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 73-21*,290
LAVORE, Roman U., 1938-
INSTRUMENTAL RECITATIVE IN CLASSIC, ROMANTIC,
AND TWENTIETH CENTURY MUSIC.

The Florida State University, Ph.D., 1973

Music

University Microfilms, A XEROXCompany, Ann Arbor, Michigan

i> ■ * —

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 THE FLORIDA STATE UNIVERSITY
SCHOOL OF MUSIC

INSTRUMENTAL RECITATIVE IN CLASSIC, ROMANTIC,

AND TWENTIETH CENTURY MUSIC

By
ROMAN LAVORE

A Dissertation submitted to
the School of Music
in partial fulfillment of the
requirements for the degree of
Doctor of Philosophy

Approved:

Professor Directing Dissertation

C l f M f r ____________________

J
December, 1972 Dean, School of Music

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 PREFACE

The study of musical style has become indispensable

to the training of musicians. The term style has, perhaps
unfortunately, acquired many diverse meanings. Style may
apply to a period (Baroque style, Classic style), or to a
genre (operatic style, symphonic style), or to a specific
musical effect (dance style, cadenza style), or to the
mannerisms of a specific composer (Bach style, Bartok style)
Indeed, the term may be used even more diversely. Hence,
the best study of style will specify as precisely as pos­
sible what is to be studied.
An exemplary and original inquiry into musical
style is Denison’s study of the recitative in Baroque key-
1
board music. The study specifies a particular musical
effect, recitative, in a particular genre, keyboard, in a
particular period, the Baroque. The specific composers
and works were selected only to suggest the range of prac­
tice of the period.
Denison’s study of the instrumental recitative in
Baroque keyboard works has directly motivated this study.

Hfilliam R. Denison, Recitative in Baroque Keyboard

Music (unpublished Ph.D. dissertationT^Tlorida State
University, 1969)*
ii

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 Preliminary analysis of Post-Baroque instrumental music
have revealed examples of the same conditions set forth
by Denison and defined by him as instrumental recitative.
It will be the purpose of this study to seek out these
conditions in each of the Post-Baroque periods, Classic,
Romantic, and the Twentieth Century up to around 1950.
The study intends only to show the presence of an instru­
mental recitative in these periods. No attempt will be
made to define the exact limits of these periods, nor to
survey the entire range of recitative types in any period.
The second half of the Twentieth Century is excluded. This
period has witnessed the rise of electronic media for which
a uniform and standard notation does not yet exist. Hence,
the study is limited to music which is accessible in stan­
dard score.
The study will present examples of the instrumental
recitative from various genres, though no attempt has been
made to represent the entire range of every possible genre.
Since the instrumental cadenza has been proven to share
the same basic conditions as the recitative, one genre, the
concerto, comes immediately to the attention. In the solo
concerto the cadenza became virtually standard practice;
hence, to find recitative conditions in the concerto cadenza
would scarcely add to knowledge of the instrumental recita­
tive. For this reason, the solo concerto has been set
aside in favor of other genres not ordinarily associated
iii

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 with the concerto. The presence of the instrumental recita­
tive, including cadenza, in these genres may be taken as
the more powerful proof of the validity of the premise of
the study.
The number of examples of instrumental recitative
grew as the study proceeded. It was determined that analysis
of a few representative examples should suffice, and that
repetitious analysis might be avoided by the inclusion of
additional examples without comment in an Appendix.
The editions chosen for this study are considered
standard and have the confidence of performers and scholars
alike.
Hy deepest gratitude is due Dr. Lewis V. Pankaskie,
chairman of my doctoral committee, for his enlightening
guidance in the preparation of this study. Sincere appre­
ciation is also extended to the other members who served
on my committee; Dr. Joseph White, Dr. Clifford Madsen,
and Dr. Eugene Czajkoski.

iv

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 TABLE OF CONTENTS

P R E F A C E ......................................... ii
LIST OF EXAMPLES.................................. vi
APPENDIX E X A M P L E S ................................. viii
Chapter
I. INTRODUCTION ................................ 1
II. THE CLASSIC PERIOD.......................... 20
III. THE ROMANTIC P E R I O D ........................ 32
IV. THE TWENTIETH C E N T U R Y ...................... 45
V. CONCLUSION.................................. 56
BIBLIOGRAPHY ...................................... 60

APPENDIX......................................... 66

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 LIST OF EXAMPLES
Example
1. J. Haydn, String Quartet Op. 17* No. 5.
third movement ...................
2. L. van Beethoven, Piano Sonata Op* 110.
third movement ...................
3. R. Schumann, Symphony No. 1, fourth movement . .
4* M. Ravel, Alborado del Gracioso ...............
5. I. Stravinsky, Petrushka. Second Tableau . . • .
6. R. Schumann, The Poet Speaks .................
7• L. van Beethoven, String Quartet Op. 131.
third movement ............................
S, B. Bartok, Concerto for Orchestra. Introduction •
9. F. Chopin, Hocturne Op. 32. No. 1 ............
10. W. A. Mozart, Fantasy in C minor, K. 475.
Allegro ....................................
11. ~~W. A. Mozart, Piano Sonata in B Flat. K. 281.
third movement ............................
12. W. A. Mozart, Sonata No. 32. K. 376. for
Violin and Piano, third movement ...........
13. J. Haydn, String Quartet Op. 17. No. 3 .
third movement ......... • ...............
14* J* Haydn, Symphony No. 104. second movement • •.
15. L. van Beethoven, String Quartet Op. 130.
fifth movement, Cavatina ........ . ........
16. L. van Beethoven, Symphony No. 9. Op. 125.
fourth movement.......................... •

vi

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 LIST OF EXAMPLES— Continued

Example Page
17. F. Liszt, Sonetto 104 del P e t r a r e a .......... 34
IS. F. Chopin, Prelude Mo. 1 8 .................. 35-36
19. F. Schubert, Fhantasie. Op. 159. for Violin
and Piano, Andante molto . . ............... 37
20. A. Dvorak, Dumky Trio. Op. 90. for Violin,
Cello, and Piano, fourth movement.......... 39
21. H. Berlioz, Symphonie Fantastique. third
movement, In the dountry • * . ............ 41
22. R. Wagner, Prelude to Tristan and Isolde .... 42
23. J. Brahms, Symphony No. 1. O p . 68.
fourth movement ............................ 44
24. C. Debussy, Les Collines d* A n a c a p r i ........ 47
25. B. Bartok, Sixth String Quartet, first movement .48
26. I. Stravinsky, Rite of Spring. Introduction. . . 50
27. P. Hindemith, Symphonie Mathis der Maler.
third m o v e m e n t .......................... 52-53
28. A Schoenberg, Five Pieces for Orchestra.
O p . 16. No. 5. r
lJhe Obligatory Recitative . . . 55

vii

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 APPENDIX EXAMPLES

Example Page
1. J. Havdn. Piano Sonata in E Flat Ma.ior.
Finale . . ..............................
2. L. van Beethoven, Piano Sonata Op. 31, No. 2,
first movement ..........................

3. F, Chopin, Ballade in G minor, Op. 23 ....... . 71

4. J. Brahms. Piano Sonata. Op . 2. Finale .... . 72
5. C. Ives. First Sonata for Piano, first movement . 73
6. C. Debussv. Reflets dans l*eau .............

7. A. Schoenberg, Five Piano Pieces. Op. 23. No. 2 . 75

3. A. Copland. Piano Variations ............... . 76
9. W. A. Mozart. Sonata No. 30, K. 306,
for Violin and Piano, third movement ....
10. C. Frank. Sonata in A Ma.ior, for Violin
and Piano, third movement • • .............
11. C. Frank. Quintet ir. F Minor, first movement . . 79
12, M. Ravel. String Quartet in F Ma.ior.
third movement ..........................

13. A. Berg. Lvric Suite, fourth movement .......

14. B. Bartok. Fourth String Quartet.

third m o v e m e n t ...................... .

15. A. Schoenberg. String Trio. Op. 45,

second episode ..........................
16. E, Carter, String Quartet No. 2,
second movement....... .................

