The use of the glissando in piano solo and concertocompositions from Domenico Scarlatti to George Crumb

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THE USE OF THE GUSSANDO IN PIANO SOLO AND CONCERTO

COMPOSITIONS FROM DOMENICO SCARLATH TO GEORGE CRUMB

by

Shuennchin Lin

Copyright © Shuennchin Lin 1997

A Document Submitted to the Faculty of the

SCHOOL OF MUSIC AND DANCE

bi Partial Fulfillment of the Requirements For the Degree of

DOCTOR OF MUSICAL ARTS

WITH A MAJOR IN PERFORMANCE

In the Graduate College

THE UNIVERSITY OF ARIZONA

1997

UMX Number: 980S783

Copyright 1997 by-Lin, Shuennchin

All rights reserved.

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2

THE UNIVERSITY OF ARIZONA ® GRADUATE COLLEGE

As members of the Final Examination Committee, we certify that we have

read the dissertation prepared by SHUENNCHIN LIN

entitled THE USE OF THE 6LISSAND0 IN PIANO SOLO AND CONCERTO

COMPOSITIONS FROM DOMENICO SCARLATTI TO GEORGE CRUMB

and recommend that it be accepted as fulfilling the dissertation

requirement for the Degree of DOCTOR OF MUSICAL ARTS

icholas Zumbro

Rosenblatt

Dat^ r

Date

Date

Date

Date

Final approval and acceptance of this dissertation is contingent upon the candidate's submission of the final copy of the dissertation to the Graduate College.

I hereby certify that I have read this dissertation prepared under my direction and recommend that it be accepted as fulfilling the dissertation requirement.

Dissertation Direc Nicholas Zumbro Date

3

STATEMENT BY AUTHOR

This document has been submitted in partial fulfillment of requirements for an advanced degree at The University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library.

Brief quotations from this document are allowable without special permission, provided that accurate acknowledgment of source is made. Requests for permission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the copyright holder.

SIGNED: __L_1

4

TABLE OF CONTENTS

LIST OF EXAMPLES 5 LIST OF TABLES 8 LISTOFHGURES 9 ABSTRACT 10

Chapter 1. Introduction 12

Chapter 2. The Eighteenth and Nineteenth Centuries 22 Domenico Scarlatti 23 Ludwig van Beethoven and Carl Maria von Weber 27 Franz Liszt 32 Johannes Brahms and Camille Saint-Sa&is 42 Bedrich Smetana, Mily Balakirev, Edvard Grieg, and Edward Elgar 47

Chapter 3. The Twentieth Century 55 Oaude Debussy and Maurice Ravel 56 Manuel de Falla and B&a Bartdk 67 Heitor Villa-Lobos, George Gershwin, and Aaron Copland 76 Igor Stravinsky, Serge FrokoBev, and Dmitri Shostakovich 88 Paul Hindemith, Michael Tippett, Olivier Messiaen, and Benjamin

Britten 102 George Crumb 110

Chapter 4. Conclusions 118 The Use of the Glissando 118 Summary of the Glissando's Historical Development 120 The Future of the Glissando 122

APPENDIX A: Examples of Glissandi 125 APPENDIX B: The Final Spin—25,000 B. C 133 REFERENCES 139

5

LIST OF EXAMPLES

Example 1: Slide 14 Example 2: F. Qiopiiv Poloaaiser Op. 53 21 Example 3: D. Scarlatti, Sonafii, K. 468 23 Example 4: D. Scarlatti, Sonafca, K. 487 24 Examples: D.Scarlatti,Sonata,K.487.(manuscript) 24 Example 6: D. Scarlatti, Sonafa, K. 379 25 Example 7: L. van Beethoven, Kano Concerto No. 1 in C Major, Op. 15,1 27 Example 8: L. van Beetfioven, Kano Sonata, Op. 53, Rondo 28 Example 9: C. M. von Weber, Piano Concerto No. 1, Op. 11, Finale. 29 Example 10: C. M. von Weber, Concertstiick, Op. 79 31 Example 11: C. M. von Weber, Concertstiickr Op. 79 31 Example 12: F. Lisz^ Magyar Dallok—UngarisAe National-Melodien,

No. 9. 33 Example 13: F. Liszt, Paganini Etude No. 5 "La Chasse." 34 Example 14: F. Liszt, Hungarian Fantasia 35 Example 15: F. Liszt, Hungarian Rhapsody No. 14. 36 Example 16: F. Lisz^ Hungarian Rhapsody No. 15. 36 Example 17: F. Liszt Mephisto Waltz No. 1 39 Example 18: F. Liszt, Concerto in A Major. 40 Example 19: J. Brahms, Paganini Variations, I, Var. 13 43 Example 20: J. Brahms, Ohgarische Tanze No. 8. 44 Example 21: C. Saint-Saens, Piano Concerto No. 5, HI 46 Example 22: C. Saint-Saens, Aquarium from Le Camaval des animaux. 47 Example 23: B.Smeiana, Ballade in E minor. 48 Example 24: B. Smetana, Polka in A minor. 48 Example 25: M. Balaldrev, Islamey. 50 Example 26: E. Grieg, Hailing (Nonvegischer Tanz) from Lyric Pieces,

Op. 71 51 Example 27: E. Elgar, Concert Allegro. 52 Example 28: C. Debussy, Feux d'artiBce. 57 Example 29: C. Debussy, Etude, No. 6. 58 Example 30: C. Debussy, Pour le Piano, Prelude. 59 Example 31: C. Debussy, Suite Bergamasque, Menuet 59 Example 32: M. Ravel, Jieux d'eau 62 Example 33: M. Ravel, Una barque sw L'oc6an 63 Example 34: M. Ravel, A/inaradb de/^radoso. 64 Example 35: M. Ravel, Gaspard dela Nuit Ondine. 64 Example 36: M, Ravel, Les Entretiens de la Belle et de la Bite from

MaMirel'Oye. 65 Example 37: M. Ravel, Concerto for Left Hand. 66 Example 38: M. Ravel, Gaspard de la Nuit Ondine. 67

6

LIST OF EXAMPLES- Continued

Example 39: M. de Falla, Fantasia Baetica 68 Example 40: B.Bart6k, Rhapsody, Op. 1 71 Example 41: B. Bartdk, Tanz-Suite, L 72 Example 42: B. Bartdk, Sonata, I. 73 Example 43: B. Bart6k, Piano Concerto No. 1,1 73 Example 44: B. Bartdk, Piano Concerto No. 1, n 74 Example 45: B. Bartdk, Piano Concerto No. 2,1 75 Example 46: B. Bart6k, Piano Concerto No. 3, IE. 76 Example 47: H. Villa-Lobos, Simples Coletanea, Rhodante. 78 Example 48: H. Villa-Lobos, Dansa Do Indio Branco from Suite Ciclo

Brasileiro. 78 Example 49: H. Villa-Lobos, Dansa Do Indio Branco from Suite Ciclo

Brasileiro. 79 Example 50: H. Villa-Lobos, Moreninha from Suite Prole Do Bebe. 80 Example 51: H. Villa-Lobos, Rudepoema 81 Example 52: H. Villa-Lobos, Momo Precoce. 82 Example 53: G, Gershwin, Rhapsody in Blue. 85 Example 54: G. Gershwin, Concerto inF,l 85 Example 55: A. Copland, Piano Concerto. 87 Example 56: A. Copland, Piano Fantasy. 88 Example 57: L Stravinslg^, Trois Mouvements de P t̂rouchka, IH 90 Example 58: S. Prokofiev, Piano Concerto No. 5, II 91 Example 59: S. Prokofiev, Piano Concerto No. 5, II 92 Example 60: S. Prokofiev, Piano Concerto No. 5,1 92 Example 61: S. Prokofiev, Piano Concerto No. 1, L 93 Example 62: S. Prokofiev, Piano Concerto No. 2, III 94 Example 63: S. Prokofiev, Piano Concerto No. 3,1 94 Example 64: S. Prokofiev, Piano Concerto No. 3, HI 95 Example 65: B. Bartdk, Piano Concerto No. 2, n 95 Example 66: S. Prokofiev, Piano Concerto No. 4, HI 96 Example 67: S. Prokofiev, Sarcasmes, Op. 17, No. 4 97 Example 68: S. Prokofiev, Toccata, Op. 11 97 Example 69: S. Prokofiev, Suggestion Diabolique, Op. 4, No. 4 98 Example 70: S. Prokofiev, Ten Pieces, Prelude, Op. 12, No. 7 99 Example 71: D. Shostakovich, Piano Sonata No. 1, Op. 12 101 Example 72: D. Shostakovich, Piano Sonata No. 1, Op. 12 101 Example 73: D. Shostakovich, Piano Concerto No. 1, Op. 35, IV 102 Example 74: P. Hindemith, 1922 Suite (Or Klavier, II 103 Example 75: M. Tippet, Piano Sonata No. 2 105 Example 76: O. Messiaen, Pne/ude. Les sons impalpables du reve 107 Example 77: S. Prokofiev, Piano Concerto No. 5, V 107

7

LIST OF EXAMPLES- Continued

Example 78: O. Messiaen, Oe de Feu 1 108 Example 79: B. Britten, Piano Concerto No. 1, Op. 13 109 Example 80: B. Britten, Diversion on a Theme for Left Hand and Orchestra,

Op. 21 110 Example 81: G. Crumb, Spring-Fire (Aries) from Makrokosmos L 112 Example 82: G. Crumb, Tora! Tora! Tora! (Cadenza ApocaIittica)from

Makrokosmos II. 112 Example 83: F. Rzewski, The People United Will Never Be Defeated! 124

