The Arrangement of Alberto Ginastera's Piano Sonata No. 1, Op. 22 for Piano and Percussion

97 Pages·2017·1.37 MB·English

by  Liana Pailodze

University of Miami
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2013-04-17
The Arrangement of Alberto Ginastera's Piano
Sonata No. 1, Op. 22 for Piano and Percussion
Liana Pailodze
University of Miami, [email protected]
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UNIVERSITY OF MIAMI

THE ARRANGEMENT OF ALBERTO GINASTERA’S PIANO SONATA NO. 1,
OP. 22
FOR PIANO AND PERCUSSION

By
Liana Pailodze

A DOCTORAL ESSAY

Submitted to the Faculty
of the University of Miami
in partial fulfillment of the requirements for

the degree of Doctor of Musical Arts

Coral Gables, Florida

May 2013
©2013
Liana Pailodze
All Rights Reserved
UNIVERSITY OF MIAMI

A doctoral essay submitted in partial fulfillment of
the requirements for the degree of
Doctor of Musical Arts

THE ARRANGEMENT OF GINASTERA’S PIANO SONATA NO. 1, OP. 22
FOR PIANO AND PERCUSSION

Liana Pailodze

Approved:
________________ _________________
Santiago Rodriguez, M.M. M. Brian Blake, Ph.D.
Professor of Piano Performance Dean of the Graduate School
.

________________ _________________
Tian Ying, M.M. Thomas Sleeper, M.M.
Associate Professor of Piano Performance Professor of Instrumental
Performance

________________
Dennis Kam, D.M.A.
Professor of Music Theory and Composition
PAILODZE, LIANA (D.M.A., Piano Performance)
The Arrangement of Alberto Ginastera’s (May 2013)
Piano Sonata No. 1, Op. 22 for Piano and Percussion

Abstract of a doctoral essay at the University of Miami.

Doctoral essay supervised by Professor Santiago Rodriguez.
No. of pages in text. (85)

Widely recognized in Argentina as the nation’s quintessential standard piano work,
Alberto Ginastera’s Piano Sonata No. 1, Op. 22 has long been an integral part of recital
programs and piano competitions around the world. In recent years, the international
percussion and piano communities have used arrangements of contemporary
compositions to broaden the repertoire for this combination of instruments.
This study sheds light on the details of the process of this arrangement. In particular,
what types of percussion instruments were selected based on researching Ginastera’s few
orchestral works. In addition, it documents the solo compositions up to the sonata that
shed light on his use of the folk dance forms, which are incorporated in the sonata, and
reveals how Ginastera uses these components so that interested percussionists can better
explore the capabilities of the arrangement. The majority of information presented in this
work derives from my collaboration with percussionist Dr. Brian Potts. We have been
playing together for 10 years and have been developing similar arrangements in order to
widen our respective repertoires This arrangement also contributes to the repertoire of
percussion and piano duets.
ACKNOWLEDGEMENTS
First, I wish to thank Brian Potts for his incredible generosity and support. This
arrangement would not have been possible without him, and I thank him for his
collaboration. He was extremely forthcoming in the process, and his desire to assist in
finding the right instrumentation was remarkable. I hope that our passion and respect for
the original sonata of Alberto Ginastera is evident. I cannot express enough gratitude to
my family and friends. I am humbled to have your support. Throughout the years, good
or bad, you all have been there for me more times than I can recall. I would like to
especially thank my parents, Valeri and Marina Pailodze, for giving me every opportunity
to pursue my passion. You believed in me and supported my endeavors wholeheartedly,
even when I gave you reason to think otherwise. Thank you, you exceptional Kukuruzos.
I would also like to thank my committee members, Santiago Rodriguez, Tian
Ying, Dennis Kam, and Thomas Sleeper, for their hard work and valuable insight. I am
particularly indebted to Thomas Sleeper for his countless hours of work on this project.
The interest you took in my study, as well as the incredible effort you put forth, served as
a constant source of inspiration. I could not have done this without you. I would also like
to thank Georgina Ginastera for her support and interest in this project. I am lucky to
have had so many excellent teachers, including Marina Gelashvili, Diana Meladze, Lika
Monselidze, Gary Green, Frank Cooper, Dr. Deborah Schwartz-Kates, Shannon Wood,
Paul Wilson, Scott Stinson, and Dr. James R. Floyd. Dr. Floyd, the best decision I ever
made was to come study with you. Thank you for introducing me to the world of the
twentieth-century music that I have come to love. I dedicate this work to you for being an
exceptional teacher, mentor, and friend.
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TABLE OF CONTENTS
Page
LIST OF EXAMPLES................................................................................................. vi
LIST OF TABLES ................................................................................................. ix
Chapter
1. INTRODUCTION AND JUSTIFICATION................................................... 1
Literature Review ..................................................................................... 3
General Information on Ginastera............................................................. 3
Folk Elements in Ginastera’s Music.......................................................... 4
Use of Percussion in Ginastera’s Music.................................................... 7
Arrangements of Ginastera’s Solo Piano Works ...................................... 7
Piano Sonata No. 1, Op. 22....................................................................... 8
Methodology.............................................................................................. 9
2. BIOGRAPHICAL SKETCH .......................................................................... 12
3. DISCUSSION OF SELECTED WORKS ...................................................... 23
Selected Piano Works Written Before the First Piano Sonata .................. 23
Danzas argentinas (Argentine Dances), Op. 2 ................................... 23
Tres piezas........................................................................................... 25
Malambo, Op.7 ................................................................................. 26
Doce preludios americanos (Twelve American Preludes), Op.12...... 26