Viii

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 APPENDIX EXAMPLES— Continued

Example * Page
17. M. Mussorgsky, Pictures at an Exhibition,
No. 8, Catacombes.......... .. . V . . . . . 85
18. N. Rimsky-Korsakoff, Russian Easter. Op. 35 . . . 86
19* G. Mahler, Symphonie No. 1. fourth movement . . . 87
20. C, Debussy, Prelude to the Afternoon of
a F a u n ..................................... 88
21. R. Strauss, Till Eulenspieeel. Op. 2 8 ......... 89
22. J. Sibelius, Symphony No. 1. Op. 39.
third movement ........................... 90
23. A. Webern, Five Pieces for Orchestra. Op. 10.
first m o v e m e n t ............................. 91
24. K. Stockhausen, Kontra-Punkte ................ 92

ix

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 CHAPTER I
INTRODUCTION

Denison*s study of the instrumental recitative in

Baroque keyboard music evolved in four basic stages:
1) Research in Baroque treatises for evidence of theoreti­
cal foundations for ad libitum rhythms; 2) the analysis
of explicit vocal recitative and the identification of
closely similar instrumental recitative; 3) the signs of
ad libitum rhythmic procedure indicated in notation; and
4) the extension of these kinds of evidence in analysis of
passages notated in apparently strict meter but conveying
a distinct sense of ad libitum procedure.
The presence of instrumental recitative might be
indicated by certain express conditions including the
absence of meter signatures and bar lines, small (grace)
notation, ornaments that suggest possible ad libitum per­
formance, and unmarked improvisations in the manner of
cadenzas. More importantly however, Denisonrs study reveals
the presence of implicit instrumental recitative in pas­
sages notated in an apparently strict meter but featuring
certain conditions suggesting an ad libitum treatment.
Thus, the conditions for instrumental recitative may be
either express or implicit.
1

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 2
The basic principle of the instrumental recitative
lies in the suppression or suspension of meter. This
study will show that the techniques Denison found for
instrumental recitative in the Baroque, apply equally to
later periods with some additions.
In the early stages of this study numerous passages
from Post-Baroque instrumental music showed features of
recitative as defined by Denison. Of special interest
are passages explicitly marked by the composer. It is
especially appropriate therefore to deal first with a
selection of such passages from the music of Haydn, Beethoven,
Schumann, Ravel, and Stravinsky. All bear some express
direction by the composer to indicate the presence of
recitative or cadenza.
Haydn's String Quartet Op. 17. No. 5. third move­
ment, Adagio, is "cast in the form of an operatic recitative
1
and arioso, with the first violin as singer” . At measure
12, Recit. is written over the solo violin part. From
measure 12 through 26, this part is entirely unaccompanied.
It consists of short phrases interspersed with punctuating
chords in the other parts. The fermatas serve to prolong
the pauses between the parts, suspending the rhythmic
continuity of the music. At the a tempo in measure 27,
<

Rosemary Hughes, Haydn String Quartets (London:

BBC Music Guides, 1966), p . 246.

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 concerted rhythm and meter is established in all the parts
(See Ex. 1).
In Beethoven's Piano Sonata Op. 110. third movement,
Adagio ma non troppo, Recitativo is written in the fourth
measure. In his edition of the Beethoven sonatas, Artur
Schnabel gives the following analysis:
With the lavish abundance of interpretation-
signs, seventeen in number (not counting the
pedal-signs) all in sharp contrast one to the
other, and extending only over the few notes
from the Recitativo to the Adagio ma non troppo
Beethoven wished to impart an exhaustive, forc-
ible description of his conception of unrestrained
expression. Owing to the inequality of the bar-
lengths, the complete freedom of plastic form
becomes apparent as well.1
As in the Haydn excerpt, a solo line is again a
feature of instrumental recitative. It consists of irregu­
lar groups of time units, suspended with ties, punctuated
briefly with chords, and continuing on a reciting tone
with prolonged chords in the bass (See Ex. 2).
Since cadenza has long been patently associated
with the solo concerto as an extended soloistic section
in free, improvisatory style, such examples are already
well known and need not be reviewed in this study. It is
a matter of special interest, however, when the word cadenza
appears in another instrumental genre.

*It. van Beethoven, Sonatas for the Pianoforte.

Vol. 2, ed. Artur Schnabel tNew York: Simon and Schuster,
1935), p. *07.

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 Example 1. J. Haydn, String Quartet Op. 17. No. 5.
third movement, Adagio, measures 1 2 - 26.

r> — ■

CO?Cf
r*n R e c i t .

a te m p ft

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 5
Example 2. L* van Beethoven, Piano Sonata Op. 110,
third movement, Adagio ma non troppo, measures 4 - 7 *

MB Adagio, ma non jrotm o. (<&**».)

Recitativo.^

-"*=■ ■1
r - n*^03pST*-
;£
jv «

• la * ^ * h w
utik Adaelo. Andante.

M U U Wfrfi*

wtmpr* r*«*fe

*»»»» j F Meno_Adafrto. k *■_

f/WK n
WWW4W
**4 cordx. J ww tffaiW.tmorxando r
9#

to. «
O iftg e n d e r Grsanr.)
* <•* ,
t/m . Adagio,ma non troppo. (*.*«*•«*.> / w w tfnfonte.

^agjjSg;
casrn
JfytePr U cont<\ crtte.
» ca - dirt esi I
g e1=3—
2 *12=
S B 3 >-^_—
B E B-■■E_->
F stasis st=l=3
P

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 6
In Schumann’s Symphony No. 1 . fourth movement,
Allegro animato e grazioso, Cadenza is written in measure
174* This passage is arrived at as the development section
comes to a close on a suspensive cadence. It serves to
retard the movement before resuming the first theme. Like
numerous such cadenzas this passage is given in small (grace)
notation. A suspended chord for the woodwinds accompanies
this solo. Closer examination reveals that earlier, at
measure 170, not only had the tempo marking of the movement
been changed to Andante. but another solo was indicated
in the score prior to the Cadenza. Unlike the elaborate
flute passage, the solo for first horn is short, declamatory
and suspended by a fermata. A second similar measure
follows. These two measures are therefore more in the nature
of a recitative than a cadenza, and serve to begin the
suspension of meter preparing for the flute cadenza (See
Ex. 3). *

The same procedure of stopping a rhythmically

energetic passage may be noted in Ravel’s Alborado del
Gracioso from his piano suite Miroirs. At measure 71»
following a fermata which abruptly halts the meter, the
words exnressif en ricit. are written in the score. This
recitative is used to introduce a middle section in a con­
trasting meter and rhythmic style. ■It is to be noted that
the recitative is a solo line with continuously disparate

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 7

Example 3* Schumann, Symphony No. 1« fourth movement,

Allegro animato e grazioso, measures 170 - 174.

I W Andante 0,frlxaj-w.rr — ' vmliiiKw,*•“— i

t d a ;tn i;!i ::: : -

170& «K!f. 3-=

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 note values negating a sense of metrical progression (See
Ex. 4).
Several cadenzas are written in the score of
Stravinsky*s ballet, Petrushka. In the Second Tableau,
measure £6, the entire orchestra comes to a stop with the
exception of the first clarinet, cornets and trumpets.
Cadenza is written for the clarinet which proceeds (in
grace notation) to measure £7* Within this same ornamented
measure the piano follows with another cadenza while the
cellos suspend a chord beneath. The remainder of the
orchestra is kept silent with the notation of fermatas
over whole note rests (See Ex. 5).
The preceding examples confirm the presence of an
instrumental recitative or cadenza style explicitly marked
by composers. Other examples are of special interest at
this point. The following are drawn from works in which
historians and scholars have identified passages of instru­
mental recitative.
Among examples illustrative of recitative Apel
lists The Poet Speaks, from Schumann's Scenes from Childhood,
as an example of instrumental recitative.1 The word par-
lando is written under the solo line beginning in measure
13* "In connection with instrumental music, parlando

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 9

Example M. Ravel, Alborado del Gracioso,

measures 71 - 74 •

/£rATnM«m( }'•$ __ k
** f i g

I.A. tnnlfii

ftttAa/

WWW >_ I

■—-rrVt a—r™2rr • -.

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 10

Example 5. I* Stravinsky, Petrushka.

Second Tableau, measures 8b - 87.

Second Tableau
81

Mto.ni.

f*H*tim <il«***«*».