8

LIST OF TABLES

Table 1: The Transposition Process in F. Liszf s La Chasse. 34 Table 2: Glissandi Used in F. Liszt's Die Schlittschuhlaufer. 38 Table 3: The Function of Qissandi Used in F. Liszt's Works 41 Table 4: Summary of F. Liszt's Examples 42 Table 5: Examples in the Eighteenth and Nineteenth Centuries in Four

Groups Based on Its Type 53 Table 6: M. Ravel's Kano Works Between 1901 and 1917 60 Table 7: Glissandi in M. Ravel's Concerto for Left Hand. 66 Table 8: Sxmimary of H. Villa-Lobos's Examples 83 Table 9: Pianist-Composers' Dates of Deatfi around the First Half of the

Twentieth Century 86 Table 10: Summary of S. Prokofiev's Examples 99 Table 11: Examples in the Twentieth Century in Four Groups Based on Its

T5rpe 113 Table 12: Examples of the Black-and-White Glissando 114 Table 13: Glissandi with Tempo fodications in The Twentieth-Century

Works 115 Table 14: Examples Used Right Before the End of Each Piece/Movement... 115 Table 15: Special fridication with the Use of Glissandi 116 Table 16: TTie Ntmibers of Examples 118

9

USTOFHGURES

Figure 1.1,12: The Basic Executions of the Glissando 18 Figure 2: The Hand Position for the Glissando without the Destination

Marked 18 Figure 3: Fingered Version of the Example from D. Scarlatti's Sonata, K. 487.. 25 Figure 4: Three Types of Glissandi Used in F. Liszt's Hungarian Rhapsody

No. 10. 35 Figure 5: The Harmonic Structure on the Glissandi Used in F. Liszt's

Hungarian Rhapsody No. 15. 37 Frgure 6: The Glissando on a Row in A. Copland's Piano Fantasy. 88 Figure 7: The T5^es of the Works in the Use of Glissandi 120

10

ABSTRACT

This document is a thorough study of the glissando throughout its

chronological development, consisting of an examination of differences in

the glissando's functions, types, and executions. Examples are extracted from

piano solo and piano concerto compositions, which were written by

composers from Domenico Scarlatti, bom in 1685, to George Crumb, bom in

1929.

The glissando was used as a formal compositional device in the

eighteenth century, beginning with the works of Domenico Scarlatti. It

evolved from the Schleifer and was omamental and occasionally melodic in

function. Composers of the Qassical period, like Ludwig van Beethoven and

Carl Maria von Weber, expanded the device into octaves, which before the

end of the nineteenth century was adopted by Bedrich Smetana, Joharmes

Brahms, and Mily Balakirev. Franz Liszt produced many two-hand and

double-note glissandi, and his output of glissandi is the most numerous in

the entire piano repertoire.

In twentieth-century, B^a Bart6k produced a dry effect in the glissando,

while Prokofiev produced the most numerous glissandi in this century.

Hindemitti wrote an unusual form of black-and-white glissando; Tippett's

example is of the "fanfare" effect; and Britten contributed many glissandi in a

single work, to a degree perhaps exceeded only by Liszt's works. For

nationalistic composers, like Manuel de Falla and Heitor Villa-Lobos, the

glissando is a fine device to express the feeling of ethnic emotions, such as

joyful and energetic. Besides, the use of the black-key glissando gives

11

composers a fine application for impressionistic purposes, since its pentatonic

orientation is easy to liken to images of nature: water, wind, etc. Such

examples are found in the works of Qaude Debussy, Maurice Ravel, and

others. Nonetheless, it becomes less crucial in this harmonic consideration in

the works of more recent composers, in whose works the concept of tone-

dusters or just a "noise" is revealed.

This thesis also includes two appendices, one contains a chart of 473

glissandi categorized by function, and the second, an original composition by

the author, which includes numerous glissandi in various types.

Introductioii

The piano has gone through many years of development since the

invention of the "escape" mechanism in the early eighteenth century.

Although our concert instrtmient does not appear imtil the early nineteenth

century, pianistic techniques were refined from ancestral keyboard

instruments such as the virginal, clavichord, harpsichord, and fortepiano.

The development of the piano's mechanism and techniques, as well as the

personal aesthetics of various composers, have had a direct influence on the

evolution of certain compositional devices which are recognized as being

characteristic of personal or historical genres as well. Those pianistic devices

which have been viewed by recent composers as strongly associated with the

"traditional" include glissandi, trills, octave runs, staggered octaves, parallel

passages, tremolos, broken chords, and vibrato-chord passages. In the most

avant garde works, the use of these devices is less clear: some are distorted,

others are dispersed or never used. Instead, extended "non traditional"

technical devices such as tone clusters, muting or plucking of strings, banging

both inside and outside the instrument, wiping on the strings, and vocalizing

are utilized to enrich the piano repertoire.

Composers are still searching for new sounds; pertinent examples can

be foimd in works such as William Bolcom's Twelve New Etudes (1966),

George Crumb's Makrokosmos I (1972) and H (1973), and Gyorgy Ligeti's

13

Etudes pour Piano, premier livre (1985).^ The old pianistic devices continue

to be developed, while new techniques or new combinations of the old

pianistic devices and extended techniques are invented by contemporary

composers.

The understanding derived from a thorough study of the glissando

throughout its chronological development, consisting of an examination of

distinct differences in the glissando's functions, ranges, executions, and tj^es,

can support the viability of this traditional device for future piano

composition. In this study, examples are extracted from piano solo and

concerto compositions; piano chamber music, piano duos, and piano duets,

will not be discussed.^

The term, glissando, which is derived from an Italianized French verb

meaning "to slide," refers to a quick scale produced by single (later multiple)

finger(s). This device could be notated either by written-out smaller-notes

with appropriate markings—such as finger numbers or the word

"glissando"—or by a diagonal line between the upper and lower notes; the

latter is a very common indication used by twentieth-century composers.

Moreover, some glissandi are indicated by connecting the ligatures between

the upper and lower notes, but omitting the middle notes. Examples without

^Carlos Chavez also wrote etudes for the piano. Four New Etudes (1952). Different from the etudes mentioned in context, Chavez's etudes, based on the traditional keyboard plajang, deal with the techniques of "pointillism" and "dodecaphonism."

^This survey is intended to be complete as possible, drawing on the works by composers who were bom between Scarlatti and Crumb (1685-1929). All examples found are listed in Appendix A. However, not every example will be discussed or considered in detail because they are less significant or similar to other examples.

14

the indication of the glissando's destination note are also fotind in modem

works, obviously assiiming a new kind of function.

The Functions.̂ 1. embellishment 2. melody, 3. virtuosic effect, 4.

impressionism, 5. programmatic expression, 6. backward motion, and 7.

modulation tool.

The glissando is an offshoot of the "slide" (Schleifer) (Ex. 1).^

Inasmuch as the slide was one of the most common embellishments in the

Example 1: Slide.

early keyboard repertoire,^ the early glissando evolved from this device.

Gradually, the melodic usage of glissandi became common. As other pianistic

techniques were created profusely during the nineteenth century, the

glissando came to be used as a virtuosic effect by virtuoso pianists. This kind

of usage has been reinforced continuously, while some glissandi were in the

manner of impressionism or programmatic expression. Another function of

the glissando is 'T?ackward motion," which is always followed, or preceded, by

P. E. Bach implicitly suggested the function of ornaments are: 1. to connect notes— melodic function, 2. enlivening—colorific function, 3. giving weight and emphasis—rhythmic function, 4. contributing to a disposition "sad or joyful or otherwise"—melo^c or harmonic function. (See The New Grove Dictionary of Music and Musicians, "OTmanents,§VU: Summarized by Function," 13:859-860.) However, this study does not follow his categories since he was concerned with ornaments in general. The study of glissandi intends to be more specific.

'̂This ornament; also known as the elevation, whole-fall, slur or double backfall, consists of a little conjunct run of two accessory notes leading to its main note." The New Grove Dictionary of Music and Musicians, "Ornaments, §11: Appoggiaturas," 13:834-835.

^Carl Philipp Emanuel Bach, Essay on the True Art of Playing Keyboard Instruments, 136-142.

15

a fingered ascending/descending passage whose range is similar to the

glissando. Moreover, some composers used the glissando as a tool for

suddenly changing the tonality between the white-key and black-key

harmonies. In addition, many examples have more than one of these

functions.

The Ranges. As a type of primitive ornament, the range of the

glissando was quite narrow. This resulted from the limited capacity of the

early keyboard instruments and because of relatively primitive keyboard

playing skills. Accommodating the expansion of the piano's compass,^

examples found in the eighteenth century are only within two octaves, but

the range expands to four-and-a-half octaves in the works of the Qassical

period. The composes of the Romantic period expanded it again to five

octaves, and an example of five-and-a-half octaves is also foxmd. This range

reaches its maximum in the twentieth century; with the appearance of the

black-key glissando, the use of the entire keyboard becomes possible in

modem piano works.

The Directions. Since the old slides mostly were ascenciing,^ the

glissando at first followed tiiis model of execution.® The descending glissando

began to be used by the early nineteenth-century composers, and examples of

®Of the compass of the two existing specimens of Bartolomo Christofori's instruments: one has four octaves and the other, four-and-a-half. Mozart's piano has five octaves. In 1790, Broadwood made pianos with five-and-a-half octaves and, in 1794, with six octaves. Liszt's Erard piano has six octaves. The works of Schtimaim and Giopin required nothing beyond six-and-a-half octaves. The present piano usually has seven-and-a-quarter octaves. The extra notes are added to the bass of some large grands by Bdsendorfer, which has seven-and-three-quarters or even eight octaves.

G. Hamilton, Ornaments in Classical and Modem Music, 59.

®See Scarlatti's examples in Chapter 2.

