PIANO SONATAS OF ELENA GNATOVSKAYA by ARSEN GULUA A LECTURE-DOCUMENT Presented to the School of Music and Dance of the University of Oregon in partial fulfillment of the requirements for the degree of Doctor of Musical Arts March 2014 “Piano sonatas of Elena Gnatovskaya,” a lecture-document prepared by Arsen Gulua in partial fulfillment of the requirements for the Doctor of Musical Arts degree in the School of Music and Dance. This lecture-document has been approved and accepted by: Alexandre Dossin, Chair of the Examining Committee 3/3/2014 Committee in Charge: Alexandre Dossin, Chair David Riley Henry Henniger Accepted by: Ann B. Tedards, Associate Dean and Director of Graduate Studies, School of Music and Dance © 2014 Arsen Gulua ii CURRICULUM VITAE NAME OF AUTHOR: Arsen Gulua PLACE OF BIRTH: Ukraine DATE OF BIRTH: 09/07/1978 GRADUATE AND UNDERGRADUATE SCHOOLS ATTENDED: School of Music and Dance, University of Oregon Jacobs School of Music, Indiana University, Bloomington The Juilliard School DEGREES AWARDED: Master of Music, Piano Performance, 2009, Indiana University, Bloomington Bachelor of Music, Piano Performance, 2005, The Juilliard School PROFESSIONAL EXPERIENCE: Graduate Teaching Fellow, University of Oregon, 2009-2013 Assistant Instructor, Indiana University, Bloomington, 2007-2009 GRANTS, AWARDS AND HONORS: Promising Scholar Award, University of Oregon, 2009 Graduate Teaching Fellow, University of Oregon, 2009-2013 Assistant Instructor, Indiana University, Bloomington, 2007-2009 iii ACKNOWLEDGMENTS I want to express my sincere gratitude to Alexandre Dossin, David Riley, and Henry Henniger for helping and guiding me through the process of the preparation of this document. The completion of this document would not have been possible without the help of Natalia Gnatovskaya, Viktor Linetsky, Sergii Gnatovskyi, Valentyna Stohnii, Natalia Kalacheva, and many others, who helped me to obtain all the necessary materials required for this document. iv TABLE OF CONTENTS Chapter Page INTRODUCTION……………………………………………………..........1 BIOGRAPHY …………………………………………………………........2 I. PIANO SONATA №1 .................................................................................................. 5 MOVEMENT 1 ................................................................................................. 5 MOVEMENT 2 ............................................................................................... 11 MOVEMENT 3 ............................................................................................... 15 II. PIANO SONATA №2 ............................................................................................... 19 MOVEMENT 1 ............................................................................................... 20 MOVEMENT 2 ............................................................................................... 24 MOVEMENT 3 ............................................................................................... 26 MOVEMENT 4 ............................................................................................... 29 III. PIANO SONATA №3 .............................................................................................. 33 MOVEMENT 1 ............................................................................................... 33 MOVEMENT 2 ............................................................................................... 35 MOVEMENT 3 ............................................................................................... 36 MOVEMENT 4 ............................................................................................... 40 IV. PIANO SONATA №4 ............................................................................................. 45 MOVEMENT 1 ............................................................................................... 45 MOVEMENT 2 ............................................................................................... 51 MOVEMENT 3 ............................................................................................... 53 CONCLUSION…………..…………………………………………………57 APPENDIX A. LIST OF COMPOSITIONS BY ELENA GNATOVSKAYA ................................ 60 B. GNATOVSKAYA’S WEBSITE ............................................................................. 62 BIBLIOGRAPHY ........................................................................................... 63 v Introduction The main purpose of this document is to introduce Elena Gnatovskaya’s music to the American audience, and provide information about her compositions for musicians, who might be interested in performing her works. This document involves analytical work of Gnatovskaya’s piano sonatas, in which various musical elements will be examined and compared. This analysis would also provide a better opportunity to reveal specific stylistic trends, pointing to Gnatovskaya’s musical individuality. Her music comes from a Ukrainian and Soviet background, which might create a special nationalistic interest in the US. Her music covers a very large spectrum of instruments, which could be of great interest for performers outside the piano world as well. Finally, I believe it is significant to introduce Gnatovskaya as a composer to a broad musical audience, not limited to pianists, because the quality and quantity of her music will be a great contribution