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 11
(parlante) calls for expressive declamation, suggestive
of speech or song” .'*’ From this it is clear enough that
parlando and recitative are very much alike in function.
The parlando passage is prepared by a suspension of metrical
progression with the use of rests and fermatas. After the
first 6 measures, the movement progressively negates meter
until the return of the opening, marked Tempo Primo at
measure 17 (See Ex. 6).
Grout notes the pauses for reflection in Beethoven's
music, having "the character of improvisation" that "cul-
2
minate in instrumental recitative". Without being specific
about movements or measures, he cites the Quartet Op. 131
as a case in point. Conditions for recitative are to be
found halfway through the brief third movement of this
quartet. Here, as in former cases, an abrupt change in
meter or tempo marking can serve as a clue to the presence
of recitative. In this instance, Adagio replaces Allegro
moderato in the middle of measure 6. At measure B, the
first violin has a solo line beneath which a minor third
is suspended by the viola. The indication at this point
of piu1 vivace suggests an animated and more improvisatory

*Willi Apel, Harvard Dictionary of Music (Cambridge,

Mass: Harvard University Press, 1964)»P« 554*
Donald J. Grout, A History of Western Music (New
York: Norton, I960), p. 468.

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 12

Example 6, R. Schumann, The Poet Speaks

measures 13 -“ 32T

M 13. The Poet speaks

Dcr Dichter iprlcht

AdagioetpreaajyoJ.m

parlando jHEST fit- ~|

*---------- .j

Tempo primo-

P tetnpfiee

HsasiH
rt/ahf.
Qiktiuti

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 13
rendering of this violin passage while the meter is suspended
in the viola part (See Ex. 7).
Otto Deri, in considering Bartok’s style, speaks of
. . . the so-called parlando-rubato style,
that is, the free declamatory style that
follows the inflection of the spoken word
and which cannot be fitted into either an
unchanging tempo or symmetrical regular
metric groupings” .
Deri notes this style in the Concerto for Orchestra, Intro­
duction, measures 1 to 35* A study of this opening reveals
a rhythmic freedom from a regular beat, irregular time
units, avoidance of repeated or sequential patterns, irregu­
lar harmonic changes, and the avoidance of concerted rhythms
that would establish a regular metric pulse. Rather, a
soloistic condition exists for the lower strings. The
phrase consists of irregular metric groupings in long units
of time that culminate in a pedal point. Above the pedal
at measure 6, tremolos in the upper strings further restrain
metrical progression. These conditions are then repeated
in order (measures 12 - 22). A new feature is the flute
solo, measures 30 to 35» also featuring metrically irregularity
with ties and suspensions that suppress the sense of beat
(See Ex. 3).
In his description of Chopin*s Nocturne Op. 32.
No. 1. Ernest Hutcheson concluded: MItfs most remarkable

^■Otto Deri, Exploring Twentieth Century Music (New

York: Holt, Rinehart and Winston, 5 p. 2^0. l% ),

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 14

Example 7« L. v. Beethoven, String Quartet Op. 131«

third movement, Allegro moderate, measures a - 9 .

A t(r e r o m o 4 « n « iu .

W
s^s—
ft- ---s— r—
noirr
Aifnsriri.

cjtw

frrAV
' s
mv.

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 15

Example £. B. Bartok, Concerto for Orchestral

Introduction) measures 1 - 3 5 *

CONCERTO FOR ORCHESTRA

b £ li axxtCs
(IKTROOUZtONt)

PitMmtm
I 'i . — i i t

f li i M

-continued-

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 16

Example 6— continued. B. Bartok, Concerto for Orchestra.

Introduction, measures 1 - 35.

lit 1

1.B
*

*U,

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 17
feature Is the unexpected dramatic recitative at the end,
i
turning to the minor mode.” Preceding the final Adagio
are two measures of extraordinary length within which occur
a series of metrical conditions that convey recitative.
The fermata at measure 63 suspends the meter. Two brief
declamatory statements, soloistic in nature, are each
terminated by a sforsando chord and a fermata. Then follows
a lengthier solo line, in octaves, terminated again by
sforzando chords and a rest. The final resumption of the
solo line is interrupted at the outset by two chords and comes
to a stop on a suspensive cadence followed by another rest.
The piece is concluded with the two measures of Adagio (See
Ex. 9).
The preceding examples confirm the existence of an
instrumental recitative style not only in passages explicitly
identified by composers, but also in passages which have
attracted the special attention of scholars. All Post-
Baroque periods have been represented.
All examples show the same basic principle of the
recitative, the suspension or suppression of meter. The
recitative principle applies equally to the cadenza and
confirms the close association between the two. The reci­
tative principle serves to free music from regular meter

Ernest Hutcheson, The Literature For The Piano

(New York: A. A. Knopf, 1 9 W , P* 202.

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Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
 19
and may be employed to open, close, suspend or retard a
movement.
The instrumental recitative exists not only in solo
works but also in chamber and symphonic genres. It remains
now to examine each of the periods, Classic, Romantic, and
Modern, for additional evidence of the instrumental recitative.

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 CHAPTER II
THE CLASSIC PERIOD

Recitative in the Classic period is most evident

in solo keyboard works and duo sonatas. It is less evident
in the string quartets and rarely found in symphonies.
Examples have been chosen from those appearing in the music
of Mozart, Haydn, and Beethoven, even though many of
Beethoven*s later works are more usually considered part of
the early Romantic period. The purpose here is not to define
historical periods but to present evidence of the instru­
mental recitative.
In Mozart*s Fantasy in C minor. K. A75. a passage
of six measures serves as a cadenza. In the Allegro at
measure Si, meter is suppressed by a.sustained octave in the
bass over which an extended descending arpeggio comes to
rest at a fermata. The cadenza continues over a dominant
pedal point, ascending in arpeggio fashion and descending
in scale motion. Regular bar lines are set aside in this
passage, following a notational practice in the concerto
cadenza. Another fermata again suspends the meter, followed
by an ascending chromatic scale spanning three octaves,
the passage set out in small notation. This solo line is

20

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 21
retarded by two fermatas bringing the entire cadenza to a
suspensive close leading to the ensuing movement (See
Ex. 10).
Mozart employs recitative in works ordinarily con­
sidered more strict than the fantasy. A clear case is
the recitative in Mozart’s Piano Sonata in B-flat. K. 251,
third movement, Rondo, measure 43* After metrical pro­
gression is suspended by a fermata, an ornamental and
unaccompanied solo line in conventional notation follows.
Freedom from meter is conveyed by lack of bar lines. The
a tempo occurs at the end of this measure, restating the
first theme with the same anacrusis as at the beginning.
The function of this extended free measure is to set off
the return to the first theme (See Ex. 11).
In the Sonata Mo. 32. K. 376 for violin and piano,
Mozart uses cadenzas in the third movement, Rondeau. In
this case the solo is shared by both instruments in parallel
thirds. At measure 150 the fermata over the half note sus­
pends the rhythm. Both parts then share a descending scale
line which is retarded in the following measure by the use
of quarter notes. Prolonged rests separate the chords in
the next four measures further suppressing a sense of beat.
The fermata at measure 156 again prolongs the flow of the
music, followed by a similar soloistic descending scale
line. This time the music is suspended by rests and another
fermata. The anacrusis at the end of measure 156 is exactly

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 22

Example 10. W. A. Mozart, Fantasy in C minor.

Allegro, measures si - 86.

AftCRTO

reikttf.

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 23

Example 11. W. A. Mozart, Piano Sonata in B-flat.

K. 281. third movement, Rondo, measure 43.

mttr.

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 24
like the one that opens the movement and serves to resume
a regular beat and tempo (See Ex. 12).
In Haydn*s String Quartet Op. 17. Mo. 3. the first
violin has a recitative in the third movement, Adagio,
measure 39. Meter is suspended by ferraatas in all the parts.
The grace notation of the solo line expressly indicates
an ad libitum performance (See Ex. 13).
An early example of symphonic recitative occurs in
Haydn’s Symphony Ho. 104. In the Andante movement which
is a theme and variations, meter is suspended at measure
113 by fermatas in all the parts. Measures 114 - 117 are
written for flute solo, accompanied by the oboes and bas­
soon. Measures 115 and 117 convey recitative style by
the implicit notation of piu* largo in the flute part, and
by the fermatas which suspend the accompanying parts. The
alternation between the a tempo and piu* largo measures not
only suspend regular meter, but also set off the chromatic
return to the original key (See Ex. 14).
A more subtle case of recitative style occurs in
the Cavatina of Beethoven’s String Quartet in B-flat.
Qp. 130. Halfway through this movement, at measure 40,
the second violin, viola and cello break into a triplet
figure in familiar style. Above this regular repeated
rhythmic pattern the first violin becomes a soloist. The
part does not share the rhythmic pattern of the accompani­
ment, but offers a variety of differing rhythmic figures

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 25

Example 12. tf. A. Mozart, Sonata Nr. 32. K. 376. ^

for Violin and Piano, third movement, ;
Rondeau, measures 150 - 15S. Ii
?