Suite de danzas criollas (Suite of Creole Dances), Op.15 .................. 30

Structural Overview of the First Piano Sonata ......................................... 32

Orchestral Works....................................................................................... 41
iv
Cantata para América mágica............................................................. 41

Piano Concerto No. 1.......................................................................... 49

4 THE ARRANGEMENT OF GINSTERA’S PIANO SONATA NO.1, OP.22
FOR PIANO AND PERCUSSION ................................................... 55

Percussion Set-up Development ............................................................... 55

Performance Guide ................................................................................... 77

Conclusion................................................................................................. 79

APPENDIX: PERCUSSION NOTATION KEY, DEFINITION OF
PERCUSSION INSTRUMENTS USED, AND STAGE SET-UP................. 81

BIBLIOGRAPHY ................................................................................................. 84

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LIST OF EXAMPLES

Example Page

3.1. Alberto Ginastera, Piano Sonata No. 1, Op. 22, Movement I, mm. 1-4.
Theme A............................................................................................................... 33

3.2. Alberto Ginastera, Piano Sonata No. 1, Op. 22, Movement I, mm. 52-55.
Theme B................................................................................................................ 34

3.3 Alberto Ginastera, Piano Sonata No. 1, Op. 22, Movement I, m. 2...................... 35

3.4. Alberto Ginastera, Piano Sonata No. 1, Op. 22, Movement III, mm 1-4............. 37

3.5. Alberto Ginastera, Piano Sonata No. 1, Op. 22, Movement III, mm. 23-25.
Theme B................................................................................................................ 38

3.6. Alberto Ginastera, Piano Sonata No. 1, Op. 22, Movement III, m. 34................ 38

3.7. Alberto Ginastera, Piano Sonata No. 1, Op. 22, Movement IV, mm.1-4............ 40

3.8. Alberto Ginastera Piano Sonata No. 1, Op. 22, Movement IV, mm. 27-29.
Theme B................................................................................................................ 40

3.9. Alberto Ginastera, Piano Sonata No. 1, Op. 22, Movement IV, mm. 40-43....... 41

4.1. Pailodze/Potts Arrangement, Alberto Ginastera, Piano Sonata No. 1, Op. 22, for
Piano and Percussion, Movement I, mm. 1-4.................................................. 58