to the musical society. Biography Composer, pianist, and pedagogue Elena Gnatovskaya was born in 1949 in Orel, Russia. That same year her father, who was a combat officer, was assigned to be relocated to Kharkov, Ukraine, where the entire family eventually moved. At the age of five, Gnatovskaya entered the Leontovych Music School №4. Gnatovskaya’s musical gift was noticed right away. Anna Ilyukhina, who was a music theory teacher at that school, suggested that Elena start taking composition lessons with her. It was obvious right from the beginning that Elena possessed a special creativity and sensitivity to music. Her earliest compositions already contained individual tendencies and an unusual characteristic language. Elena’s sister Natalia, remembers asking Elena to write something more accessible, but Elena would be only irritated by such requests. It was obvious that despite her early age, Elena had an original connection to the music, from which her own musical language started to develop during her life long career. In 1974 Gnatovskaya graduated from the Kharkov Institute of Arts, majoring in piano performance as a pupil of G. L. Gelfgat. She later studied composition with D. L. Klebanov, graduating from the same institute in 1979. In 1986 she completed her Practical Training as an assistant at the Kiev State Conservatory under the guidance of Professor Y.J. Ishenko. Elena Gnatovskaya regularly dedicated three hours during her mornings to composition. Only rarely this rule would be broken. Her family (husband and three children) always knew that it is quite undesirable to bother Elena during her composition 2 hours. Gnatovskaya believed that it is the best time of the day to create music and during those hours she would get her inspiration in a most natural way. Such a disciplined approach resulted not only in a constant refinement of Gnatovskaya’s compositional technique, but also in a big collection of her compositions, written for various instruments and ensembles. As life in Soviet Union, and later in independent Ukraine, was economically challenging, Gnatovskaya, similarly to her colleagues, had to find different ways to support herself and her family with music. There was a time when Gnatovskaya was commissioned to write in pop-style by one of Ukrainian organizations. It was a shocking gig, because the pay was many times higher for several days of work than what Gnatovskaya was paid per month. However, after some time spent on the project, Elena decided to turn it down. Later she explained that first of all she felt as though some type of an unknown force was pulling her into popular music, in which she found herself uncomfortable, and at the same time cheap. In addition to that, which was the main reason for her to drop this commission, was that during that period, Gnatovskaya was experiencing a loss of her individual musical language, as if the channel which helped her to compose, is gradually disappearing. That immediately served as a red light for her, and despite the tempting financial results, Gnatovskaya did not sacrifice her genuine bond with “classical” music, which for her was always a number one priority. Gnatovskaya became a member of the Ukrainian Composers Union in 1984. In addition to solo works for piano, her compositions include chamber, vocal, and 3 symphonic genres. Her music for children includes over fifty piano pieces and has served an important role in her career as a composer, bringing her great artistic recognition. Gnatovskaya was a permanent member of the jury at the International Children’s Festival of Russian and Polish music, which was established under the direction of the Children’s School of Music №13 in Kharkov together with the Kharkov Cultural State Administration and the Russian-Polish Association. After a yearlong battle with cancer, Elena Gnatovskaya passed away in 2007 at the age of 58. Her works continue to be performed throughout Ukraine, Russia, Israel, and the USA. 4 Piano Sonata №.1 (1972) Piano sonata №1 stands far from Gnatovskaya’s other piano sonatas. It clearly carries traces of an energetic and uncontrollable drive of youth, full of technical experiments, together with influences of other composers. Such tendency is quite explainable: two polarities are eventually brought down to a unique compositional language, which will be heard in Gnatovskaya’s later works. Here, however, it is quite noticeable how a young composer is going through the process of self exploration: juxtaposing original experiments with traces from the past. Movement I The first movement (Allegretto) is rhythmically and texturally transparent. The music expresses uncertainty through its harmony and melodic linearity. These elements create an effect of juxtaposition between contrasting elements of simplicity and complexity, darkness and light. It becomes immediately apparent that the opening measures of the movement present all the contrasting elements mentioned above. This representation is concealed within the nature of the opening measures on a micro level: heavily moving bass notes contrast with the right hand, which systematically moves with its characteristic pair of sixteenth-notes, adding the effect of a constant and stable rhythm. Harmonically, Gnatovskaya implies the minor mode (D), major mode (D sharp), and a dissonant element (A sharp), all of which appear above the low B in the bass. 5