16

continuously descending and ascending glissandi are fotmd in the mid-

nineteenth century. At the same time, the two-hand glissando appeared, first

in the same direction, and later in contrary directions, which even applied to

the two-hand octave-glissandi and black-and-white glissandi. In works with

nationalistic characteristics, ascending examples are more frequent. This

perhaps is because of the influence of folk music.

The Types. Aside from purely musical motivation, the character

of a composer's own instruments, hands, and plajring techniques, led to

various types of the glissando that included: 1. white-key glissandi, 2. octave-

glissandi, 3. two-hand glissandi, 4. double-note glissandi, 5. black-key

glissandi, and 6. black-and-white glissandi.^

The octave-glissando began to be used in the early nineteenth century.

Since it was not always easy to produce on every early piano, an alternative

was frequently provided by the composers themselves or pianists; the most

common one is allotting them to both hands. However, the experiments of

incorporating extremes did not stop with nineteenth-century composers: an

octave-glissando with another single-note glissando and even two octave-

glissandi executed simultaneously are foimd in nineteenth-century works.

Twentieth-century composers seemed to lose enthusiasm for this kind of

^here is a spectacular type of glissando, the chromatic glissando, which was created by Carl Tausig. See more details in the discussion of Prokofiev's Piano Concerto No. 5 in Chapter 3. This kind of glissando is rather unusual and unique; it is not necessary to set up a distinctive category. In addition, in spite of the distinct difference in timbre and acoustics, the idea of a glissando "on the strings" is indeed identical to a chromatic-glisscindo on the keyboard. (In George Crumb's Five Pieces for Piano, the composer used chromatic scale with the marking "gliss." to indicate the use of the glissando on the strings.) Since this kind of glissando requires a different kind of technique, a discussion of it will not be included in this study. Another transformation excluded in this study is the vocalized glissando, such examples are found in Karlheinz Stockhausen's fGavierstiickeXnand George Crumb's The Phantom Gondolier (from Makrokosmos).

17

glissando, since it remains hard to execute on modem pianos. The era of the

virtuoso pianist-composer had all but died out by the mid-twentieth century;

and as composers seek equally effective but easier gestures, these might cause

fewer examples of the "extreme" glissando to be produced.

The two-hand glissando was used beginning in the nineteenth century.

This idea may have been derived from the alternatives for the octave-

glissando, since examples of two-hand gUssandi foimd in this century are all

in octaves. This is not always true for twentieth-century composers: one

example found is in ninths. Another variation foimd in twentieth-century

works is that of the black-and-white glissando; that is, when the black-key

glissando is initiated, some composers create a two-hand effect, combining it

with a white-key glissando.

The double-note glissando is defined as a glissando with two notes in

fixed intervals—excluding octaves—executed by one hand. Examples are

found in the mid-nineteenth and early twentieth centuries. Compared to the

widespread use of the two-hand version, very few composers used this kind

of glissando. The reasons perhaps are the same as for the relative infrequency

of the octave-glissando, although the technique for the double-note glissando

is easier than the octave-glissando.

The black-key glissando, which outlines the pentatonic scale, weis used

beginning with the impressionist composers. Since then, the black-key

glissando has been adopted by many twentieth-century composers. Also, the

use of the combination of black- and white-key glissandi was commenced in

the early part of this century. As the effect became more common, the black-

and-white glissando could be also executed in contrary directions.

The Techniques. The execution of glissandi frequently accents the

initial note (or interval), and the destination note is on the beat (Fig. 1.1).

Occasionally, especially in a fast tempo or if an acrobatic-like effect is desired,

the last few notes even are not depressed; there might be a little break

between the destination note and flie scale covered by pedal. However, in the

case of a destination note which is not on the beat, generally, it requires

depressing all the notes (Fig. 1.2). For the glissando without the destination

marked, the hand is upwards after the scale in the approximate pitch, and

leaves the keyboard entirely (Fig. 2).

Figure 1.1,1.2: The Basic Executions of the Glissando.

Figure 1.1 Rgure. 12.

Figure 2: The Hand Position for the Glissando without the Destination Marked.

hand position

19

The speeds of glissandi are varied: not every glissando must be played

rhj^thmically evenly; in some examples, accellerando or ritardando is applied

to the execution, and some examples naturally speed up near the end. The

d3mamics are also varied: a brilliant sonority is the glissando's usual effect,

but there are some examples marked "delicatissimo"or even coupled with

the use of the una corda pedal. Glissandi with the crescendo or diminuendo

marked are quite common; for them, the weight of hands is gradually

changed.

The use of the damper pedal is usual with the execution of the

glissando, but this is not always true. Early examples demand a stylistic

interpretation, and some modem examples need a dry percussive effect; the

damper pedal does not serve these purposes appropriately.

The octave-glissando and the double-note glissando require a similar

technique; the difference is a matter of the interval size, and the fifth finger

poses an inevitable disadvantage for the octave-glissando, owing to its

inherent weakness. To execute them, the palm of the hands should be

shaped over the reqtiired interval. Also, there should be enough height for

the fingers to depress the keys, bi the case of octave-glissandi, the use of the

thirnib with the fourth and fifth together, in the descending glissando in the

right hand or the ascending glissando on the left hand, can make the result

more secure.

The execution of the black-key glissando requires a greater key contact

between finger(s) and keys. Use of more than one finger often makes it easier

to depress the keys evenly. Like the octave-glissando, the fingers need

sufficient height to depress the black keys, and some pianists actually stand up

20

in order to place the weight of fingers on the keys efficiently. For the black-

and-white key glissando in an identical register, using only one hand

sometimes is more convenient and shows pianist's virtuosity convincingly.

The two-hand glissando, executed in the same direction, requires the

technique of maintaining the parallel motion of the hands. For each octave,

one must always be aware whether both hands are still on the approximate

notes. For executing the black-and-white glissando, generally, the hands must

be placed closely together so that each hand can support the other.

The Criticisin. A question of whether the use of the glissando is

truly required sometimes occurs. In some cases, the indication given by the

composer is rather clear, but fingering it might be even more effective; while,

on the other hand, for some passages without any indication of using

glissandi, using them might be the better choice. Besides, there are examples

of so-called "quasi-glissando,"io which suggests the passages be played with

the effect of glissando; here, the use of a "real" glissando becomes a possibility.

Although described as "dear to the virtuoso" by Qarence G.

Hamilton,!! not every virtuoso pianist-composer used the glissando in

his/her piano works. In the eighteenth and nineteenth centuries, many of

the best-known composers did not use this device, for instance: J. S. Bach,

Wolfgang Amadeus Mozart, Franz Schubert Felix Mendelssohn-Bartholdy,

Fr^d^c Chopin, Robert Schtmiann, and Peter Ilich Tchaikovsky. This might

be because the glissando is characteristically a sort of acrobatic or virtuoso

!Osuch examples appear in Liszt's Reminiscences de Don Juan (Mozart), Smetana's Polka in A Major form Vzpominka na Cechy ve Forme Poiek, Op. 12, ̂ chmaninoff s Piano Concerto No. 4,2nd movement Kabalevsky's Piano Concerto No. 3, etc.

!!C. G. Hamilton, Ornaments in Classical and Modem Music, 63.

gesture, or the fact that these composers' personal musical styles were not

dedicated to this sort of keyboard exploitation.^^

21

l̂ For instance, Chopin, described as an "Idealizer of the Virtuoso Element" by Edgar Stillman Kelley, {Chopin The Composer, 45) "the philosopher of the beautiful, fashioned his iridescent harmonies and mysteriously woven lunar colors upon a black-and-white instrument" (Abram Oiasins, Speaking of Pianists, 220). His virtuoso pianistic passage-work was largely dependent upon dexterous finger motion. The glissando does not serve any function for his harmonic and melodic treatment on the piano. Obs^e Example 2 (Polonaise, Op. 53), if we ignore the accidental signs, indeed there are opportunities for the use of the glissando, but Chopin executed all the scales with the fingers.

Example 2: F. Chopin, Po/oiiaise, Op. 53

22

CHAPTER2

The Eighteenth and Nineteenth Centuries

The glissando developed from a primitive ornamental form to an

expanded musical or virtuoso effect during the eighteenth and nineteenth

centuries. Black-key glissandi did not come into use at this time, but octave-

glissandi, double-note glissandi, and two-hand glissandi became a part of the

musical vocabulary of a number of nineteenth-century composers, and were

passed on to composers of the twentieth century. The evolution of the

glissando in its aspects of range, function, and execution wUl be studied in

this chapter.

This sxirvey begins with Domenico Scarlatti, where we find the first use

of the glissando.^ Following the expansive usage by Ludwig van Beethoven

and Carl Maria von Weber, the glissando was used even more lavishly by the

Romantic composers, most notably by Franz Liszt. Other examples found in

the nineteenth century are by Bedrich Smetana, Johannes Brahms, Camille

Saint-Sa&is, Nfily Balakirev, Edvard Grieg, and Edward Elgar; some of their

examples represent virtuosic character, some of them are nationalistic.

Aside from the composers mentioned above, it would appear that

other important composers avoided this device, including J. S. Bach,

Wolfgang Amadeus Mozart, Franz Schubert Felix Mendelssohn-Bartholdy,

Fr^dMc Chopin, and Robert Schtimann. However, in the following century.

^In Ornaments in Classical and Modem Music, 63, Qarence G. Hamilton illustrated Scarlatti's Sonata, K. 487 as the example when he addressed the first use of glissandi. However, in Scarlatti's eeirlier sonata, K. 379, the use of glissandi is also found.

23

the glissando has not only been used with greater frequency, but it has been

used in new aesthetic applications.

