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Item A SHARED HERITAGE: CROSS-CULTURAL INFLUENCES BETWEEN POLISH AND RUSSIAN VIOLIN REPERTOIRE OF THE NINETEENTH AND TWENTIETH CENTURIES(2021) Munoz, Jesse Blane; Salness, David; Music; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)ABSTRACT Title of Dissertation: A SHARED HERITAGE: CROSS-CULTURAL INFLUENCES BETWEEN POLISH AND RUSSIAN VIOLIN REPERTOIRE OF THE NINETEENTH AND TWENTIETH CENTURIES Jesse Muñoz, Jr., Doctor of Musical Arts, 2021 Dissertation directed by: Professor David Salness, School of Music This dissertation research discusses the shared cultural heritage of Polish and Russian music through the lens of the classical violin repertoire. The goal of this paper is to establish a clearly defined lineage connecting Polish and Russian music by studying works specifically written for the violin. The history of violin music has been marked by incredible contributions from Polish and Russian composers in the nineteenth and twentieth centuries. A deeper understanding of the shared and reciprocal influences between these two cultures can help those studying these works appreciate their odd mix of pan-Slavic qualities. In particular this research focuses on three distinct periods in Polish and Russian history, 1860–1900, 1917–1919, and 1945–1950. The research culminates in the creation of a family tree, linking the history of Polish and Russian music from Chopin to Shostakovich and his contemporaries.Item Russian Jazz with Bolshevik Trimmings: Modernist Composer-Pianists in Revolutionary Russia(2021) Tumanov Pavlov, Mijail V; Dedova, Larissa; Music; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)The purpose of this project is to highlight the piano compositions of the extraordinarily diverse period in Russian music between the emergence of pre-Revolutionary modernism in the early twentieth century and the publication of the “Muddle Instead of Music” article in 1936, the lack of State intervention in artistic matters up until the early 1930s proved to be a boon for Soviet composers. The title of this project is taken from Karleton Hackett’s review of the 1921 premiere of Prokofiev’s opera The Love for Three Oranges in the Chicago Evening Post. Hackett’s misguided characterization is very telling – The Love for Three Oranges contains neither jazz nor Bolshevik influences. The figure of the composer-pianist played an important role in the development of Russian piano music in the early twentieth century; every one of the composers featured in this project was an accomplished pianist. This project presents but a small fraction of the solo piano repertoire created by the remarkable innovativecomposers of early twentieth-century Russia. A number of these composers failed to remain relevant in the post-1936 political climate and have thus vanished from history books. Yet their works offer a wealth of exciting new repertoire for pianists. In addition to discussions of each work and composer featured, special attention is given to Samuil Feinberg, whose life and works remain in obscurity. An extensive analysis of Feinberg’s Second Piano Sonata, Op. 2, and Berceuse, Op. 19a, is included since available information on Feinberg’s musical language is very scarce. References to thorough analyses and discussion of works covered is provided in the bibliography.Item FROM THIRD FIDDLE TO CENTER STAGE: HOW LIONEL TERTIS, MAURICE VIEUX, AND FYODOR DRUZHININ EXPANDED THE ROLE OF THE VIOLA IN THE TWENTIETH CENTURY(2019) Rokosny, Dana Marie; Murdock, Katherine; Music; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)Not until the turn of the twentieth century did the role of the viola begin to expand and eventually blossom into the prominence that it occupies today. Violists today enjoy the same idolizing attention that violinists and cellists have enjoyed for a few hundred years. Three violists are particularly important in the advancement of the viola during the twentieth century: Lionel Tertis (1876–1975), Maurice Vieux (1884–1951), and Fyodor Druzhinin (1932–2007). All contributed in expanding the role of the viola in the areas of virtuosity, pedagogy, and repertoire. This dissertation explores the significance of these three violists and provides a pathway to sources available relative to each artist. The performance aspect of this project included three recitals, each centered upon one of the three violists. Works included were selected from those dedicated to and/or commissioned by that violist, and works each violist composed or arranged for the instrument. The recital based upon Lionel Tertis included a movement from Ralph Vaughan Williams’ Suite; The River and the Old Irish Air composed and arranged by Tertis respectively; the Sonata for viola and piano by Sir Arnold Bax; a piece by William Henry Reed; a movement from York Bowen’s viola concerto; and Benjamin Dale’s work for six violas. The next was based upon the French violist, Maurice Vieux. The first half consisted of a Romance by Gabriel Grovlez; a concert étude by Vieux; a movement by Joseph Jongen’s for viola and orchestra; and the Ballade by Philippe Gaubert. The second half continued the character with a programmatic work by Stan Golestan; Max Bruch’s Romanze; another of Vieux’s études; and the Soliloque et Forlane by Reynaldo Hahn. The final recital centered upon Fyodor Druzhinin, a violist and composer for whom the revered Shostakovich Sonata was written; performed on the second half of this program. The first half consisted of Grigori Frid’s first viola sonata and a duo for violas by Druzhinin. The appendices include the three recital programs; discographies; articles or books written by or about these three violists; as well as lists of compositions; arrangements; and commissions and dedications.Item Failure, Death, and Legacy in the Late Works of Shostakovich(2016) Bermudez, Joshua Adam; Haldey, Olga; Music; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)The years 1967-1975 were turbulent for Dmitri Shostakovich, who faced severe health problems and recurring doubts about his life’s work. This led to the development of a preoccupation with mortality during the final years of his life, a subject that was frequently represented in communications with friends, colleagues, and the public. It also became a recurring theme in his compositions written at this time, affecting his choice of texts for vocal works and elements of his musical style. The majority of the compositions from this period are unique in Shostakovich’s œuvre, featuring formal structures that often diverge radically from standard models, a harmonic language less tied to traditional tonality, and a frequent use of dodecaphony. The works of his final four years, though, largely dispense with these elements, pointing to a shift of focus from the tyranny of death to the redeeming quality of artistic legacy.