Snn
Fern~nrln
VRlley StRte College
GRADL'ATE RECITAL I\' Jll ANC:
An artistic ~erformance ~resented in partiAl
satisfAction of the requirements for the derree
of Ma~ter of Arts in Music
by
Raimonrla Bernarleta Aneikis
February, 1870
The artistic performance of Raimonda Bernadeta
is apnroved:
Anei~is
SAn Fernando VAlley State College
February, 1970
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ABSTRACT
GR.\DtT\TS RBCITAL IN PL'L"\0
By
Rnimon~~
Bernn~eta
A~eikis
Mnster of Arts in Music
Februnry, 1970
PROGRAM:
Partita No. II in C Minor ******Johann Sebastian Bach
(1685-1750)
Sinfonia
Allemande
Corrente
Sarabande
Rondeau
Cauriccio
J eux il' eau ***************"* *lHt·********* Maurice Ravel
(1875-1937)
Intermission
Sonrtta, Onus 53 (WAlrlstein)
*~~
Ludwig van Beethoven
(1770-1827)
Allegro Con Brio
Introduzione - Rondo
Scherzo, op. 31 in B Flat Minor ****** Frederic Chopin
(lAl0-1849)
Scherzo, on. 39 in C Sharp Minor ***** Frederic Chopin
(1810-1849)
1
Pnrt of Johnnn
Seh~~tinn
Bnch's fourth reriod of
ClAviPr;',bun!! in Leinzig. One of the four sections of this
collection
The
his set of six rartitas.
wn~
instrumental suite was a succession
B~roque
of stylized dances, all in the same key and in the same
binary form, but in
contrastin~
rhythms. The stabilized
movements of n suite were: Allemande, Courante, Sarabande,
And Gigue: with ortional dances such as the Gavotte, Air,
Polonaise, Minuet, "nrl others, inserted between the
Sarabnnrle Pnd the Gipue. In larger suites, the dances
were
~ref~cerl
by an introductory movement in virtuosic
1<:eybonrrl style.
Stylisticnlly, the Partitas can he
the most advanced
Baro~ue
works. They
c~talogued
cont~in
with
several
futuristic ide2s: 1. Grenter keyboard virtuosity, possibly I
following the exnmnle of Domenico Scarlatti's technical
facility. 2. A complete stylization of dance rhythms.
3. Freely inserted character pieces in each Fartita. 4. The
nrefatory movements cover all the important introduction
forms - Preambulum, French Overture, Fantasia, Italian
Sinfonia, Toccata, and Frelude. 5. The Partitas generally
show a greater freedom, expansion of form, and a more
elaborate treatment of rhythm nnd harmony.
The Bach Partitas were n valuable contribution to
music in
17~1,
and they remain equally valuable in 1970.
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-----------:J;~j~----~1 eA·~- (f~1nl)
Jmnressinnistic
T)i:'no
. is one of ltftvel' s imnortant
works. Tr11rlitionalist Ravel was
inclineo townrd cle;1r cut melodies, precise rhythms,
functionnl h11.rmony, classical forms, and a conventional
ap~roach.
But in Jeux d'eau, the poetic mood is of primary
im~ortnnce.
The
~oal
becomes to evoke a vivid picture of a
wnter fountain by means of 'splashing sonorities' produced
by the use of the mA.jor 7th and minor 9th chords. The
Irnnressionistic style, with its unresolveil ilissonfmces,
"llO'mentnn cborrls, melodic frnr?ments, an(1 non-functionnl
hPrmnnies shimmering in this niece, mnke is a nlens11nt
nerforminr
RTH1
listenin.o: exnerience.
The Waldstein Sonata, on. 53 in C major is an
examnle from Beethoven's
mid~le
period (lH02-l816), which
is characterized by an attempt to mnke closer musical
contact with his listeners. This neriod is important also
for the first signs of Beethoven's impending traredy
denfness, an ailment which lasted over twenty years. The
four mn,ior -piano sonatas to arise from this rerioil were:
Moonli~ht
on. 27 (1801), Walilstein on. 53 (1803-1804),
Appassi.nnAtA or. 57 {1804-5), ano Les Adieux OP. 81(1809).
The Sonat11 on. 53 is rleilicRten to Gount Ferninand
G11briel von Waldstein. It is basically a two movement work
with n sl•ort secnnil section. The first movement is in
trn~itionAl
Sonata Allegro form with the expected Expositio
Development, Recanitulation, and Coda. Brilliant, driving,
-----------------·--·-·--··· ·-·--···-------·--·-···- -· -· -···-·--··--···--··-----····- . -·- ..... ---·-······-~---·····-- J
3
-b rTIT1n-rit-;···-r·o-;;,:e-rTuT~-- ei'iergetTC"; -- :-i nil ·ex:c it i ng, - thes-e are
som~
of its qunlitiPs. The Introduction section of the
second movement is in a mysticnl, reflective, and subdued
tone. Jt is
A
oh~ectivism
to H.omAntic subjectivity. The Introduzione
le>~ns
I!Ood exPmfl1e of the change from Classicrtl
riirectl.v into tl1e Rondo, which nortrays Beethoven's
SlJrrPnrler to sunny optimism nnd triumnh of humanity.
This work well combines the tragic and the
triumnhnnt Beethoven temnernmr:>nt,
~~nrl
is considered one
of the fAvorit('S of today's audiences.
