keyboard music had been written in different kinds, including toccatas, preludes, fugues, and concertos. For instance, the “Little Organ Book” and the “Well- Tempered Clavier” were two big collections for keyboard pieces. In these Weimar years, as attracted by Italian composers, such as Vivaldi and Corelli, Bach’s music conveyed a wide range of styles on a big scale. He adopted a dramatic way from Vivaldi to organize the music with great vitality by means of repetition, rhythmic impetus, and simple harmony. Its longer music length was realized by allowing the music to be fully developed, and ending with a convincing conclusion. In 1717, Prince Leopold of Anhalt-Cöthen, a music lover who admired Bach’s talents, appointed Bach as his Kapellmeister2. To the prince’s greatest satisfaction, during the next nine years, Bach finished many profound pieces, such as the “Sonatas and Partitas for solo violin”, “Brandenburg Concertos”, and “Cello Suites”. Also in these Cöthen years, however, Bach experienced the sudden death of his first wife, and one year after, he married again to Anna Magdalena Wulken, a gifted soprano and later Bach’s copyist, who preserved much of her husband’s unknown music. At that time, French and 2 Williams Peter, The life of Bach, England: Cambridge University Press, 2004, page 76. 2 Italian genres became a new way for Bach to learn composition details. For example, in Bach’s “Partita No.3 for solo violin BWV3 1006”, the Gigue was the only traditional Partita movement left as the finale. The added galanteries, including Bourree, Gavotte and Minuet, were all evidence of how Bach enjoyed the fascination of French dance. Furthermore, influenced by Corelli, Bach adopted Italian genre—concerto grosso—in his famous “Brandenburg Concertos”. In that collection of six instrumental works, music was not written for a single soloist, but for a small group of instruments with full orchestra, alternating thematic material. In 1723, Bach was hired as the music director and cantor at the Thomas School in Leipzig, the city where Bach lived for the rest of his 27 years. His duties contained directing performances in four churches, offering regular classes and individual singing classes. As Bach usually chose to perform his own cantatas, he made a point of supplying new cantatas. For this reason, about three hundred cantatas were composed, and over one hundred of them survived, such as “Geist und Seele wird verwirret BWV 35”, “Schwingt freudig euch empor BWV 36” and “Die Freude reget sich BWV 36b”. Those extant vocal compositions maintained the high and aristocratic tone in such a transcendental sense, like bringing the sound from another world. Moreover, the counterpoint had been redefined to a large extent by Bach. For example, in his “The Art of Fugue”, contrapuntal structure set no limit to the number of countersubjects when melodic lines were interwoven. In Bach’s final years, he was almost blind due to two unsuccessful eye operations. On 28th July, 1750, the world had been derived of one of the greatest composers—Bach passed away from a stroke in Leipzig. His God-given talent produced such a vast amount 3 BWV [ Bach Werke-Verzeichnis]: The index for the composition of Johann Sebastian Bach. 3