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Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
 27

Example 14. J* Haydn, Symphony No. 104* second movement

Andante, measures ll5» 117.

/!*(«** ft tm jt tiiU ft*

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 23
interrupted by rests no less than fifteen times in six
measures. Beethoven has written the word Beklemmt (heavy,
oppressed) as an interpretive indication for the part. As
a solo line it dispells all sense of meter due to the
irregularity of rhythm and repeated cessations (See Ex. 15).
A well-known passage from Beethoven's Symphony No. 9
is an especially clear example of instrumental recitative.
The opening pages of the last movement review the themes
of the preceding three interrupted with recitative comments
from the cellos and basses. These recitatives serve to
punctuate and set off these themes, yielding finally to the
new theme of the finale. Beethoven has expressly indicated
the recitatives in the score. They are terse, declamatory,
and irregular in rhythms. The first recitative occurs in
measures 3 through 16, and is presented as example 14.
The solo feature or the recitative is effectively contrasted
with orchestratal tuttis (See Ex. 16).
From the preceding examples, it is evident that
the instrumental recitative in the Classic period has a
broader more varied function than in the Baroque. The
Classic recitative appears not only in solo works but in
chamber music as well* Although the symphonic recitative
is a rarity in this period, it is to come quickly into its
own in later periods. The Classic instrumental recitative
appears not only in works which are associated with an ad

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 29
Example 15• L. van Beethoven, String Quartet Op. 130.
fifth movement, Cavatina, measures 40 -'47*

r-» rf~* ** - » wt— r«r-

| , , , ,

~>»Vrr *rWir

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Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
 31
libitum improvisatory style, such as the fantasy, but also
in classic forms deemed to be more strict, the sonata,
theme and variations, song form, and rondo.

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 CHAPTER III
THE ROMANTIC PERIOD

The instrumental recitative persists in solo key­

board works from the Romantic period. The virtuosic style
of Franz Liszt depends greatly on recitative as a composi­
tional technique. One most obvious example is from the
Sonetto 1A0 del Petrarca. Following the opening four mea­
sures, marked Agitato assai. is a sudden change to Adagio.
In measure 5 the energy of the opening noticeably subsides.
The eighth note motion ceases and the harmonic rhythm is
elongated. The rest which concludes this measure and
another in measure 6 serve to suspend the metrical continuity.
The ornamental turn that follows is then suspended by a
fermata. The small notation for the descending continuation
of this line conveys cadenza style. The solo continues to
measure 20, accompanied by occasional chords in irregular
patterns avoiding concerted rhythm with the solo. The ritard
and fermata over the eighth rest in measure 6 again sup­
press metrical progression. As opposed to the more overt
style of the sixth measure, measures 7 and S are declamatory,
the solo proceeding on a reciting tone. The lack of con­
certed parts in measure 9 and 10, coupled with diverse

32

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 33
rhythmic units in the solo, all continue to suppress meter.
Measures 11 and 12 repeat the same music of measures 7 and
6 a major second lower. These non-metrical conditions
prevail continuously through measure 20 (See Ex. 17)*
An example of a keyboard work composed entirely of
instrumental recitative is Chopin*s Prelude No. IS. Written
in fantasy style, it employs a virtuosic solo line, doubled
in octaves, continuously interrupted by punctuating chords.
The absence of concerted rhythmic parts, the irregular
phrase lengths and grupetti, and the radical contrasts in
range and texture suppress a recurrent beat (See Ex. IS).
The instrumental recitative is more evident and
pervasive in Romantic chamber music than in the Classic.
It is most noticeable in words that employ the piano.
Schubert’s Phantasie Op. 159. for violin and piano, con­
tains several cadenzas. They are expressly used at the
completion of each section of the work to suspend the meter,
or to provide a virtuosic solo as transitory material between
sections. The first cadenza occurs in measures 34 to 36.
Meter is suspended by fermatas in both parts. In measure
34 the violin has an arpeggiated cadenza, while the piano
sustains the harmony. In measure 35 the piano continues
the cadenza, while the violin part is suspended. In measure
36 both parts are suspended again. Thereafter follows an
Allegretto in regular meter (See Ex. 19)*

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 34

Example 17. F. Liszt, Sonetto 104 del Petrarca*

measures 5 - 2o.

Sonctto del Petrarca

m u U w . m i-tm
Agitato ataa!

JT Adagio. ^

i
MM.
w k

*P • «'P • "#«P *

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 35

Example Id. F. Chopin, Prelude No. Id.

PRELUDE.
Allegro motto. F.CHOPIN. Op.M,N9 ta.

18.

•r

trttt-

-continued-

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 36

Example Id— continued. F. Chopin, Prelude No. Id.

[ P W g

%#.« •liao
BriCnaSff/tii 7* •

■ggysa'"'iTWfT-r-i-H-t-FffrV ii11I
— — —* 3 ■': -'■<
<Ra,

■
r»
'a>
sp
am \
L,<* l}tU U--T*i > l P

e««.
C’ y,^£t o jN
-o-♦

•iia O
♦
—t=rs7ssa— S---- — ,— fi-k..;— E— ft— E-*a— 1_
IT £

■m S=H^3='ri35ri
_■♦■■I "»■* #*i'
**2Vi!5Si3sJaSSS?f:
* — V - P # r W t
»fc55frinr7?£^3v =:

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 37

Example 19. F. Schubert, Phantasie. Op. 159.

for Violin and Piano, Andante molto,
measures 34 - 36.

t f «v

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 3$
Numerous cadenzas and recitatives are expressly
notated in Dvorak’s Dumky Trio, Op. 90* for violin, cello
and piano* In the middle of the fourth movement, at measure
73 t the key signature and tempo marking are altered. Mea­
sures 73 to consist of solo phrases for the violin and
cello above which are written quasi Recit* The piano pro­
vides a sustaining chordal accompaniment and fills in with
an arpeggio when each solo is concluded. Meter is sus­
pended by the lack of concerted parts and regular units of
time (See Ex. 20).
In the Nineteenth Century solo voices begin to
emerge from the orchestra, and these may be felicitously
employed to express the recitative style. The Symphonie
Fantastique of Berlioz presents an interesting example.
The third movement entitled In the Country begins with a
solo for English horn two measures in length and concluded
by a fermata. The rhythmic notation negates the g meter.
Measures 3 end JV contain an imitation of this solo for the
oboe. A repetition of these solo measures occurs in mea­
sures 5 through £. Melodic dialogue takes place in measures
7 and 3. Here the line for the English horn provides a
varying rhythmic pattern when the oboe enters. At measure
9 another fermata halts the proceedings. These two parts
are not concerted in rhythm, but rather accentuate notes
in different parts of the measure. The continuous avoidance

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 39

Example 20, A. Dvorak, Dumkv Trio, Op. 90. for Violin,

Cello, and Piano, fourth movement, Meno mosso,
quasi tempo, measures 73 - 98.

Mjnomosso, quasi tempo

MenoTjTosso.qiwsi^tf-mpo

pnmo
r*rar± J>±-t^c ■— •t>:

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 40
of regular pattern and concerted rhythm suppress the meter
and thereby convey the effect of recitative (See Ex. 21),
The opening measures of Wagner»s Prelude to Tristan
and Isolde have been of great significance to the ardent
harmonic analyst. Yet, the expressive quality of the music
inheres also in the rhythmic process, in the separated
melodic segments that are characteristic of vocal recitative.
During the first fifteen measures no rhythmic pattern shorter
than a full measure is apparent. The first suggestion of
meter begins at measure 16 with two pulses of dotted quarter
notes. The truncation of the opening phrases with rests and
fermatas effectively suspends metrical progression. Each
phrase comes to a halt on a suspensive chord furthering
suspensive rhythm. Chords a full measure in duration accom­
pany these phrases which all begin with a solo line (See
Ex, 22).
Another technique for achieving instrumental reci­
tative in the symphonic genre occurs in Brahms1 Symphony
No. 1, Op. 68, fourth movement. At the Piu*Andante mea­
sure 30, a horn solo Introduces one of the themes. It is
a broad theme featuring long notes in alternate measures.
The long notes do not suggest metrical demarcation*
However, trumpets and trombones in measures 30-33 and
bassoon and clarinets in measures 33-34 have regular and
recurrent demarcations to suggest meter. The tympani
together with cellos and basses features long notes devoid

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 41

Example 21. H. Berlioz, Svmphonie Fantastique.

third movement, In the Country. Adagio*
measures 1 - 9 .

in
In the Country
. A4agto(Kt^4)
—

EnttkhKoro

CbriattobBb
Komlaad
HbF
KocnUIinEb

Timpani!

