ABSTRACT Title of Document: DEDICATED TO A FRIEND: A SURVEY OF PIANO PIECES DEDICATED TO GREAT PIANISTS OF THE LATE 19 TH AND EARLY 20 TH CENTURIES Ralitza Patcheva, DMA, 2005 Directed By: Professor Santiago Rodriguez, Piano Department, School of Music The word ?dedication? is given three interpretations in the Webster dictionary: ?1) to devote to the worship of a divine being; 2) to set apart for a definite purpose; to give over; 3) to inscribe or address as a compliment.? As I chose to research and record works dedicated to famous pianists of the late 19 th and early 20 th centuries, I felt that each of those describes factors of the relationship implied by a dedication between creator and procreator. Up until the 20 th century pianists were generally composers in their own right. Though favoring mostly light genres for immediate use, they knew firsthand composing experience. Well into the 20 th century composers performed their and others? works in concert. The phenomenon of dedication has been popular in the musical profession. While musicians were employees of princely courts or the church the dedications of new works glorified God, the aristocratic employer or commissioner. Occasionally dedications reflected the admiration or friendships between composers. In the 19 th century, as free-lance musical employment commenced dedications to aristocratic benefactors remained widespread. However, dedications signifying appreciation of the artistry or personality of a musical colleague became ever more prominent. Sometimes a dedication signified admiration for the dedicatee?s performance of the work in question. In such cases the dedications become not only curious facts, but useful hints for future performers. What makes the turn of the century unique is the intense and close communication between composers and performers on a daily basis. I believe this was a factor decisive in the programming of much contemporary music along with masterpieces of the past. The immediate reaction to the pieces as witnessed by both the composers and their performers caused the quickly changing styles of the composers, and the ever evolving pickiness of the performers. The relationship between pianists and composers may not always be based on mutual understanding, but I do think that it could only be nurtured by curiosity for each other?s work. Since at this time both pianists and composers were involved in the performances of new works, they followed similar goals in their arts. Exploring these relationships, based on the existing dedications, could provide us with more intimate understanding of both the art of the famous pianists of the late 19 th and early 20 th centuries and the creative processes of the great composers of that period. DEDICATED TO A FRIEND: A SURVEY OF PIANO PIECES DEDICATED TO GREAT PIANISTS OF THE LATE 19 TH AND EARLY 20 TH CENTURY By Ralitza Patcheva Dissertation submitted to the Faculty of the Graduate School of the University of Maryland, College Park, in partial fulfillment of the requirements for the degree of Doctor of Musical Arts 2005 Advisory Committee: Professor Santiago Rodriguez, Chair Donald Manildi Prof. Cleveland Page Prof. Margaret Pearson Prof. Mikhail Volchok ? Copyright by Ralitza V. Patcheva 2005 Table of Contents Table of Contents??????????????????????????ii List of Pieces on the Recording????????????????????..iii Bibliography????????????????????????????1 - ii - List of Pieces on the Recording CD 1 Huit Preludes pour le piano Frank Martin (dedicated to Dinu Lipatti) Sonata in F sharp minor, op.2 Johannes Brahms (dedicated to Clara Schumann) Concert Paraphrase of Tchaikovsky?s Paul Pabst ?Eugene Onegin? (dedicated to Nicholas Rubinstein) CD 2 Sonatine Reynaldo Hahn (dedicated to Louis Diemer) Promenades Francis Poulenc (dedicated to Arthur Rubinstein) Valse-Improvisation sur le nom de BACH Francis Poulenc (dedicated to Vladimir Horowitz) Presto en sib Francis Poulenc (dedicated to Vladimir Horowitz) Twelve Etudes, op.33 Karol Szymanowski (dedicated to Alfred Cortot) Etude, op. 52 #3 Sergei Prokofiev (dedicated to Vladimir Horowitz) Rondo, op. 52 #2 Sergei Prokofiev (dedicated to Arthur Rubinstein) - iii - Bibliography Barnett, David. The performance of music, a study in terms of the pianoforte. New York: Universe Books, 1972. Billeter, Bernhard. Frank Martin, ein Aussenseiter der neuen Musik. Frauenfeld und Stuttgart, Switzerland: Verlag Huber, 1970. Ed. Bozarth, George S. Brahms studies, analytical and historical perspectives. Papers delivered at the International Brahms Conference, Washington DC 5-8 May 1983. Oxford: Clarendon Press, 1990. Brown, David. Tchaikovsky, the early years 1840-1874. New York: W. W. Norton& Company, Inc., 1978. Chasins, Abram. Speaking of Pianists?. New York: Alfred A. Knopf, 1957. Chissell, Joan. Clara Schumann: A dedicated spirit. London: Hamish Hamilton,1983. Chylinska, Teresa. Szymanowski. Translated by A. T. Jordan. New York: Twayne Publishers, Inc. & The Kosciuszko Foundation, 1973. Dunoyer, Cecilia. Marguerite Long, a life in French music 1874-1966. Bloomington and Indianapolis: Indiana University Press, 1993. Geiringer, Karl. Brahms, his life and work. New York: Da Capo Press, 1981. Gieseking, Walter. So wurde ich Pianist. Wiesbaden: F. A. Brockhaus, 1963. Heister, Hanns-Werner. Das Konzert, Theorie einer Kulturform. Band II. Wilhelmshaven, Germany: Heinrichshofen?s Verlag, 1983. Horowitz, Joseph. Conversations with Arrau. New York: Limelight Editions, 1984. Ivry, Benjamin. Francis Poulenc. London :Phaidon Press Limited, 1996. Kehler, George. The piano in concert. Metuchen N.J. and London: The Scarecrow Press, inc., 1982. King, Charles W. Frank Martin, a Bio-Bibliography. New York: Greenwood Press, 1990. - 1 - Ed. Litzmann, Dr. Berthold. Letters of Clara Schumann and Johannes Brahms 1853- 1896. In Two Volumes. New York: Vienna House, 1971. Milhaud, Darius. Notes without music, An Autobiography. New York: Alfred A. Knopf, 1953. Poulenc, Francis. Diary of My Songs. Transl. by Winifred Radford. London: Victor Gollancz LTD, 1989. Prokofiev, Sergei. Materialy, Dokumenty, Vospominania. Moscow, Russia: State Music Edition, 1961. Prokofiev, Sergei. Soviet Diary 1927 and other writings.Transl. and ed. by Oleg Prokofiev. Boston: Northeastern University press, 1992. Robbins Landon, H. C.1791, Mozart?s last year. New York: Schirmer Books, 1988. Rubinstein, Arthur. My many years. New York: Alfred A. Knopf, 1980. Rubinstein, Arthur. My young years. New York: Alfred A. Knopf, 1973. Schnabel, Artur. My life and music. New York: St. Martin?s Press, 1961. Schonberg, Harold C. Horowitz, his life and music. New York: Simon & Schuster, 1992. Schonnberg, Harold C. The great pianists, from Mozart to the present. New York: Fireside Book, publ. by Simon and Schuster, 1963. Schumann, Robert. On music and musicians. Transl. by Paul Rosenfeld. New York: McGraw-Hill Book Company, 1964. Szymanowski, Karol and Smeterlin, Jan. Correspondence and essays. Transl., ed. and annotated by B..M. Maciejewski and Felix Aprahamian. London: Allegro Press, year of publication unknown. Tanasescu, Dragos and Bargauanu, Grigore. Lipatti. Transl. by Carola Grindea and Anne Goosens. London: Kahn& Averill. White Plains, New York: Pro/Am Music resources Inc., 1988. Timbrell, Charles. French Pianism, an historical perspective, including interviews with contemporary performers. White Plains, New York: Pro/Am Music Resources, Inc. London: Kahn& Averill, 1992. - 2 -