Domenico Scarlatti

The glissando was apparently first used by Domenico Scarlatti (1685-

1757), an Italian composer who lived mostly in Spain and therefore was

isolated from his contemporaries. Scarlatti wrote more than five himdred

and fifty sonatas for harpsichord, which display fairly modem types of

technique, such as repeated-notes, cross-overs of hands, wide-range skips,

virtuoso chordal figures, and glissandi.

Among his nimierous sonatas, examples of glissandi are found in

three sonatas: K. 379, K. 468, and K. 487. Glissandi used in K. 379 and K. 468

are ornamental in function, while a glissando in K. 487 is melodic. The

ranges of these glissandi are simply within two octaves: K. 379 is in one

octave, K. 468 is in one-and-a-half octaves, and K. 487 covers almost two

octaves. To indicate the use of the glissando, the composer marked "con dedo

solo"(with one finger) in K. 379 and K. 468 (Ex. 3), though there is no

Example 3: D. Scarlatti, Sonata, K. 468.

appropriate accidental for B-flat. In K. 487, there is no glissando execution

marked in Scarlatti's manuscript, but in one edition noted in Qarence G.

Hamilton's Ornaments in Classical and Modem Music, this figure is played as

• Con dedo solo

24

a glissando.̂ Besides, if we observe Examples 4 and 5 (from Scarlatti's

manuscript), there are nine thirty-second notes and five sixty-fourth notes in

one measure in the manuscript The composer did not group them into any

combination within the meter, which makes the glissando a possible mode of

execution.

Example 4: D. Scarlatti, Sonata, K. 487.

When we play these works on the piano, the use of the damper pedal is

imnecessary for these glissandi. Examples of glissandi played without damper

pedal do not appear again xmtil certain twentieth-century compositions.^

Moreover, the glissandi in K. 379 and 487 could be more easily executed by the

fingers instead of being played as glissandi, resulting in two different kinds of

interpretations: in K. 379, the thirty-second notes can be divided into two

^Qarence G. Hamilton, Ornaments in Classical and Modem Music, 63.

^An example is B61a Bcirtdk's Tanz-Suite, whidi is dated much later in 1923. The discussion of it is in Chapter 3.

Example 5: D. Scarlatti, Sonata, K. 487. (manuscript)

eighth notes evenly using the fingering of 2-3-1-2-3-4-1-2. This makes

it easier to accurately reach the following chord (in 3rd) in the next down beat.

If a glissando is used, the first note (D) of these thirty-second notes needs to be

played "on the beat" The rest of the notes can be faster than the written

value and shorter than the total value (two eighth notes), creating an exotic

effect in this "Minuet" subtitted sonata. In K. 487, tfiis passage, as a cadence (I

-V -1), could be a simple ascending glissando, or it could be divided as in the

following figure and played by the fingers.

Figure 3: Fingered Version of the Example firom Scarlatti's Sonata, K. 487.

There is another kind of execution used in K. 376: in Example 6, the

destination of the glissando is clearly on the third beat, hence, the notes on

the second and third beats must be played in a precise rhythm.

Example 6: D. Scarlatti, Sonata, K. 379.

In K. 468, four glissandi occur continuously in the second section of

this sonata. Unlike the previous example, these tiiirty-second notes shotild

be executed only as glissandi, since "con dedo solo" was marked by the

composer and the destination notes are rather easy to arrive at.

26

The idea of quasi gUssandi, which was used later by many composers,

such as Franz Liszt, Dmitri Kabalevsky, etc., is also revealed in Scarlatti's

examples. There is no indication of the use of glissandi in the second section

of K. 379, but the parallel passages imply the same feature. The use of

glissandi is still appropriate. Nonetheless, if fingering passages, the sound

should be "queisi-glissandi" to match the earlier passages in this sonata.

There is not enough evidence to say that no other composer besides

Scarlatti ever used the glissando during this time, but it is true that among

Scarlatti's well-known contemporaries, there is no one—^not Jean-Philippe

Rameau, J. S. Bach, George Frederick Handel, nor C. P. E. Bach—^who wrote

down the glissando as a formal figure in his keyboard compositions. The next

use of the glissando, in Beethoven's Piano Concerto No. 1 in C Major, Op. 15,

occurred almost fifty years after Scarlatti died. This device may be a kind of

"gimmick," but firom Scarlatti's examples, which anticipate examples in later

piano compositions, it proved that the use of the glissando is viable.

Unlike the slide,̂ the glissando was used infirequently by the composers

of the Qassical period. There are no examples found in Joseph Haydn's,

Muzio Qementi's, or Wolfgang Amadeus Mozart's keyboard works. But

during this era, the octave-glissando, which later was regarded as

"impracticable on modem grands with "English' action,"^ is used in Ludwig

van Beethoven's Piano Concerto No. 1 in C Major, Op. 15, and Piano Sonata

^Refer to the discussion in Chapter 1.

footnote on the edition of Hans von Bulow and Sigmund Lebert. New York: G. Schirmer, Inc. 'X. van Beethoven Sonata for the Piano, Op. 53."

27

in C Major, Op. 53; Carl Maria von Weber's Kano Concerto No. 1, Op. 11, and

Concertstiick; and Johann Nepomuk Hummel's Piano Concerto in A minor.

Op. 85.

Ludwig van Beethoven and Carl Maria von Weber

Ludwig van Beethoven (1770-1827) expanded the piano's technique

and sonority to achieve orchestral effects on the piano. Technically, he

incessantly exploited the capabilities of the piano such as the range of

d)mamics, lengthy trills, and octave-glissandi. In his piano works, not only

the ingenious pianistic figures, but also the inspirational musical ideas that

gave the following generation an impressive model.

The glissando in Beethoven's Piano Concerto No. 1 in C Major (1801) is

used as a fortissimo cadence (V -1) to the recapitulation section (Ex. 7). This

glissando—^melodic in function—should end on the downbeat (in measure

346). Therefore it must be performed in tempo, and the value of each octave

must be even.

Interestingly enough, since the composer did not mark any indication

of a glissando, how can we know this is a place for an octave-glissando? (See

Example 7.) A similar question occurs if we look at the scherzo movement of

Example 7: L. van Beethoven, Piano Concerto No. 1 in C Major, Op. 15,1.

28

Beethoven's Piano Trio No. 3 in C minor. Op. 1, No. 3. Both examples are

fortissimo descending cadences; since they are in quite a fast tempo, to execute

them either with a two-hand or as an octave-glissando is foolproof, as the use

of octave runs is impractical for these two passages.^

The example from Sonata, Op. 53 (1805), is also melodic in function,

and features a descending as well as an ascending line. Again, the precise

tempo is crucial since each glissando is in two segments, and the pivot octave-

G must come on the down beat of each measure, bi contrast to the previous

example, these glissandi should be soimded very softly (the dynamic

indicated here is pp). On the modem piano, one must use the una corda

pedal for the elegant quality; use of the damper pedal must be careful to avoid

a muddy soxmd. However, Beethoven's Viennese piano was well designed

for the execution of the octave-glissando because of the lighter action, while

piamst Hans von Bulow, one of Liszt's great pupils, suggested an easier

version for these glissandi. See Example 8.

Example 8: L. van Beethoven, Piano Sonata, Op. 53, Rondo.

gtUtaniS' V (sempre t C.)

^Example from Hummel's Piano Concerto, Op. 85, presents a similar situation.

29

Carl Maria von Weber (1786-1826) was best-known as a composer of

opera and his piano works are relatively tmimportant Nevertheless, his

explorations of the piano's potential have enriched the piano repertoire.

Maurice Hinson has observed that Weber's pianistic technique is:

"characterized by large skips, brilliant passages in diirds, sixths, octaves,

dramatic crescendos and awkward stretches."^ Weber's major piano works

include the Concertstuci^ two concertos, four sonatas, more than eight

variation sets, and many dance pieces. Most of them are difficult to play.

Among these works, the use of the glissando is fotmd in the Piano Concerto

No. 1 (1810) and Concertstiick (1821).

Examples found in the last movement of Weber's Piano Concerto No.

1 are rather tmusual; two octave-glissandi® executed—^in thirds—by both

hands simultaneously (Ex. 9). These glissandi are extremely difficult to

Example 9: C. M. von Weber, Piano Concerto No. 1, Op. 11, Finale.

play on today's instruments; they may have been practicable at the time

owing to the composer's large hands, and a lighter touch and narrower

^Maurice Hinson, Guide to the Pianist's Repertoire, 672.

®For information about the counting of glissandi, refer to the footnote 1 in Chapter 4.

30

expanse of the keyboard.^ bi later times, only Johannes Brahms's Ongaiische

Tanze has a similar example, which was written sixty years later.^^

"The last, and. unquestionably the most striking of Weber's

compositions for the pianoforte was the Concertstiick."^! This work, actually

the composer's third piano concerto,^^ is superbly written: it features frequent

four-part chords covering a tenth, swift chromatic passages, widening right

hand leaps, octave runs, racing passage work, and the octave-glissando.

There are four glissandi used in the Concertst&ck, and three of them are in

octaves. The first glissando occurs in the opening section (Ex. 10). This is a

glissando of a very wide range—^four-and-a-half octaves—^which is melodic in

function. The first octave-glissando over three-and-a-half octaves occurs in

the third section, right before the orchestra's second repetition of the 'Tempo

di Marda." This glissando, as an embellishment grandiosely punctuates the

orchestra's repeated melody. In the last section, after the orchestra tutti, this

octave-glissando transposed to a perfect fourth higher and repeated once,

recalls the composer's acrobatic virtuosity. Since this glissando is quite

difficult to play on every piano, Franz Liszt suggested two versions for it; one

^ohn Warrack, Carl Maria von Weber, 99.

difference is that Brahms's example is in contrary directions. This example will be discussed later in this chapter.