4.2. Pailodze/Potts Arrangement, Alberto Ginastera, Piano Sonata No. 1, Op. 22, for
Piano and Percussion, Movement I, mm. 7-10................................................ 58

4.3. Pailodze/Potts Arrangement, Alberto Ginastera, Piano Sonata No. 1, Op. 22, for
Piano and Percussion, Movement I, mm. 31-34.............................................. 59

4.4. Pailodze/Potts Arrangement, Alberto Ginastera, Piano Sonata No. 1, Op. 22, for
Piano and Percussion, Movement I, mm. 42-44.............................................. 60

4.5. Pailodze/Potts Arrangement, Alberto Ginastera, Piano Sonata No. 1, Op. 22, for
Piano and Percussion, Movement I, mm. 82-84.............................................. 61

4.6. Pailodze/Potts Arrangement, Alberto Ginastera, Piano Sonata No. 1, Op. 22, for
Piano and Percussion, Movement I, mm. 107-108.......................................... 61
vi
4.7. Pailodze/Potts Arrangement, Alberto Ginastera, Piano Sonata No. 1, Op. 22, for
Piano and Percussion, Movement I, mm. 208-211.......................................... 63

4.8. Pailodze/Potts Arrangement, Alberto Ginastera, Piano Sonata No. 1, Op. 22, for
Piano and Percussion, Movement II, mm. 1-4................................................. 64

4.9. Pailodze/Potts Arrangement, Alberto Ginastera, Piano Sonata No. 1, Op. 22, for
Piano and Percussion, Movement II, m. 38..................................................... 65

4.10. Pailodze/Potts Arrangement, Alberto GinasteraPiano Sonata No. 1, Op. 22, for
Piano and Percussion, Movement II, mm. 48-52............................................. 66

4.11. Pailodze/Potts Arrangement, Alberto Ginastera, Piano Sonata No. 1, Op. 22, for
Piano and Percussion, Movement II, mm. 117-120......................................... 67

4.12. Pailodze/Potts Arrangement, Alberto Ginastera, Piano Sonata No. 1, Op. 22, for
Piano and Percussion, Movement II, mm. 189-192......................................... 68

4.13. Pailodze/Potts Arrangement, Alberto Ginastera, Piano Sonata No. 1, Op. 22, for
Piano and Percussion, Movement III, mm. 16-17........................................... 69

4.14. Pailodze/Potts Arrangement, Alberto Ginastera, Piano Sonata No. 1, Op. 22, for
Piano and Percussion, Movement III, mm. 23-26........................................... 70

4.15. Pailodze/Potts Arrangement, Alberto Ginastera, Piano Sonata No. 1, Op. 22, for
Piano and Percussion, Movement III, mm. 34-36........................................... 71

4.16. Pailodze/Potts Arrangement, Alberto Ginastera, Piano Sonata No. 1, Op. 22, for
Piano and Percussion, Movement III, mm. 48-55........................................... 71

4.17. Pailodze/Potts Arrangement, Alberto Ginastera, Piano Sonata No. 1, Op. 22, for
Piano and Percussion, Movement III, mm. 68-72........................................... 72

4.18. Pailodze/Potts Arrangement, Alberto Ginastera, Piano Sonata No. 1, Op. 22, for
Piano and Percussion, Movement IV, mm. 1-4............................................... 73

4.19. Pailodze/Potts Arrangement, Alberto Ginastera, Piano Sonata No. 1, Op. 22, for
Piano and Percussion, Movement IV, m. 70................................................... 75

4.20. Pailodze/Potts Arrangement, Alberto Ginastera, Piano Sonata No. 1, Op. 22, for
Piano and Percussion, Movement IV, mm. 81-84........................................... 75

4.21. Pailodze/Potts Arrangement, Alberto Ginastera, Piano Sonata No. 1, Op. 22, for
Piano and Percussion, Movement IV, m.138.................................................. 76

vii