/

. J . S. BACH: THE OUVERTURE IN B MINOR, BWV 831:

A DISCUSSION OF ITS ORIGIN AND STYLE;
PERFORMANCE PRACTICE ISSUES AND THEIR A P P L I C A T I O N TO THE MODERN
PIANO.

by

IWONA KAMINSKA

B.M., F. C h o p i n Academy o f M u s i c , Warsaw, P o l a n d , 1992

M.M., U n i v e r s i t y o f N e b r a s k a - L i n c o l n , 1998

A DISSERTATION SUBMITTED IN PARTIAL FULFILMENT OF

THE REQUIREMENTS FOR THE DEGREE OF

DOCTOR OF MUSICAL ARTS

in

THE FACULTY OF GRADUATE STUDIES

(School of Music; Piano Performance)

We a c c e p t t h i s d i s s e r t a t i o n as c o n f o r m i n g
to the r e q u i r e d standard

THE UNIVERSITY OF B R I T I S H COLUMBIA

October 2002

© Iwona K a m i n s k a , 2002
 In presenting this thesis in partial fulfilment of the requirements for an advanced
degree at the University of British Columbia, I agree that the Library shall make it
freely available for reference and study. I further agree that permission for extensive
copying of this thesis for scholarly purposes may be granted by the head of my
department or by his or her representatives. It is understood that copying or
publication of this thesis for financial gain shall not be allowed without my written
permission.

Department of

The University of British Columbia

Vancouver, Canada

Date

DE-6 (2/88)
 In Recital
Iwona Kaminska-Bowlby, pianist
In a doctoral degree recital

W i t h Friends,

Mari Hahn
Adrian Dyck
Diederik van Dijk
Chris Bowlby
and
John McMillan

Tuesday, M a r c h 14,2000
Eight o ' c l o c k i n the evening
at the U B C Recital H a l l
6361 M e m o r i a l R o a d

This recital is in partialfulfilment of the doctor of musical arts degree program at the Univers
ish Columbia
 -program-

Fantasie in f minor, Op. 103, D. 940 (1828) Franz Schubert

Allegro molto moderato-Largo-Allegro vivace-Tempo I (1797-1828) ?
Iwona Kaminska-Bowlby and Chris Bowlby, pianists

Mother Goose, 5 Children's Pieces (ca. 1910) Maurice Ravel

I Pavane of Sleeping Beauty in the Forest (1875-1937)
II Tom Thumb
ID Little Plain Jane, Empress of the Chinese Nodding Dolls
IV Conversations of Beauty and the Beast
V The Fairy Garden
Iwona Kaminska-Bowlby and Chris Bowlby, pianists
John McMillan, narrator

-intermission-

frora Liederkreis, Op. 39 (1840) Robert Schumann

In der Fremde (1810-1856)
Intermezzo
Waldegespr&ch
DieStille "'V-r
Mondnacht
Aufeiner Burg
Wehmut
ImWalde
Friihlingsnacht
Mari Hahn, soprano
Iwona Kaminska-Bowlby, piano

Piano Trio, Op. 121 a (ca. 1816) Ludwig van Beethoven

Introduzione: Adagio assai-Thema: Allegretto (1770-1827)
Adrian Dyck, violin
Diederik van Dijk, violoncello
Iwona Kaminska-Bowlby, piano
Program Notes

Franz Schubert wrote m u c h music for four-hands, the most familiar being
the Military March in D. W h i l e M o z a r t wrote some o f his piano duets for playing
tours he undertook w i t h his sister, Schubert composed his for a more practical rea-
son. L a c k i n g the influence and money to hire an orchestra, he k n e w he and his
friends could play chamber music at one o f the many Schubertiads. It is not even
k n o w n i f Schubert ever heard one o f his symphonies performed. W i t h these l i m i t a -
tions i n m i n d , it is not surprising to hear orchestral effects i n Schubert's piano music.
O n e duet, the Grand Duo in C , was later orchestrated by Joseph J o a c h i m . T h e Fan-
tasie in f minor was written i n that most productive and final year o f Schubert's a l l
too short life, 1828. The fantasie is different from earlier duets, by its polyphonic
construction and use o f fugue. Written at the same time as the String Quintet in C
and the last, great sonatas, this w o r k is emotional and dramatic. In four movements,
the w o r k is played i n a continuous f l o w creating a sense o f unity from four d i s s i m i -
lar sections. A l s o binding the w o r k is the reappearance o f the opening theme as a
counter subject i n the closing fugue.
Between 1908 and 1910, R a v e l produced Ma mere Voye, or Mother Goose
for children o f close friends, a suite o f five movements for piano duet based o n the
popular children's stories o f the same name. D u r i n g these same years, R a v e l saw
the death o f his father and wrote Gaspard de la nuit, one o f his most serious and
most technically demanding works o f the piano repertoire. It is peculiar that i n this
same period i n his life, the composer produced w o r k s o f complete diversity. T h e
Mother Goose Suite shows the composer's flair for story-telling and his connection
w i t h fairy tales and the magical w o r l d o f children's imaginations. T h e idea serving
as the framework for the suite was the story o f Sleeping Beauty, where the separate
movements are as dreams. In the final movement, she awakes to the kiss o f Prince
C h a r m i n g , finding herself i n a magic garden. A t the request o f Jacques R o u c h e ,
R a v e l orchestrated and rewrote the suite into a ballet, adding a prelude and f o u r i n -
terludes l i n k i n g the re-ordered movements together. The orchestrated version was
first performed at the Theatre bes Arts o n the 28th o f January, 1912.
" T h e cycle o f Eichendorff is for m e , the most romantic and depicts m u c h o f
y o u , " wrote Robert Schumann i n his letter to C l a r a from M a y 22, 1840. T h i s year,
often referred to as the "year o f song," was a remarkable point i n music history.
Schumann was not only a master o f melody and counterpoint but also, himself, was
familiar with literature, being a writer as w e l l , and had a deeply poetic imagination.
T h e Lieder o f Schumann are like portraits o f his creative genius and are the summa-
tion o f a true romantic art. In contrast with the poetry o f Jean Paul and H e i n r i c h
Heine, that o f B a r o n Joseph v o n Eichendorff is perhaps the most romantic i n mean-
ing. T h e poems themselves are not linked together i n a cyclic unifying theme but
are separate miniatures. Liederkreis represents the deep happiness that S c h u m a n n
shared w i t h C l a r a and he wrote of, " s i n k i n g into complete meditation." T h e dra-
matic centre o f the cycle is Mondnacht, where one may come to awareness o f his life
o f suffering to come.
The Piano T r i o , O p . 121a, by Beethoven, is a set o f ten variations for piano,
v i o l i n and cello based o n W e n z e l M i i l l e r ' s aria "Ich bin der Schneider Kakadu" ( I ' m
Cockatoo, the tailor-man) from his opera, Die Schwestern von Prag. M o s t l i k e l y
u n k n o w n to us today, M u l l e r was one o f the most popular opera composers i n V i -
enna during the time o f Beethoven. I f one c o u l d w a l k the streets o f V i e n n a around
1795, many townspeople could be heard whistling tunes from this opera. It was not >
u n c o m m o n for composers to set popular themes o f operas to variation, often as e i - i:

