Note:This thesis is part of a research project submitted in partial fulfillment of the degree of Doctor of Musical Arts in the School of Music. The project also involved the preparation and performance of a recital of music related to the thesis topic.

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Title:An analytical study of Issay Dobrowen's Preludes Op. 1 (1912), Sonata Op. 5a (1914), and Sonata Op. 5b (1925) for piano
Author(s):Chiang, Po-Chuan
Advisor(s):Heiles, William
Contributor(s):Hobson, Ian; Moersch, Charlotte Mattax; Solya, Andrea; Parisi, Susan
Department / Program:School of Music
Degree Granting Institution:University of Illinois at Urbana-Champaign
Degree:A.Mus.D. (doctoral)
Abstract:This thesis explores Issay Dobrowen’s (1891 - 1953) piano composition style in Preludes Op.1 (1912) and Piano Sonatas Op. 5a (1914) and Op. 5b (1925). The focus is on the harmony, form, rhythm, texture, and motivic developments in these works. A Russian - born Norwegian composer, pianist, and conductor, Dobrowen remained virtually unknown as a composer until the world premiere recording of his Piano Concerto in c sharp minor Op. 20, Jugend - sonata Op. 5b, Sonata - Skazka Op. 5a, and Deuxième Sonata Op. 10 was released in 2004 by pianist Jørn Fossheim performing with the St. Petersburg Philharmonic. Dobrowen’s musical career was in fact mainly spent as a conductor; he stopped composing after the completion of his Piano Concerto Op. 20 in 1926. Most of his compositions are piano works. As analysis shows, his musical style notably was influenced by the musical language of two of his Russian contemporaries, Alexander Scriabin (harmonic concepts) and Sergey Rachmaninoff (rich texture). Chapter I discusses Dobrowen’s biography, general characteristics of his musical style, and influences on his compositional writing. Chapter II undertakes comprehensive analysis of eight pieces of Op. 1, grouped by form. Chapter III addresses in detail Op, 5a, Dobrowen’s first sonata, which is in one movement and based on a story Dobrowen later related in a letter to Maria Ruperti (who became his wife). Chapter IV analyzes the last sonata Dobrowen wrote, Op. 5b also in one movement, which uses sonata allegro form more traditionally and in which Rachmaninoff’s influence is more apparent than in the other two works.
Issue Date:2017-12
Publisher:School of Music. College of Fine and Applied Arts. University of Illinois at Urbana-Champaign.
Genre:Dissertation / Thesis
Rights Information:Copyright 2017 Po-Chuan Chiang
Date Available in IDEALS:2017-10-17

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