^^Sir Julius Benedict, Gari Maria von Weber, 158.

l̂ The ConcertstQck includes four sections which Weber bound together as a single movement. However, the early sketch of the work is in three movements. Program-note on "Deutsche Grammophon Gesellschaft" 138710 ST33 SLPM.

31

is executed witii two hands, the other is by substituted fingered scales (Ex.

11).13

Example 10: C. M. von Weber, Concertstuckr Op. 79.

Example 11: C. M. von Weber, Concertstuck, Op. 79. ttrictig fMi#

W

i i tt i •

or A (implificatioa like Ihia tirieltf in tim*

the first octave-glissando used in this work, Liszt suggested octave runs for both hands and soloist join the orchestra in the second repetition of the Ma .̂ See the details in Schirmer edition, revised & fingered by Constantin Sternberg, "Editor's Note."

32

Weber's best-known piano solo work Aufforderung zum Tanz (1819)

was later transcribed by pianist Carl Tausig^^ (1841-1871) in the 1860s. An

octave-glissando is found in this version. Tausig transformed the original C

major and A major octave ascending scales—^in sixteenth notes—^into two

white-key glissandi; the first one in single-notes, and the second in octaves.

Besides, there is a dynamic contrast between the C major and A major scales

in the original version, but Tausig uses a brilliant virtuosic effect in both

glissandi. However, these glissandi stiE retain the melodic character which

Weber intended.

Franz Liszt

Of numerous great piano composers in the nineteenth century, Franz

Liszt (1811-1886) was the one who truly inherited Beethoven's ability to

transfer orchestral power and effects to the piano. Liszt's idiomatic pianistic

technique such as high trills imitating the cjnnbalon, tremendous octave

runs, leaps over long intervals, howling tremolos, sophisticated double-note

phrases, hand crossings, and brilliant glissandi, vastly increased the repertoire

of pianistic effects. After hearing Liszt's performance in Paris, Sir Charles

Hall^is said:

Such marvels of executive skill and power I could never have imagined. He was a giant, and Rubinstein spoke the truth when, at a time when his own triumphs were greatest he said that in comparison with Liszt all other pianists were children Liszt was all sunshine

l̂ HaroId C Schonberg stated:"... Qirl Tausig, perhaps Liszt's greatest pupil. Many considered him the most flawless pianist of the century." The Great Pianists, 2 .̂ Tausigalso made some piano reductions of Richard Wagner's operas.

l̂ 'The first pianist in history to play the cycle of Beethoven sonatas in public. That was in 1861. He also invented an automatic page turner." Ibid., 222.

33

and dazzling splendor, subjugating his hearers with a power that none could withstand. For him there were no difficulties of execution.16

In his glissandi, Liszt used different kinds of executions, including

double-note glissandi and two-hand glissandi. The former are found in the

Paganini Etude, "La Chasse"{W51), MagyarDallok—Ungarische National-

Melodien No. 9 (1840), Hungarian Rhapsody No. 15(1851), and the latter are

found in Hungarian Rhapsody No. 10(1853), Mephisto Waltz No. 1 (1860),

Illustration No. 2 aus dem Prophet (von Meyerbeer) "Die Schlittschuhlaufer"

(1850), Totentanz (1849) and the Piano Concerto No. 2 in A Major (1849).

Other examples are found in Hungarian Rhapsody No. 14 (1853) and

Paraphrase of the Waltz from Gounod's Faust (1868).

Magyar Dallok—Ungarische National-Melodien is Liszt's early cycle of

Hungarian Rhapsodies.^"^ Three double-note glissandi, in sixths or thirds, are

foxmd in No. 9 (Ex. 12). These glissandi are all melodic in function.

Example 12: F. Liszt, Magyar Dallok—Ungarische National-Melodien, No. 9.

iiiiiiiiU^iiiiiPlEl rinforzando

Double-note glissandi are found again in the Paganini Etude "La

Chasse." The key of La Chasse is E major. In the use of glissandi, the

l̂ Qiarles HaI16, Li£e and Letters, 37-38.

l̂ See "Vonvort" in Franz Liszt; Neue Ausgabe Samtlidier Werke, Serie I, Werke fur Klavierzu zwei HSnden, Band 18, £tude (Op.6); Ungarisdie Nationalmelodien by Editio Musica Budapest, 1985.

composer's harmoiiic design is evidently intended to match the glissandi's

natural harmonic implication, in which a simple modulation moves from E

major towards to A minor and followed by C major (see Table 1). These

Table 1: The Transposition Process in Liszt's La Chasse. m. 68 69 70 73 82 83 J 84 87

EM am — — EM pivot-G CM - -E: a: C:

I V i V

V I

glis

sand

o

glis

sand

o

glis

sand

o

glis

sand

o

double-note glissandi are all in sixths in the right hand (Ex. 13). The

destination chord is given separate stems, which implies that it could be

played by both hands.^s Besides, the symbol of the "wedge" ( • ) suggests

placing this final interval exactly on the second beat.

Example 13: F. Liszt, Paganiid Etude No. 5 "La Chasse."

glineudo

In Hungarian Rhapsody No. 10, the characteristic sonority of the

cymbalon is embodied. In the middle section, the continuous passages of

^8ln "Instructive Edition." Critically revised with fingering, pedalling and marks of expression by Paolo Gallico. New York: G. Schirmer.

35

glissandi can be grouped into three types (see Fig. 4): (a) connected ascending

and descending glissandi, 0?) simple wide-range glissandi, and (c) two-hand

outwards glissandi. The outer notes in types (a) and (b) must be played very

rhythmically and articulated with >, •, or — . Type (b) should also be played

slower since the value within one measure is larger, and type (c), closing the

phrases, needs a heavier touch to provide enough weight for the crescendo.

Figure 4: Three Types of Glissandi Used in F. Liszt's Hungarian Rhapsody No. 10.

Hungarian Rhapsody No. 14 was transcribed from the composer's early

cycle of Ungarische National-Melodien No. 21, which is also the predecessor

in the Hungarian Rhapsody No. 14. Compared to the Hungarian Fantasia,

the latter repeats the first and third glissandi once, while the second one

remains a fingered figure of a g)^sy scale as does its predecessor (Ex. 14).

of the Hungarian Fantasia for piano and orchestra. Three glissandi are used

Example 14: F. Liszt, Hungarian Fantasia.

36

The second glissando is melodic in function as its original form of a g3^sy

scale, while the other two show a virtuosic effect, and require a electrifying

touch and a fast tempo (Ex. 15).

Example 15: F. Liszt, Hungarian Rhapsody No. 14.

̂ Hu 1

Five continuous descending glissandi are used in Hungarian Rhapsody

No. 15, subtitled R^dczy-Marsch. Although these glissandi are written in

double-notes (in thirds), the ossia version (the single-notes glissando

provided by the composer) might be more effective (Ex. 16).i9 These gHssandi

Example 16: F. Liszt, Hungarian Rhapsody No. 15.

FaenilK

. ̂ glissando 1*—m F IJ -

s LA —£ ^ ^ ^ f- f ^ L - . . . P . . # • - . f t m "

the earlier version of this work, the situation is different: the composer suggested the use of double-note glissandi for the descending passages in thirds (mm. 160-164).

37

suggest a harmonic basis for the use of glissandi in the nineteenth century:

the triads on the white keys for the glissando. Figure 5 shows that every triad

on the white keys is used as a beiss for the glissando.

Figure 5: The Harmonic Structure on the Glissandi Used in F. Liszt's Hungarian Rhapsody No. 15.

k -I- 4-am GM FM em dm CM bO am GM FM (EM)

a; i vn VI V iv in iiO i vn VI (V)

C: vi V IV iii ii I vii® vi V IV (in)

Liszt was also a very active transcriber. Die Schlittschuhlauferwas

transcribed from the theme of Giacomo Meyerbeer's opera Le Prophete.̂ ̂

There is a letter from Meyerbeer to Liszt regarding Liszt's transcriptions from

this opera:

Mr. Schlesinger has informed me of a letter you wrote indicating that you had written a major piano composition based on the anabaptist chorus from Le Proph^te, that it was your intention to dedicate this composition to me when the piece is published I do not want to await the arrival of this letter to express to you how pleased I am that you would think one of my pieces worthy of use as a motif for one of your piano compositions. It is most certinly destined to be performed throughout Europe and shall amaze those fortunate enough to hear your magnificent and poetic performances.^!

^^Giacomo Meyerbeer (1791-1864) was a virtuoso pianist as well as a famous opera composer. Liszt's other transcriptions based upon Giacomo Meyerbeer's works indude Robert le Diable and Les Huguenots. On Ae theme of Le Proph6te, Liszt also wrote his most monumental organ work Ad Nos ad Salutarem Undam, Fantasia and Fugue.

^^Heinz and Gudrun Becker, Giacomo Meyerbeer: A Life in Letters, 139.

38

The quantity of glissandi in this work is amazing, and it is perhaps true

that this work. Die Schlittschuhlaufer (the Skaters), has the largest number of

glissandi in the entire piano repertoire: fif^-seven total, including six two-

hand glissandi.22 All of them are ascending with a maximum range of five

octaves. The composer used the device as a reiterating accompaniment

figure. Two of them bear the indication "poco rit" These glissandi occur in

three sections (see Table 2). The first two sections are enclosed by the two-

hand glissandi. There are some glissandi of approximately one octave;

technically, in this piece, they are more difficult to play than the longer ones.

Besides, since some fingered quasi-glissando passages occur alternately with

the glissandi, it might be easier to execute the short range glissandi with the

fingers.

