University of Illinois Urbana-Champaign

An analytical study of Issay Dobrowen's Preludes Op. 1 (1912), Sonata Op. 5a (1914), and Sonata Op. 5b (1925) for piano

Chiang, Po-Chuan

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https://hdl.handle.net/2142/98488

Description

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
Issue Date
2017-12
Director of Research (if dissertation) or Advisor (if thesis)
Heiles, William
Doctoral Committee Chair(s)
Hobson, Ian
Committee Member(s)
  • Moersch, Charlotte Mattax
  • Solya, Andrea
  • Parisi, Susan
Department of Study
School of Music
Discipline
Music
Degree Granting Institution
University of Illinois at Urbana-Champaign
Degree Name
A.Mus.D. (doctoral)
Keyword(s)
  • Issay
  • Dobrowen
  • piano
  • prelude
  • sonata
  • analysis
Language
en
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.
Type of Resource
  • text
  • image
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http://hdl.handle.net/2142/98488
Copyright and License Information
Copyright 2017 Po-Chuan Chiang

Owning Collections

Doctoral Project Theses [Option 2] - Music PRIMARY