The selecti(!n for performance of the two Chor,in
Scherzi was decided after hearing several artists recreate
the music. Also, I have done exerpts from most of the
major Chonin works, and the Scherzi were as yet unplayed.
The Onus 31
an~
39 are so rlifferent from the rest of his
creative work, that to get a peneral nicture of the
cnmnoser's style, it was necessary to attempt these.
The Scherzi come very close to the boisterous
a u ·1 1 i t :v f o u n cl in t h e Be e t lt n v e n S c h e r 7. i , but i n B e e tho v en
this is a natural exrression of his nature, whereas in
Chanin it is a surprise to find such a savage force under
his melodic-noetic exterior.
Chanin enlarged Beethoven's concept of this form,
exnanding all the parts without loss of symmetry. The
lyric melodies are contrasted by chordal sections, and
with the advanced harmonies and chromaticism, a highly
L-------------·-----------·-----------····---···--···-··-······· ---·--·····--····
-- ---- --- ____j
cnmnlex form
hn~
nri~en.
The mnnner of preparation for this recital can be
s tn ten in nne woro -
l'I~ACTI
SE. First to be tackled was the
Bach rartita. Having had very little previous experience
with Baroque works,
the assimilation of a new style
proveo oifficult. Fugues were almost impossible to learn
to reao, much less memorize. The constant flow of rhythm
wns harn to keen steady nnn the fast tempi were no joy to
mnstPr. Of the entire nrogrnm,
the hardest to rerform was
the B1'!ch.
Jeux n'eAU is
R
deceiving niece. The notation
nresents An instAntaneous rending nroblem. Once past the
note-finding stage,
it just flows out of the fingers
without strain because of the well written pianistic style.
Memorizing Jeux d' eau was an easy task,
and once memorized,
it remained under command; a real pleasure to play,
I hope,
and,
a nleasure to hear.
Beethoven requires the tragic-triumphant interpre-
tation,
good,
combined with unerring technical virtuosity and a
~tron~
arm. The Sonata is easily reanahle and the
leArning nrocess is not criticnl. Yet when the entire work
is memorized, the polishing is very difficult. Rhythm must
be kent stenny, the exact oroer for each section must be
nreserved,
nnd the technicAl nroblems such ns the passage
with the left hand nlaying a sneedy C major scale
accompanied by fast trills and theme in the rifht hand,
hnn to he mnstered
in t!H' Uondo movemnnt.
The Choni n Scherzi proverl to be no rel Rxation
point.
A.lth0urrl1 I nm more fnmilinr with the ltomnntic style,
h0th Scherzi
nre nrobl ems for intr>rnretntion and tcchnic:-'11
sld11. Fnst octnve n''ssn['es,
Rbrunt dynnmic chAn['es,
snecific nexterity requirements. Connecting sections to
nroduce n unified work, nnrl hnving enough muscular energy
to comnlete the Scherzo with seeming 'energy to spare'
are two ndditional problems in performance.
The overall experience of the recitRl 1s beautiful
to look back unon.
brf-1 ins,
fingers,
Sncrifirin~
time, strength, anxieties,
nn(l thou"thts proves it is a strenuous
tnslt;, mnne benrable only by the individual's love of music
ann belief in himself to accomnlish whn.t he has set out
to
F~cheive.
In my
c~se,
I hnd the best circumstnnces - a
nrogrnm which I chose of my nersonnl nreferenre, with
selections from each mRjor period, chRrRcteristic of it,
nnn imnortant within history's outlook; and Mr. Adrian
Ruiz, an Rccomplished nianist and pedagogue as my music
professor.
All in nll, it hRs been a memornble experience,
one '"hich I have been fortunate enourh to extend by giving
Rnother nerformance of this repertoire on March 14, 1970.
IJonefully, nreparation for nnother will
very soon.
aet uncler way
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nnd Fu ~'11 e !\o. 21 in B F1nt Major
Bach rrP11JdC nnd Fugue t~ () • 15 111 G Major
Griecr Son <1 t <1 on. 7 'A1la Menuetto'
Bncll
rr~11lne
Hnyon Sonn t '1 in l Flat :.1 rr.i or {1786)
S c lw he r t I mT1 rom n t u o T1 • 9 n , no . '-:'
\
Louis rn 1 nn.ae Homnntic Concerto
lUtdlm'lninnff Concerto !\o. 2 inC Minor
L i ~ 7. t
Co nc· P r to :t\ o • 1 in
!~
F l n t ~1a :i or
Beetl1oven ')onatn 0'"'. 58 in C Major
Chnnin Scherzo nn. 89 in C ShArn Minor
1
VizijA
1
Grunrlis Sonntn No. 2 'Arlagio'
Cho-pin 'Revolutionary'
r.:tude
chopin Scherzo on. 31 in B Flat Minor
Beethoven Sonata on. 13 in C Minor
Bach Partita No. I I in C Minor
l~avel
Jeux d' eau
Stude
Lis zt 'Cn Sosniro'
Liszt 'La Camranella'
Bach Toccata in D Major
Moznrt Sonntn in F Mnjor
Mozart Fantasia in C Minor
Skrynhin Eturle on. R, no. 12 in D SharTt Minor
BrAhms Sonntn on. 2 in F ShArn Minor