TimpaniH (S g ll

Vioim I
Violin II

CtSouMBuo
^ A4agt* (.'■*«)

5TJKTS— **

P7tr*

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 42

Example 22. R. Wagner, Prelude to Tristan and

Isolde, measures 1 - 1 5 *

Tristan and Isolde, Prelude and Love-Death

Rtchird Ufofatr, l t l J * I t U

Lanciam and iehejacbtend.

Zexfo * langutnle.
X Hoboes.

X Klarinetten in A.

I Engllachea Hors,

t.u.r. Etgott.
Violoncello.

■LA.
1

t.nAJr.flaJl
i
Ml
:i m .. 1 '‘ l i a i i 5
*.▼■
Vt. J | Jssssi s » 4 i

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 43

of metrical demarcation. Continuous tremolo in the upper

strings are devoid of metrical regularity; however, changes
in pitch patterns are somewhat recurrent, suggesting some
metrical effect. The total effect of the ensemble is in
part recitative in that meter is suppressed in certain
parts; it is also nonrecitative in that certain parts do
convey meter. The example is offered to show how in a
large ensemble, differing, and in this case opposing,
effects may be conveyed. Though the example cannot
finally be termed unequlvocally an instrumental recitative,
to omit it from a discussion of recitative would be to
ignore important parts of this music (See Ex. 23).
From the preceding examples it is evident that
the instrumental recitative appears in all genres of the
Romantic period, especially in the symphonic genre. The
*
examples were chosen from a profuse number gathered during
the course of the study. Although the examples presented
do not reflect this profusion, it is nevertheless clear
that the instrumental recitative is more pervasive in the
Romantic than in the Classic period. As a compositional
technique it appears to be especially associated with the
programmatic and poetic aspects of Romantic style.

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 44

Example 23. J« Brahms, Symphony No. 1 Op. 63.

fourth movement, Piu Andante, measures 30 - ji4*

w PiuAndante

UZ^/tm
prt

B PiuAndant

ttmorl >«Cn—

sw ^

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 CHAPTER IV
THE TWENTIETH CENTURY

Examples in this chapter were chosen chiefly from

symphonic works, since many of the milestones of Twentieth
Century music were established in this genre. Examples
from solo piano and chamber literature show the continual
presence of recitative in these genres.
Though Debussy*s earliest works appear in the
Nineteenth Century, many of his most familiar works were
written in the early years of this century. His rhythmic
style has been referred to as relaxed or ambiguous. It
requires putting aside patent notions of meter, especially
in the recognition of the bar line as other than a metrical
apparatus. The introduction of Les collines d'Anacapri,
the fifth in his first set of preludes for piano, exemplifies
this style* Measures 1 and 2 introduce a bell-like motive
to be sustained by the pedal* Debussy explicitly directs
that these accumulated tones are to vibrate freely (auittez,
en laissant vibrer). In measures 3 and k bits of a taran­
tella theme are introduced Vif* The theme begins on the
third sixteenth note of the third measure, stops on the
last eighth, ties across the bar line and is abruptly

U5

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 46
terminated on the second eighth of the fourth measure by an
arpeggiated chord. A quarter rest and cesura follow. A
repeat of the bell motive is extended and prolonged again
by the pedal. A pattern of chords proceeded by eighth notes,
En serrant. accelerates the music from the Tres modere of
the bell motive to the Vif tempo of the tarantella. The
juxtaposition of these different musical ideas suppresses
metrical regularity for the first nine measures. In the
eleventh measure the recurrent patterns of sixteenth notes
establishes a regular pulse (See Ex. 24).
Bartokfs Sixth String Quartet begins with an unac­
companied viola solo that suggests recitative. The irregular
phrase lengths, tied notes, and the avoidance of regular
recurrent rhythms all serve to suppress meter (See Ex. 25).
The variety of metrical notation of Stravinsky's
Rite of Spring. Introduction, measures 1 - 1 3 , invites
analysis since such conditions are often clues to the
presence of recitative. The entire section is based on a
motive introduced by a solo bassoon* Written in the score
for this part is Solo ad lib. The motive is suspended at
the beginning and at the end by fermatas. The repetition of
this motive in differing rhythmic patterns is suspended
again in measure 3» where the tie serves the similar pur­
pose of a fermata. The entrance of the horn on measure 2
is an example of an accompanying line rhythmically indepen­
dent of the solo. It is only at measure 4 with the entrance

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 47

Example 24• C. Debussy, Les Collines d ’Anacapri,

measures 1 - io.

V lf 184 >

VP p p t f g t r * t tointain

(i(
l*h u » t wttnr

T r t i modere

l fxtlt*!,«»
UltttMl riirtr'

0 V lf

dim. motto It fv lt r o

p jo y tu x ct tcgcr

]
i

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 4*

Example 25. B. Bartok, Sixth String Quartet,

first movement, Mesto, measures l - 13.

SIXTH Q U A R T E T
BELA BARTOK

Mttto,A m .w

gp «a
Pi(i b ih M i pesute
A J-IU.U______
TtoUMt

V M Iw Il

VIoU
erne.*
VMmm Uo S3jjc3^=i

'

. tt
~xrr

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
 49
of the clarinet parts that meter becomes apparent. However,
the fermata in measure 6 again suspends the metrical pulse.
With the re-entrance of the bassoon solo, a continued sus­
pension of meter is expressed in the suspension of the two
clarinet parts across the bar into measure 7* At measure
3 meter is suggested again by the similar rhythm shared by
these two parts, but they are suspended in measure 9 by a
fermata while the bassoon part concludes on a prolonged
note. Measure 10 to 12 are free from meter, the clarinets
and bassoon parts being tied, while the English horn proceeds
with its solo. All parts are halted in measure 12 by another
fermata. With the last repetition of the opening motive
by the bassoon, this section comes to a close at measure 13
with the final fermata. Here a variety of effects all share
in a single function, the suppression and suspension of meter,
and the entire passage conveys the effect of recitative
(See Ex, 26).
Hindemithfs Symphonie Mathis der Maler. third movement,
presents an interesting use of an entire section of the
orchestra performing in soloistic style. The tempo indica­
tion for the movement is Sehr langsam, frei iro Zeitmass
(very slow, free in tempo). Above the opening note, unison
in the strings, is a fermata. Following this an ascending
line in accented eighth notes, rubato, continues to negate
a regular rhythm. Within this first measure the simple
arithmetic of note values disavows any relation to the time

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 50

Example 26* I. Stravinsky, Rite of Spring.

Introduction, measure

HAGTb IIE P B A fl. P R E M I E R E PARTIE.

nonuayft 3EMjn. I/A D O R A T IO N D E LA T E IO tE

Bciynjioniov. Introduction. ■

Lf&to J u t iitipo n U tt., Ip r tlr tv b il,,

^ CUrU.u® i /t ■
liU
CUrla*n*^iM*t . ..H.f.rt. a

rtpu* t
Cnit ««»r*
” L«ato i. *• Urapo rubato.
U t*mpo

frtmw
«s ffgrV-OiO*— **

la U m p o

E Jlat.ap a

f a ] J * t» m p *
rfi| B0*K J. M
EDWJN I». KALMUS ~

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 51
signature. In the second and third measures accented
trills on the last and weakest prolation of the quarter
beat dispel any sense of continuous pulse. This solo line
is joined by the woodwinds in the second half of measure
3. A recurrent rhythmic pattern suggests a more regular
pulse from that point through measure 4 . The elongated
dotted half note at measure 5 immediately suspends this
pulse. As the orchestra abruptly halts in measure 6, a
fermata is written over trills for the tyrnpani further
suspending the rhythmic movement. This pattern of going
and stopping is continued for eighteen measures until meter
is firmly established at the Sehr lebhaft in measure 19.
Here recitative style is conveyed not only by the solo
instruments but also by the entire ensemble (See Ex. 27).
A curious example of instrumental recitative occurs
in the fifth of Schoenberg’s Five Pieces for Orchestra.
Op . 16. The title of this piece is The Obligatory Recitative.
The title itself is curious. Obligatory may refer in some
way to obbligato. but there is here little in the music to
suggest this. Further, the freedom connoted by the term
Recitative is antithetical to the strictness connoted in
the term Obligatory. An examination of the vertical aspects
of this music reveals closely concerted parts carefully
interwoven at the eighth and sixteenth note level of rhythm.
A horizontal or linear examination is more useful in reveal­
ing conditions for recitative. Each part is rhythmically

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 52

Example 27. P. Hindemith, Svmphonie Mathis der Mahler.