Table 2: Glissandi Used in F. Liszt's Die Schlittschuhlaufer.

Section Measures Glissandi Two-hand glissandi.

1 203-250 1-34 3

2 305-330 35-53 3

3 464-469 54-57 0

Mephisto Waltz No. 1 ('The Dance in the Village Dm:" Episode 6rom

Lenau'spoem "Faust") was dedicated to Carl Tausig.23 The two-hand

glissando is used light after three measures of silence and followed by the

grandiose main theme (Ex. 17). Concerning the execution of this two-hand

22For information about the counting of glissandi, refer to the footnote 1 in Chapter 4.

^We have previously observed his transcription of Weber's Aufforderung zum Tanz. See the footnote under the discussion.

39

glissando, Emil von. Sauer's edition, published by C F. Peters, has the

following comment: "A fine effect is produced by pla5dng this run glissando

with the right hand, the left hand executing it as a scale." The edition by Earl

Wild has a different opinion: "By starting an octave lower and adding the

octave E in the left hand at the top of the glissando, a greater definition is

accomplished."

Example 17: F. Liszt, Mephisto Waltz No. 1.

The Totentanz (The Dance of Death) is a theme and variations, which

is based on the theme derived firom the plainchant 'Vies Irae" from the Mass

for the Dead. Of this work, Sitwell wrote:

Its shuddering, clanking rhjrthms, its soimds as of dandng bones, are of the weirdest achievement possible. It is, somehow, a piece admirably adapted for piano and orchestra; the piano has a real causus vivendi, a real reason for its presence in the orchestra.̂ ̂

The glissandi used in this tremendous work are a diabolic and sardonic

programmatic expression and also lend a rather virtuosic effect. Thirteen,

including three two-hand, glissandi are used in "Variation H;" and seven in

the closing section, "Allegro animato," which are all two-hand glissandi in

the same register.

^^acheverell Sitwell, Liszt 230.

40

Four two-hand glissandi are used in the Concerto No. 2 in A Major.

These glissandi are all in four octaves. The difference is that in the last one,

the left hand does not follow the right hand but stops on the third octave (Ex.

18). In addition, the descending ones start from F and end on E; such design

suggests the glissando is ornamental in function, while the ascending ones,

between two Es, are actually melodic in function.

Example 18: F. Liszt, Concerto in A Major.

Paraphrase of the Waltz from Gounod's Faust;̂ pianist Femicdo

Busoni's favorite piece, is one of Liszt's most successful works. Seven

glissandi are fotmd in this work. They are all ascending and melodic in

function.

It would be interesting to ask why Liszt did not use octave glissandi

instead of two-hand glissandi—especially since all two-hand glissandi by him

are in octaves, except for examples in contrary directions—and why there

seems to be no use of the black-key glissando. The black-key glissando

outlines the pentatonic scale which simply is not part of Liszt's musical style.

Octave-glissandi are used in Beethoven's works, since the light action of his

Viennese piano was well designed for their execution. There is no doubt that

41

the strength and pliability of the action in Liszt's pianos was quite different

from that of the early pianos. This differentiation necessitated a heavier

action and a considerable lowering of the dip (or "fall") of the keys. Weber's

piano was not only lighter in touch but also narrower.25 Liszt's suggestion for

executing the octave-glissando in Weber's Concertstuckhas already been

discussed (Ex. 11). Likewise, Liszt even wrote ossia passages for glissandi in

his own works, such as two ossia passages in place of the use of double-note

glissandi in Hungarian Rhapsody No. 15, a chord passage substitute for the

two-hand glissando in the Piano Concerto No. 2, and a simplified version for

many lengthy glissandi in Hungarian Rhapsody No. 10.

Liszt's examples are simimarized in Table 3 and Table 4. The cited

Liszt's examples of glissandi were written from arotmd 1839 to the 1850s.26

There are no octave-glissandi written by this significant piano virtuoso,

although derMeister produced many dazzling two-hand and double-note

Table 3: The Function of Glissandi Used in Liszt's Works. Magyar Dalok—Ungarische National-Melodien No. 9.

Melodic.

La Chasse. Ornamental with a virtuosic technique. Hungarian Rhapsody No. 10. Connection of two (or three) displaced melodies. Hungarian Rhapsody No. 14. Virtuosic effect. Melodic. Hungarian Rhapsody No. 15. Ornamental. Die SchlittschuhlSufer. Ornamental. Totentanz. Virtuosic effect. Programmatic expression. Concerto No. 2 in A Major. Virtuosic effect. Ornamented or melodic. Mephisto Waltz No. 1. Virtuosic effect. Waltz (rom Gounod's Faust. Melodic.

25"Weber's piano, a Brodmaim (Vienna), had an octave span of 15.9 cm. as against the modem 16.5 cm." John Warrack, Carl Maria von Weber, 99(.

26in Sacheverell Sitwell's study. Waltz torn Gounod's Faust might be written some yecirs before 1868. Liszt 345.

42

glissandi, and the quantity of glissandi is the most numerous in the entire

piano repertoire. The range of glissandi also was expanded to five octaves at

this time.

Table 4: Sttmmary of F. Liszt's Examples. Title Numbers of

Glissandi Type included® Ossia

version Years

Magyar Dalok—Ungarische National-Melodien No. 9.

3 A A 3rd 6th

1840.

Piano Concerto in A Major. 8 • 1839, rev. 1849-61.

La Chasse. 4 A 6th

1840,1851.

Die Schlittschuhlaufer. 57 A& 1850.

Totentanz. 30 A V ft ̂ 1849,1853,1859.

Hungarian Rhapsody No. 10. 28 A V ̂afd • 1853.

No. 14. 3 A V ft 1853.

No. 15. 5 3rd V • 1851,1871.

Mephisto Waltz No. 1. 2 ft 1860.

Waltz 6rom Gounod's Faust 7 A 1868.

key for these symbos is found in Appendix A.

Johannes Brahms and Camille Saint-Saens

Joharmes Brahms (1833-1897) is viewed as "the principal opposite

number to Liszt in the field of keyboard music in the latter half of the

nineteenth century." F. E. Kirby continued,

Brahms had none of the great "international" quality that was so characteristic of Liszt Although, Like Liszt he was a pianist and even conductor by profession, Brahms was never in the public eye by such activities; indeed, when he made his Viennese debut as a pianist, he used his two piano quartets, a genre of composition that had never been associated with pianistic virtuosity.^^

E. Kirby, A Short History of Keyboard Music, 320.

43

Among Brahms's major piano works, glissandi are found in the

Paganini Variations, Op. 35, Bk. 1 (1866), and Vhgarische Taitze No. 8 (1872);

which are all in octaves. The Paganini Variations are actually a study in

piano technique. Brahms wrote two volumes of them; each volume has a

theme and 14 variations. The theme—^in 12 measures—^is derived from the

violin virtuoso Nicolo Paganini's Caprices, Op. 1. Besides Brahms, Robert

Schumann, Liszt, and Sergei Rachmaninoff also composed piano

transcriptions or sets of variations based on this theme.28 Ungarische

Tanze—ten of them—represent Brahms's interest in a national folk-music

character. These works were arranged by the composer himself from his

earlier version for piano duet—the first ten date 1869, and Nos. 11-211880.

Also, Brahms produced orchestral versions of Nos. 1,3 and 10 in 1874.

In the examples from the Paganini Variations, as in many of Liszt's

examples, these glissandi—^melodic in function—could also be construed as

virtuoso effects (Ex. 19). Although they are much shorter than the examples

Example 19: J. Brahms, Paganini Variations, I, Var. 13.

2®See Schumann's Studien, Op. 3 (1832), and Op. 10 (1833); Liszt's Paganini Etudes (1838 and 1851); Rachmaninoffs Rhapsody on a Theme of Paganini for Piano and Orchestra, Op. 43 (1934).

of Beethoven or Weber, the fast tempo "vivace e scherzando"assures their

difficulty.29

As in Weber's Piano Concerto No. 1, the example firom Brahms's

Ungarische Tanze shows two octave-glissandi executed simultaneously by

both hands—^but in contrary directions—as a melodic in function with an

expression of the virtuoso character, which the glissando had commonly

become in the nineteenth century (Ex. 20). However, unlike Weber's

example, these simultaneous glissandi do not incorporate the same number

of notes; there are thirteen notes in the right hand and eleven notes in the

left hand. Since this passage is certainly rather difficult to play, Brahms, like

Liszt, provided an Ossia version for both hands.

Example 20: J. Brahms, Ungarische Tanze No. 8.

gUmuulo

Ccimille Saint-Saens (1835-1921), called the "French Mendelssohn,"

taught Gabriel Faur6 and studied with Friedrich Kalkbrenner, who, along

with Pierre Zimmerman, were the earliest exponents of French school of

^^DetlefKraus's book (trans, by Lillian Lim) fohaimes Brahms: Composer fyr the Piano, 66-67, has a very detailed analysis of the tempos of this work.

pianism. The French school, the opposite of tfie Stuttgart school, was

described as follows:

The touch was sensitive, it stayed dose to the keys, and it did not press deeply. It also was fluent, de^ immaculate like a fine etching. Thereifore the tone was likely to be of smaller dimensions—shallow, pale, transparent Behind it was an unrufQed emotional spirit which highly valued such aesthetic graces as elegant, calculated proportions and subtle phrasing.^o

Saint-Sa&is's pianistic writing was based on his own excellent piano

technique. His music seems to be of less emotional depth than Schumann's

and more transparent than Brahms's, but his use of certain pianistic devices

recalls the Lisztian. Many Lisztian virtuosic devices are easily found in Saint-

Saens's works. About his musical style, Albert Lockwood had the following

comment:

Saint-Saens' quality may be characterized as that of a mirror rather than that of a prism, and his compositions as reflections rather than as paintings. His art always elegant and polished, shines imequaUy, the thought is spim out to inconceivable tenuosity in places. His urbanity and eclecticism preclude pronounced person^ convictions, and he gathers atmosphere from Timbuctoo to Teheran. This is spread like jam and is not transmuted into the inevitableness of great art. His Gallicism is indeed evident, but his personality is so covered with conventions that his compositions as a group, tmlike the works of the greatest writes, do not display a composite soul. A Saint-Sa&is harmonic scheme, to put is differently, does not exist in the larger sense.31

His examples of glissandi are found in the third movement of the

Piano Concerto No. 5, Op. 103 (1896), and Aquarium (from Le Camaval des

animaux). The Piano Concerto No. 5—bearing the sobriquet "Eg3^tian"—^was

^^Reginald R. Gerig, Famous Pianists and Their Technique, 315.

Albert Lockwood, Motes on the Literature of the Piano, 166-167.

dedicated to Louis Di^er, who was a teacher at the Paris Conservatory and

taught Robert Casadesus, Alfred Cortot, Marcel Dupr6, and £douard BUsler.

Besides the intentional use of Eastern color in this concerto, Saint-Sa^ used

many virtuosic devices, such as octave runs, passages of great speed, wide

broken chords, and a glissando, which encompasses a wide range—five-and-

a-half octaves (Ex. 21). Except for an example from Maurice Ravel's Concerto

Example 21: C. Saint-Sa&is, Piano Concerto No. 5, HI.

for Left Hand, this glissando might have the widest range in the entire piano

repertoire. The octave B-flat in the left hand must be played rhythmically,

and the glissando should be performed at an even tempo.

Le Camaval des animaiixis a light work, which Saint-Saens refused to

publish during his life-time for fear diat it would be taken as evidence of his

musical character. However, these fourteen character pieces do represent

Saint-Sa&is's music style, by and large. Aquarium is a programmatic

character work, hi this worig four glissandi—all identical in every aspects—

are foimd (Ex. 22). The style of these glissandi forecasts pianistic

impressionism; later in this vein, many such examples were written by the

new French lions, Qaude Debussy and Maurice J^vel.

V

Example 22. C. Saint-Saens, Acpianuni from Le Cdmsval des aiumswc.

Bednch Snietana, Mily Balakirev, Edvard Grieg, and Edward Elgar

Bednch Smetana (1824^-1884), bom in Bohemia, was one of the

foremost representatives of musical nationalism. Piis musical ideals were

mfluenced by Bohemia's dance music, as in the case of another Bohemian

composer, Antonin Dvorak. Moreover, in some of Smetana's virtuosic

works, Liszt s influence is present but not overwhelming; Smetana's

techmque incorporates a more delicate and crystalline texture than Liszt's

extravagant and grandiose style.

Smetana s most numerous piano works are dance movements,

including polkas, mazurkas, waltzes, Bohemian dances, and Czech dances.

While the Etude, Op. 12, the ConcertStudy "On die Seashore" and the Sonata

in G minor show the composer's ambition to explore the capabilities of the

piano and his own musical imagination. His examples of glissandi are found

in the Ballade in E minor (1858) and the Polka in A minor (from Bohemian

Dances [1877]). The Ballade in E minor is an incomplete work, which later

provided some ideas for his opera Dalibor, and his transcription of Schubert's

sixth song from Die Schdne MuUerin, Der Neugierige. The Ballade,

remaining a 209-measure sketch, was written when the composer was under

48

the spell of his pupil, a Swedish girl, Froi'da Benecke. The set of Bohemian

Dances, four miniature polkas, is from the composer's last period of works.

The Polka in A minor is subdued, as opposed to the usual nature of this kind

of dance.

An octave-glissando used in the Ballade—coupled simultaneously

with another single-notes glissando—^might be the only example with this

kind of execution, which closes the preceding cadenza-like passage (Ex. 23).

Example 23: B. Smetana, Ballade in E minor.

This glissando, as a backward motion, is also a dazzling virtuoso effect. The

example from the Polka, a short, but very electrifying glissando, suggests a

strong folk flavor (Ex. 24). Like the previous example, this glissando—

Example 24: B. Smetana, Polka in A minor.

preceded by a successive descending passage—also functions as a backward

motion, but also as a melodic rather tiian a virtuosic gesture. Later in this

49

piece, the composer used a chromatic scale instead of a glissando to create

another climax.

Both examples of Smetana bear some similar features: 1. white-key

ascending, 2. function as a backward motion, and 3. followed by a new and

clear melody.

Mily Balakirev (1837-1910) was the guiding spirit of the Russian

"Mighty Five."32 His music incoporates various folk resources: Russian,

English, Czech, and Spanish. His use of glissandi is found in his best-known

piano work, /s/amey (subtitled "Fantaisie Orientale"), which was composed in

1869 and revised by the composer thirty years later. Nicholas Rubinstein gave

its premiere in the winter of 1869. The work—^which has been orchestrated by

Alfredo Cassella—^is one of the most dazzlingly difficult piano works in the

entire piano repertoire, and its technique is typical Usztian. Edward Garden

said: 'Tt is perhaps the 'ultimate' technical piece in the pianoforte repertoire."

Garden continued.

There can be no point in such a piece unless it can be flimg out as if it were a technical joke—an amusing ten minutes of exotic colour, insistent rhythm and pianistic exhibitionism. The notes are super-abimdant, certainly, but not one is superfluous or unnecessary to the glittering, rippling, effect of colour, "fhe build-up towards the end is not tmlike the build-up in Tamara—but whereas tfie orchestral work is sombre, dark and hatmting, the piano work, finished so much more quickly, is light, airy; superficial, perhaps, in a way, but fascinating, intriguing and thorougWy worth while.33

^^The other members in this group are Cfear Cui, Alexander Borodin, Nicolai Rimski-Korsakov, and Modeste Mussorgski. This group was known as the "St Petersburg School" as opposed to the "Moscow School," headed by Peter Ilich Tchaikowsky.

33Edward Garden, BalaJdrev: A Critical Study of His Uk and Music, 221.

50

This piece uses three Armenian and Cauoisian melodies. An octave-

glissando is used near the end of the work. This glissando has multiple

functions: 1. as a melody with a virtuosic technique, which is quite obvious, 2.

as a backward motion because of its preceding passage which is a descending

pentatonic scale, 3. as a modulation tool since this white-key glissando is

followed by the melody in the key of D-flat major (Ex. 25). This last is a new

Example 25: M. Balakirev, Islamey.

JET

kind of usage in the nineteenth century. A later composer, Edvard Grieg, and

many twentieth-century composers also utilized this technique.^ This

octave-glissando could be played as a single-notes glissando in the right hand

because of its difficulty as mentioned before.

Edvard Grieg (1843-1907) is frequently remembered by the piano world

only for his great concerto. Most of his piano works reflect many nationalistic

elements; especially, his Lyric Pieces (thirteen volumes in ten books), which

increased the body of lyrical repertoire for the piano. Besides that of

Norwegian folk music, his music also shows the influence of Robert

this usage, since the tonal system still was in the Romantic style, Balakirev's and Grieg's examples are not as clear as die twentieth-century composers'. See more examples in next chapter.

51

Schumann and Felix Mendelssohn, who founded (he Conservatory of Leipzig

in the same year of Grieg's birth, where Grieg started his formal music

education in 1858.

Grieg's use of the glissando is foimd in Hailing (from Lyric Pieceŝ Op.

71 [1901]). Hailing, a Norwegian dance, is one of the works from the

composer's last period. This volume of lyric pieces was dedicated to Fru Mien

Rontgen, a Swede, bi Hailing, Grieg adopted a motive from Swedish folk

music accompanied by a rich use of chromatic harmony. A white-key

glissando leads the tonality from D-flat of the preceding passage to F (Ex. 26).

This glissando can be seen as a modulation tool.

Example 26: E. Grieg, Hailing (Norwegischer Tanz) from Lyric Pieces, Op. 71.

Edward Elgar (1857-1934), bom in Broadheath (near Worcester), was a

leading British composer of the late nineteenth and early twentieth centuries.

His piano works are rather limited and relatively unimportant. Perhaps the

Concert Allegro, Op. 46 (1901), is the composer's only masterpiece for piano,

which was dedicated to Fanny Davies, a English pianist. The work was

considered to be lost for more than a half century. John Ogdon gave the first

modem performance of the re-discovered composition in 1968. Two

glissandi are fotmd in this work, the second glissando is an octave wider than

52

the first one. The composer indicated tfie number of notes in these

glissandi—one is 13, the other is 20—which is a rather unusual indication for

the glissando (Ex. 27). A cadenza-like passage is preceded by the glissando, and

the dynamic level is quite elegant as opposed to virtuosic—pp and ppp.

Example 27: E. Elgar, Concert Allegro. , accel. molto

rit.

Examples used in the eighteenth and nineteenth centuries, grouped in

four types, are illustrated in Table 5.

1. Octave-glissandi were used beginning in the early years of the

nineteenth century in the works by Ludwig van Beethoven, Carl Maria von

Weber, and Johann Nepomuk Hummel. Even simidtaneous two octave-

glissandi were used. Afterwards, examples of octave-glissandi are found

again, this time further developed by adding another glissando, as in Bedrich

Smetana's example, and simultaneous two octave-glissandi in contrary

directions are found in Johannes Brahms's works. After Brahms's

Ongarische Tanze No. 8, the octave-glissando is not foimd again imtil in

Dmitri Shostakovich's Sonata No. 1, Op. 12, written, almost fifty years later,

in 1926.