Sehr langsam, frei im Zeitmass, measures ! 11.

as
V E R S U C H U N G D E S H E IL IG E N A N T O N IU S
n t lt l eras,bono Jheiu/ ubl oras,quare non affuU tt/ot itiu n s Tolncre tnoe?**

Sehr langaanij frel Jm. ZgttniaB

VUli

tti^5Ea£

p ttrtA

P *****
W

Mrs
V Berk Ml

frvtr. Jf\y *

***»' < ^ //: r

■■■•"■.r-.-v.

-continued-

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 53

Example 27— continued. P. Hindemith,

Symphonic Mathis der Mahler, third movement,
Sehr langsam, frei im Zeitmass, measures 1 - 1 1 .

rHJ'ifP.

fM/f.

<«*ft ft,*

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 54
independent from all others. Each and every part features
brief motives, frequent truncations, and irregular rhythmic
patterns. Phrases begin and end on various parts of the
measure and are often suspended over bar lines. In no part
is any pattern persistent enough or regular enough to es­
tablish beat or meter. But since these parts are written
concertedly and are constantly overlapping each other,
they are obliged to move in time. Perhaps the title Obli­
gatory Recitative is itself an apt description of the
two opposite forces, freedom and strictness, operating in
the same music (See Ex. 2d).
Examples of instrumental recitative in the Twentieth
Century show a greater variety of type and procedure,
especially in the symphonic genre. It appears that this is
due in part to the increased variety of metrical styles
in Twentieth Century compositions.

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 55

Example 2d. A. Schoenberg, Five Pieces for Orchestra.

Op. 16. fifth movement, The Obligatory Recitative,
Allegretto, measures 1 - 9.

Dis obligate Reaitativ-The Obligatory Recitative

essiSS' &b£B=2
MB SPsizm
i

if

a8 /®

18 JABj*JR3^sssss z/a-a^-
shoe TCS^.U

jiim
*THKl3*

esgaa m g : ____ _

r I* sssSk
a^AlgSEEiia

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
 CHAPTER V
CONCLUSION

The discovery of passages of recitative explicitly

marked by composers spanned the entire Post-Baroque period
and these warranted special introductory study, along with
other examples cited by noted historians and scholars. It
was clear in preliminary study that the Classic use of
recitative was most common in solo keyboard works, though
interesting examples appear in chamber music. Examples
from symphonic works are interesting chiefly for their
rarity. Thus, the recitative remains chiefly though not
exclusively a soloistic style. The appearance of recitative
in solo works persists through ensuing periods. In the
Romantic and Modern period, as solo voices emerge from the
orchestra, the soloistic recitative becomes an established
part of symphonic style. These preliminary findings deter­
mined the basic outlines of the study. Therefore, the
chapter on the Classic period shows typical recitatives
from solo piano works along with examples of special interest
from other genres. The chapters on the Romantic and Modern
periods emphasize the recitative in the symphonic genre
even though numerous examples from solo works were available.

56

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 57
The emphasis on the symphonic genre was deemed appropriate
as this would not only confirm the existence of the instru­
mental recitative but suggest its pervasiveness in styles
ranging from solo works for one performer to ensemble works
of the magnitude Qf the large symphony orchestra.
Recitative as a basic style is clearly recognizable
in every Post-Baroque period. It arises from the basic
principle of the suspension, interruption, or suppression
of meter. Its purpose is to liberate certain passages from
metrical strictness in favor of an ad libitum freedom.
The basic procedure is the abandonment of regular and recur­
rent rhythmic patterns, and often also the abandonment of
rhythmic concertedness amongst parts, with a consequent
suppression, interruption, or suppression of beat and meter.
What usually remains is a solo part, accompanied or unaccom­
panied. If unaccompanied, it is set free from meter by the
absence of other concerted rhythmic parts. If accompanied,
the absence of concerted rhythm amongst the parts suspends
the regularity of meter, or a regular or irregular chordal
accompaniment might be present, but the solo line is rhyth­
mically independent of meter and beat. In the absence of a
solo line, truncations of meter and the diffusion of rhythmic
patterns suppress strict meter*
When the solo line is vlrtuosic it functions as a
cadenza* When it is declamatory and consists of brief,
punctuated phrases, it is recitative* Thus, the cadenza

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
 and recitative are closely related deriving from the same
rhythmic conditions, and hased on a common principle the
suppression or suspension of meter.
In the analysis of various scores, these conditions
were repeatedly observed even though no explicit score mark­
ings were evident. The Baroque principle of recitative
is identically operable in Post-Baroque instrumental music.
However, the profusion of interpretive markings in Post-
Baroque notation make recitative passages even more notice­
able. They include such words as cantabile, doles, espres-
sivo, sostenuto, tenuto. parlando. liberamente. frei.
beklemmt, ad lib.. and rubato. Other telling signs are
especially evident in late Romantic and Twentieth Century
music including abrupt tempo changes, radical contrasts in
texture, range and dynamics, irregularity in phrase and bar
lengths, and the extensive use of the fermata.
The Classic recitative appears not only in the form
usually associated with freedom, but also in the supposedly
stricter forms, sonata, theme and variations, song form, and
rondo. Recitative is not limited to solo works but is freely
adaptable to ensembles, and in the Romantic and ftodern periods
is conspicuously a part of symphonic styie.
Further study would yield many more instances of the
instrumental recitative, and could lead to a more compre­
hensive catalog of the various effects it achieves as well
as the formal functions it serves. An anthology of

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
 59
representative instrumental recitatives might probably draw
most heavily from Romantic and Modern works, and would
probably show an extensive use of recitative intermixed with
a variety of metrical styles. Even the casual listener will
detect the presence of the recitative style in electronic
music. As this medium developes, it may become possible to
identify the exact role of recitative in newer compositions.
Despite its metrical notation, the recitative invites
the abandonment of meter in favor of freedom. This freedom
is not only part of the musical style but seeks its final
fulfillment in the judicious freedom of interpretation by
the performer. It is perhaps no coincidence that recitative
became a pervasive feature of musical style from the Baroque
to the present. The masterworks from these periods are the
works of master composer-performers. Perhaps recitative may
be regarded as one of the special modes of expression enabling
the masters to practice their individual freedoms not only
in the craft of their composition but also the craft of
their performance.

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 BIBLIOGRAPHY

60

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
 BIBLIOGRAPHY
Books
Apel, Willi. Harvard Dictionary of Music. Cambridge,
Mass.: Harvard University Press, 1964.
Blom, Eric. Beethoven*s Pianoforte Sonatas Discussed.
New York: Da Capo Press, 1968.
(ed.). Grovel Dictionary of Music and Musicians.
5th ed. London: Macmillan, 1954*
Clapham, John. Antonin Dvorak. New York: St. Martin, 1966.
Crocker, Richard L. A History of Musical Style. New York:
McGraw-Hill, HQST.
--- --------
Cooper, Grosvenor and Meyer, Leonard B. The Rhythmic
Structure of Music. Chicago:Phoenix, 1.96b .
Del Mar, Norman. Richard Strauss. Vol. I and II. New
York: Macmillan, 1902.
Demuth, Norman. French Piano Music. London: Museum Press.
1959*
. Ravel. New York: Collier, 1962.
Denison, William R. "Recitative in Baroque Keyboard Music."
Unpublished doctoral dissertation, Florida State
University, 1969.
Deri, Otto. Exploring Twentieth Century Music. New York:
Holt, Rinehart and Winston, 19bo.
Grout, Donald Jav. A History of Western Music. New York:
Norton, I960.
Grove, George. Beethoven and His Nine Symphonies. 3rd ed.
New York: bover, 196JJ.
Horton, John. Brahms Orchestral Music. Seattle: University
of Washington Press, l96$7