53

Table 5: Examples in the Eighteenth and Nineteenth Centuries in Four Groups Based on Its Type. Type 1. Octavfr~"

glissandi

Title Beethoven, Piano Concerto, Op. 15. Beethoven, Pfano Sonata, Op.

Weber, Piano Concerto No. I.

Weber, Concertstuck. Hununel, Piano Concerto, Op. 85. Smetana, Ballade in E minor. Weber-Tausig, Auffbrderungzum Tanz.

Brahms, Paganini Variation L

Balakirev, Islamey. Brahms, Ungarische Tanze No. 8.

Year W 1805

1810

1821 1821 1858

1860s 1866

1869 1872

#sofGI.a Details 1 5 3 4 3 4 1 1 1 2 4

1 2

Fdrtissimd. Pianissimo. Two octave^glissandi simultaneously in 3rds.

With another glissando.

Short range, but frequently.

Two octave-glissandi simultaneously in contrary directions.

2. Double-note glissandi

Liszt; Ma^rarDalok—Ungarische National̂ elodien No. 9. Liszt Chasse." Liszt, Hungarian Rhapsody No. 15. Liszt Piano Concerto in A Major.

Liszt Totentanz.

Liszt DieSddittschuhlSufe.

Liszt Hungarian Rhapsody No. 10. Liszt Mephisto Waltz No. 1.

1840

1840 1851

4 5

In 6ths or 3rds.

In6ths. In3rds.

3. Two-hand glissandi

1839

1849

1849

1853 1860

4 10 30

57 3_ 27 1

In the same register.

All ascending.

In contrary directions.

4. Other glissandi

Scarlatti, Sonata, K. 379. Scarlatti, Sonata, K. 468. Scarlatti, Sonata, K. 487. Liszt Hungarian Rhapsody No. 14. Liszt Waltz 6rom Gdunotrs Faust Smetana, Polka in A minor. RimsW-Korsakov, Cbncerfo, Op. 30. Saint-̂ ens, PranoConcertoA/b.̂ m. Grieg, Hailing (Norwegischer Tanz). Elgar, Concert Allegro. Saint-Sagns, Aauanum.

1853 1868 1877 18SZ 1896 1901 1901

12 4 1 3 7 1 5 1 1 2 4

Short. All ascending. Very wide range. Modulation tool.

All identical. ®In entries that appear as fractions: total glissandi found is the denominator, while the number of them which fit in the specified category appears as the numerator. In the case of two-hand glissandi, the numerator indicates the number of "examples," not the nimiber of "glissandi." For other details which refer to the counting, see the footnote 1 in Qiapter 4.

2. Franz Liszt did not use, or even consider the use of octave-glissandi,

but he was the only major composer who wrote double-note glissandi and

two-hand glissandi in the eighteenth and nineteenth centuries. In addition,

his use of the gesture was prolific; his body of works shows the greatest

number of glissandi of any composer in these two centuries.

54

3. Examples found in the works of Bedridi Smetana, Mily Balakirev,

and Edvard Grieg, might not be viewed as "virtuosic" as those of Beethoven,

Weber, Liszt, and Brahms, but generally they all have a common character

which is nationalistic.^

4. Beginning with an ornamental function at the outset, examples are

foimd in the early part of the nineteenth century, with the melodic function

as the most common usage. Later in the century, the use of the glissando as a

virtuosic effect, programmatic expression, backward motion, or modulation

tool became more important.36

5. The range of glissandi began with Domenico Scarlatti's one octave,

through Beethoven's three-and-a-half, Liszt's five, and reached Saint-Saens's

five-and-a-half, which is the maximum range in the nineteenth-century

works.

6. The harmonic structure implied in these glissandi is rather

distinctive. Within these musical periods, the white-key glissando must

function within its natural harmonic consonance; that is, the harmony built

by the white keys, such as CM, am, GMm7, etc. Examples from Liszt's

Hungarian Rhapsody No. 15 show this most clearly. (Refer to the discussion

in pages 36-37.) In other examples, the composers generally all followed this

harmonic principle for the use of glissandi.

35scarlatti's examples are of a virtuosic diaracter in his time, complementing the Spanish background so often represented in his music.

36All of examples' function can be seen in Appendix A.

^^The use of GMm7 or GMmM9 instead of GM, and emM7, emm7, bmM7, dmM7, are found in the examples of Brahms's Paganini Variations, Liszt's Hungarian Rhapsody No. 10 and Die Schlittschuhlaxikr. In Saint-Saens's example, a white-key glissando above B-flat outlines CMm7 chord which is resolved later in FM (V-I).

55

CHAPTERS

The Twentieth Century

Nineteenth-century composers developed the function of glissandi

from that of a simple ornamental device to include melodic usage and the

gesture of virtuosic fanfare. Twentieth-century composers inherited this

point of view, and bestowed new aesthetic interpretations and ingenious

modes of execution on them. Octave-glissandi and two-hand glissandi were

still used; in addition, in the first decade of the twentieth century, black-key

glissandi appeared, while in the 1920s, glissandi on the strings were initiated.

As composers in the previous century, many twentieth-century

composers did not use this device in their piano compositions at all;

however, the development of glissandi is still vivid and noteworthy. Some

examples show the combination of white-key glissandi and black-key

glissandi simultaneously executed in the same or contrary directions;

glissandi used to change djmamics or tempos also give this device another

novel feature. One graphic notation of the glissando has become more

universal among twentieth-century composers. In addition, the glissando's

"destination," which originally was the main note for the siide, gradually is

omitted by some twentieth-century composers, since the glissando itself

becomes more and more significant and interesting, assuming a new

function.

This chapter will continue to trace the evolution of the glissando (on

the keys) in the aspects of range, function, executiorv and characteristics,

beginning with the works by the two foremost impressionist composers.

56

Qaude Debussy and Maurice Ravel, and followed by the works of the

nationalists: Manuel de Falla and Bfia Bartdk in Europe, and Heitor Villa-

Lobos, George Gershwin, and Aaron Copland in America. Examples of

octave-glissando appear again in two Russian composers' works: Igor

Stravinsky and Dmitri Shostakovich, while another Russian composer. Serge

Prokofiev, employed the most frequent use of the glissando in the twentieth

century, parallel to Franz Liszt in the nineteenth century. Returning to

European composers, Paul Hindemith, Michael Tippett^ and Olivier Messiaen

also contributed some glissandi, while Benjamin Britten is another prolific

composer in the use of glissandi. The final discussion in this chapter

concerns examples from George Crumb's Makrokosmos I and JT.

Oaude Debussy and Maurice Ravel

Qaude Debussy (1862-1918), who studied at the Conservatoire

Nationale de Paris from the age of ten, "added more to the piano than any

composer since Chopin: new theories about pedaling, new ideas about

sonority, a completely new concept of figuration and layout."^ Harold C.

Schonberg continued, "After Chopin, the significant advance in piano

technique came from two composers—Qaude Debussy in France and Serge

Prokofiefr in Russia."^

Debussy's varied uses of glissandi are foimd in Menuet (from Suite

Bergamasque [1890]), the Prelude (from Pour le Piano [1901]), the prelude Feux

d'artifice (1913), and the Etude: Pour les huitdoigts (1915). Among them, the

^Harold C Schonberg, The Great Pianists, 343.

2lbid., 388.

57

most significant feature is that he used the bladc-keys in the glissandi in Feux

d'arUBce and Etude: Pourles hvdtdoigts. The composer's common harmonic

devices such as parallel chords, modal scales, whole-tone scale, and

pentatonic scales, are compatible with the tonality of the black-key glissando,

which had never been used by the nineteenth-century virtuosos.

In an example from Feux d'artifice (Fireworks), Debussy even

combined simultaneous white- and black-key glissandi (Ex. 28).3 Since the

Example 28: C. Debussy, Feux d'artiGce.

execution of these glissandi is quite difficult, some pianists actually stand up

in order to execute them successfully, while for other pianists with strong

fingers, the use of executive right hand alone is a convincing and convenient

execution. Another black-key and white-key glissando illustrated in the

Etude: Pour les huit doigts (For Eight Fingers) is not executed simultaneously,

but connected by both hands (Ex. 29).^ The composer stated:

^On observing these glissandi, Paul Roberts said: "On closer examination we can see that the glissando is intimately related to the opening ostinato: its descending black notes are bom from the three descending black notes of die first measure." Paul Roberts, Images: The Piano Music of Claude Debussy, 185.

^This execution is prepared by the preceding measure where after a black-key glissando (by left hand), right hand "plays" a short (four notes) interruption. This process repeats twice.

58

In this study the changing position of the hands make the use of the thimibs inconvenient, and the execution of it would thereby become acrobatic.5

Example 29: C. Debussy, Etude, No. 6.

For these glissandi, Paul Roberts's suggestion of fingered execution of the

black-keys allotted to both hands, rather than playing a "glissando," perhaps is

even more breathtaking in resxilt.^

The function of these glissandi, besides as an acrobatic effect, has its

impressionistic ptirpose. Debussy frequently interpreted his music in terms

of the action of natural phenomena upon his emotions. He said:

Music is the expression of the movement of the waters, the play of curves described by changing breezes. There is nothing more musical than a stmset He who feels what he sees will find no more beautiful example of development in all that book which, alas, musicians read too little—the book of nature.^

If we observe Example 28, where descending glissandi cover almost the whole

keyboard, they create a theatrical visual and aural excitement, as if the flame

of the kaleidoscopic fireworks is suddenly extinguished. Paul Roberts

described these glissandi:

footnote on the score.

^Paul Roberts, Images: The Piano Music of Claude Debussy, 310-1.

^