61

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
 62
Hughes, Rosemary. Haydn String Quartets. Londons BBC
Music Guides, I9bb.
Hutcheson, Ernest. The Literature of the Piano. New
York: Knopf, 1948.
D'Indy, Vincent. Cesar Franck. New York: Dover, 1965.
Jonson, G. C. Ashton. A Handbook to Chopins Works.
2nd ed. London: Reeves. ’
Kerman, Joseph. The Beethoven Quartets. NewYork:
Knopf, 1957.
King, A. Hyatt. Mozart Chamber Music.Seattle: University
of Washington Press, 1909.
Landon, H. C, Robbins. The Symphonies of Joseph Haydn.
Londons UniversaT, 1955•
Lang, Paul Henry (ed.). Stravinsky: A New Appraisal of
His Work. New York: Norton, 19f>3.
Lang, Paul Henry and Broder, Nathan. Contemporary Music
in Europe. Norton: New York, 1965.
Lang, Paul Henry. The Symphony: lflQQ-1900. New York:
Norton, 1969.
La Rue, Jan. Guidelines for Style Analysis. New York:
Norton, 1970.
Mason* Daniel Gregory. The Chamber Music of Brahms.
Ann Arbor: Edwards, 1950.
Macdonald, Hugh. Berlioz Orchestral Music. Seattle:
University of Washington Press, 1969•
Pauly, Reinhard G. Music in the Classic Period. Dubuque:
Brown, 1969.
Peyser, Joan. The New Music. New York: Dell, 1972.
Richner, Thomas. Orientation for Interpreting Mozart*s
Piano Sonatas. New lork: Columbia University
rress7 1 9'5J . "
Riedel, Johannes. Music of the Romantic Period. Dubuque:
Brown, 1969.
Robertson, Alec. Chamber Music. Baltimore: Penguin, 1957*

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
 63
Rosen, Charles. The Classical Style; Haydn. Mozart.
Beethoven" New lork: Viking, 1971.
Schauffler, Robert. Florestan; The Life and Works of
Robert Schumann. New York: Dover, 19b3 .
Schmitz, Robert E. The Piano Works of Claude Debussy.
New York: Dover, 1950.
Simpson, Robert (ed.). The Symphony; Vol. I and II.
Baltimore: Penguin, 19ob. —
Stuckenshmidt, H..H. Twentieth Century Music. New York:
McGraw-Hill, 1 ^
Thompson, Oscar. Debussy: Man and Artist. New York:
Dover, 19677
Tovey, Donald F. A Companion to Beethoven's Pianoforte
Sonatas. London: Associated'"board to the Royal
Schools of Music, 1955.
Ulrich, Homer and Pisk, Paul A. A History of Music and
Musical Style. New York: Harcourt, Brace and
World, 1963.
Vlad, Roman. Stravinsky. London: Oxford University
Press, 19&7.
Webern. Anton. The Path to New Music. Brvn Mawr: Presser.
2.963. --------------------
Westerby, Hubert. Liszt and His Piano Works. London:
Reeves, 193b.

Scores and Editions

Bartok, Bela. Fourth String Quartet. New York: Boosey
and Hawkes7 i939.
. Sixth String Quartet. London: Boosey
and Hawkes, 19 41•
. Concerto for Orchestra. London: Boosey
and Hawkes, 194b. .
Beethoven, Ludvig van. Symphonies. New York: Kalraus.
. 32 Sonatas for the Pianoforte.
Edited by Artur Schnabel. New York: Simon and
Schuster, 193?*

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
 64
Beethoven, Ludvig van, Werke: Quartette. Serie 6 , Zweiter
Band. Ann Arborl Edwards, 1949.
Berg, Alban. Three Orchestral Pieces, Op. 6 . Vienna:
Universal, 1923.
* Lyric Suite. Vienna: Universal, 1955*
Berlioz, Hector. Overture The Roman Carnival. Op. 9 *
London: EuYenberg.
. Symphonie Fantastique. Op. 14. New York:
Kalmus.
Brahms, Johannes. Piano Works. New York: Kalmus.
. Samtliche Werke. Ann Arbor: Edwards, 1949*
Band 1 and *2: Symphonien fur Orchester.
Band S: Klavier Quintet und Quartet.
. Symphony No. 1. Op. 6& . New York: Kalmus.
Chopin, Frederick. Ballades for the Piano. New York:
G. Schirmer,' l9lb.
. Etudes for the Piano. New York:
G, Schirmer, 191b.

Nocturnes for the Piano. New York:

G. Schirmer, 191$.
________________ . Preludes for the Piano. New York:
G. Schirmer, 1916.

Copland Aaron. Symphony No. 3 . New York: Boosey and

Hawkes, 1947.
. Piano Variations* New York: Boosey and
Hawkes, 1956.
Debussyt Claude. Images, Set I. New York: International.
1961 .
______________ • Prelude to Afternoon of a Faun. New
York: Norton, 1976T
. Preludes for Piano. Paris: Durand, 1910.
. String Quartet No. 1 . New York: Kalmus.
Dvorak, Antonin. Quintet in A Major, Op. 61. London:
Eulenberg.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
 65
Dvorak, Antonin. Dumky Trio. Op. 90. New York: Kalmus.
Carter, Elliot. String Quartet No* 2 . New York:
Associated, 1962*
Franck, Cesar. Quintet in F Minor. London: Eulenberg.
Sonata in A Major. Music Scores Omnibus.
Fart 2 . knglewood cliffs: Frentic e'-Hal'l', l9£>4.
Haydn, Joseph. String Quartet. Op. 17. No. 3 . Leipzig:
Eulenberg.
. String Quartet. Op. 17. No. 5. London:
Eulenberg.
. Sonatas for the Piano. New York: G.
Schirmer, 1S$4.
____________ . Symphony No. 104. Music Scores Omnibus.
Fart 1 . Englewood cliffs: Prentice-Hall, 19&4.
Hindemith. Paul. String Quartet, Op. 10. Mainz: Schott.
1921.
* Symphonie Mathis der Maler. Mainz:
Schott, 1934.
Ives, Charles. First Sonata for Piano. New York: Peer
International, 1954*
. Symphony No* 4 . New York: Associated,

Liszt, Franz. Annes de Pelegrinaee. Leipzig: Breitkopf

and Hartel, 1^66.
Mahler, Gustav. Symphony No. 1. Vienna: Universal, 1967*
Mendelssohn, Felix. Piano Trio C Minor. Op. 66. London:
Eulenberg.
. Piano Works. London: Augener, 1909.
Mozart, Wolfgang Amadeus. Twenty Sonatas for Violin and
Piano. Volume I . New^ork: Kalmus.
. Nineteen Sonatas for Piano.
New fork: G. schirmer, 191$. _

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
 66
Mozart, Wolfgang Amadeus. Werke * Ann Arbor: Edwards, 1955.
Serie 14s Quartetue.
Serie 2: Syrnphonien 35-41.
Mussorgsky, Modeste. Pictures at an Exhibition. London:
Boosey and Hawkes, 1942.
Ravel, Maurice. Miroirs. New York: Marks, 1937*
. Vaises Nobles et Sentimentales. Paris:
Durand, iWT.
------------------------
Quartet in F Major. Music Scores Omnibus.
Part 2 . Englewood Cliffs: Prentice-fcall, 19&4.
Rimsky-Korsakoff, Nikolai. Scheherazade. Op. 35. New
York: Kalmus.
. Russian Easter, Op. 36. New
------- y0l4c. Kalmus. —

Schoenberg, Arnold. String Quartet. Op. 7 . New York: Kalmus.

. String Quartet. Op. 10. Vienna:
--------------- U n iv e rs a l, 19 W . -------

. Five Pieces for Orchestra, Op. 16.

------- New York: Peters, l'S'S'i.---- ------- ---
. Five Piano Pieces. Op. 23. Copenhagen:
Hansen, 1951*
. String Trio. Op. 45. New York:
- - - - - Boelke-Bdmart, »5o.
Schubert, Franz. Sonatas for Piano. New York: Kalmus.
. Complete Works. New York: Dover, 1965.
Vol. 3, Pianoforte Quintet. Quartet and Trios.
Series 7.
Pianoforte and One Other Instrument. Series 6.
Schumann, Robert. Scenes from Childhood. New York:
6 . Schirmer, ~!l945T
. Symphonies No. 1. 2. 3. 4 . New York:
Kalmus.
Scriabine, Alexander, Ten Sonatas for Piano. New York:
Leeds, 1949»

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
 67
Sibelius, Jean. Symphony Ho. 1. Op . 39. New Yorks Kalmus.
. Symphony No. Op. 63. Wiesbaden:
Breitkopf and Hartel, 1940.
Starr, William J. and Devine, George F. Music Scores Omnibus,
Part 1 and Part 2. Englewood Cliffs: Prentice-
H a n v m . -------
Stockhausen, Karlheinz. Kontra-Punkte No. 1 . Vienna:
Universal, 1953*
Strauss, Richard. Till Bulenspiegel. Op . 2&. New York:
Kalmus.
♦ Don Quixote. Op. 35. New York: Kalmus.
* Ein Heldenleben. Op. 40. New York: Kalmus.
Stravinsky, Igor. Petrushka. New York: Norton, 1967*
. The Rite of Spring. New York: Kalmus.
Tchaikovsky, Peter I. Romeo and Juliet. London: Eulenberg.
. Symphonies. No. A. 5. 6 . New York:
_rnr Kalmus.

Wagner, Richard. Prelude to Die Meistersinger von Nurnberg.

London: Eulenberg.
. Tristan and Isolde. Prelude and Love-
beath. Music Scores Omnibus. Part 2 . Englewood
Cliffs: Prentice-Hall, 19&4•
Varese, Edgard. Deserts. New York: Colombo, 1959*
Webern. Anton. Five Pieces for String Quartet. Op. 5.
Vienna: Universal,' 1922.- - - - - - - -
. Five Pieces for Orchestra. Op* 10. Vienna:
Universal, l$27.
. String Quartet, Op. 26. Vienna: Universal,
I95TT

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
 APPENDIX EXAMPLES

63

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
 69

Example 1. J. Haydn, Piano Sonata in E Flat Ma.ior. Finale

AitnRlo.

rffrnw/Q.

*' *tU* a ttkf

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
 70

Example 2. L. van Beethoven, Piano Sonata O p . 31. No. 2.

first movement

* J?"
-
,/i.
«vwj I
1>«■* 1 I
1^.V..■^-T nrr-tr £.11.1 IKECB
5 5 «

ro tU n t, || 171 cnn tt/ir e ttio n e * tttn p /ic e . I

■ Ii l{^ >•>!* r ,r-f*. ** | I
-t--^.T I ~ I-.. ~ — i—

&r*. Adnfflo. Ltrpo.•

4 . »*««»"'• - <>£' «^lv w*ir^pfa

**? o
11- >, <— fT\ aAltrrro
y^-J^zL
—
ES«r^:
"r/5?
*)
^ rt»« J #
°t t & p ltLc * . /« c * t it

iSTsIJs
I? V Cf 5
? S<*

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
 71

Example 3* F. Chopin, Ballade in G Minor. Op. 23

18 BALLADE IN G MINOR, OPUS 23, Chopin '

te£gsg*

««*L

jflGfg&jfl

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
 72

Example 4* Brahms, Piano Sonata. Op* 2. Finale

Finale.
Introduziono
Bcstcnuto. "
m
*o

p p Uggitro

ptsant*

Allegro non troppo c rutnto,

crttc,

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
 74

» > • * fttt irtu. «

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
 lanfrsamcr beginnond-*/»w icginni*g
Ct«ilr m iil >

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
 76

Example A. Copland, Piano Variations

Ujgajuedt® (J *n)

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
 77

Example 9# W. A. Mozart, Sonata No. 30,.,K. J06,

for Violin and Piano, third movement

CWfn»,

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
 n
Example 10. C. Frank, Sonata in A Ma.ior. for Violin
and Piano, third movement

m.
Reoltativo -Fantasia.

Ben aodereto,

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
 79

Example 11. C. Frank, Quintet in F Minor, first movement

Quintet

Jacob I C&ar Franck

Molto moatrito quasi lento 1822-1890

Vtollne n

TT

mottoJiiih.-
— "■
*
p,

a1
--
• * *

. p
,1 1' ■■■)..-v■ ] ■— !■ 1 - ■ -" ■--- =1
UtitOftHllthm * a .p
ttpTtM., poettilth

l>. / 1

t f c llll

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Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
 81

Example 13• A. Berg, Lvric Suite, fourth movement

ealando . . . k* n - , Malto tranquillo

.t ^ ttpr-
K* £ 1M

D laist Dpf

w n
€
01l
tfO
O

Gel*tn fartsttstn

ttlUitiud.............. A
-i

p mimtn
----- — .

AS A7 AS

jyqpwjVrfrr^intfJi£#rA
i>tfbTTja

5**3^i

53

,,"V'

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 $2

Example 14. B. Bartok, Fourth String Quartet, third movement

m.
rr

(iv m h v itre i*

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 S3

Example 15* A. Schoenberg, String Trio. Op. U5*

second episode

fit Qc m ! t i d M l n III

miP*

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Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
 65

Example 17. M. Mussorgsky, Pictures at an Exhibition,

No. 6. Catacombes

8. CATACOMBAE
SeputcHnim RomiMim

Owklttt*t
uW

tv

rt\

ff
r

1 4H.int

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 se
Example 1#. N. Rimsky-Korsakoff, Russian Easter* Op . 35

Ck

MetM
rtt
Met a /item

ttllt ten*

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 37

Example 19* G. Mahler, Svmphonie Ho. 1. fourth movement

IV.
| M iilia I mH<J.nl
itiw*

tai r*'"';
t
•n
ari
wwi
Mtlilif1
IM

~ . " M Pja^

#*1m

.,SUrMwt

T.V*a»

W ffrr*,
^s^Evn
/r>5tKU

|tUmMiMMVittl
ttMI.

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 88

Example 20* C* Debussy, Prelude to the Afternoon of a Faun

PRELUDE TO
“THE AFTERNOON OF A FAUN”
Trb i m <IM (M.M. J— 41)
r* h u
• rtfln i
pW rtMfttnif

1 tusneis

* e u n u rm i m u

4 COM APItrout M M

I"HftH't
Irtll-HAA. Ht!<r*V, Hill
s um i

VIOlOftt

AltO*

vioioaciiu*

COATAt*Atilt

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 $9

Example 21. R. Strauss, Till Eulenspiegel. Op . 28

Till Eulenspiegel

Rlclttrd SUiUI. 1IH- 1I49 (OfU II)

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
 90

Example 22. J. Sibelius, Symphony No. 1. Op. 39.

third movement

i.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
 91

Example 23. A. Webern, Five Pieces for Orchestra« Op. 10,

first movement

FONF STUCKE
fur Orchcster
v A N T O N W E B E R N , Op. 10

tM tt whig undirrt (J*ti so) 81 xSytmd l$mpe

■
i---
--- ■ ■ ,41 „
■,i :

^ 1 B— >.
n.h* = = c=^ T Et=ES»==d -
- ---
- i-
---
- -L”-
- 1
— X--
--r*
-
’
V W

*h

mitiitlat*

Sthr nthlf und u rt (J*« I0)

•tiu.if.
•■OfL

Mt.VI*.
»t*r.

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 92

Example 24., K. Stockhausen, Kontra-Funkte

Kin. pH

JP

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
 VITA

ROMAN LAVORE

The author was horn on September 3, 1938 in New

York City. He is married and has two children. He received

the Bachelor of Music (1965) and Master of Science degrees

(1966) in piano from the Juilliard School of Music, New York,

and the Doctor of Philosophy in Music Theory (1972) from
The Florida State University, Tallahassee, Florida;

As a member of the Armed Forces Special Services,

he performed solo recitals and arranged musicales for

civilian and military personnel in West Germany (1960-62).

He also had a weekly program on the Armed Forces Network,

Stuttgart, West Germany, He has performed solo and chamber

recitals in New York, the Southeasv, and on Alabama educa­

tional television, and has been a musical director for the

theatre department at Auburn University, Alabama (1966-72).

He was an instructor in theory and class piano at

The Florida State University, Tallahassee, Florida (1970-

71), and is presently an assistant professor in piano and

music theory at Auburn University, Auburn, Alabama (1966-70,

71- ).

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
 I

Reproduced with permission o f the copyright owner. Further reproduction prohibited without permission.