ther for a small ensemble o r for piano solo. Beethoven first sketched this w o r k
sometime between 1803 and 1806 but set it aside. H e came back to it some ten
years later and final published it i n 1824. T h o u g h the theme is light and humorous,
much o f this w o r k contains a grave and deeply personal style. L i k e many o f Bee-
thoven's late works, the parts interact i n a highly contrapuntal manner. A serious
introduction counterbalances the carefree nature o f the theme. After ten variations
and the increasing momentum o f the coda, it c o u l d be understood w h y the variations
o f Beethoven are some o f the most celebrated i n history.

Program notes by Iwona Kaminska-Bowlby and Chris Bowlby

A special heartfelt thank you-

My thanks goes out to all the musicians who made this recital possi-
ble: to Mari Hahn, whose voice helped me to better understand the
meaning of Schumann's Lieder, to Adrian Dyck and Diederik van
Dijk, whose natural musical ability was both a joy and an inspiration
to behold, to my husband, Chris Bowlby for always being there and to
John McMillan who, with his charisma, added a special something to
make it memorable.

My thanks to you all!

Die Ahren wogten sachl,
Es rauschien leis ' die Wdlder,
So sternklar war die Nachl.
I hid meine Seele spannte
Weit Hire Flilgel aus.
Flog durch die stillen Laiide,
Als flOge sie nach Haus.
vii. Auf einer Burg
Eingeschlafen aufder Lauer
Oben ist der alte Riller;
Dnlben gehen Regenschauer,
Und der Wald rauscht durch das Gilter.
Eingewaclisen Bart und Haare,
Und versleinerl Brusl und Krause,
Sitzl er viele hunderl Jahre
Ohen in der stillen Klause.
IJraussen is/ es still undfriedlich,
Alle sind ins Talgezogen,
Waldesvogel einsam singen
In den lleren Fensterbogen.
Fine ilochzeitfohrtda unlen
Auf dem Rliein im Sonnenscheine,
Musikanten spielen munter,
Und die schdne Braut, die weinet.
ix. Wehmitt
lch kann wohl manchmal singen,
Als ob ich frShlich sei,
Doch Heimlich Tranen dringen.
Da wird das Herz mir frei.
Es lassen Nachtigallen,
Spielt draussen FrOhlingslufi,
Der Schnsucht Lied erschallen
Aus Hires Kerkers Gruft.
Da lauschen alle Herzen,
Und alles ist erfreut,
Doch keinerfilhlt die Schmerzen,
Im Lied das liefe leid.
xi. Im Walde
Es zog eine Hoclizeit den Berg entlang,
lch hOrte die Vdgel schlagen.
Da blitzten viel Reiter, das Waldhom ktang,
Das war ein lustiges Jagen!
Und eh' ich's gedacht, war alles verhalll.
Die Nachl bedecket die Runde,
Nur von den Bergen noch rauschel der Wald.
Und mich schauerl's im Herzensgrunde.
xii. Frtihlingsnacht
Uber'm Garten durch die Lufte
Hort 'ich WandervOgel zieh n,
Das bedeutet Frahlingsdufle,
Unlen fdngt's schon an zu blilh 'n.
Jauchzen mocht' ich, mdchte weinen,
Ist mir's doch, als kOnnt's nicht seinl
Alte Wunder wieder scheinen
Mil dem Mondesglanz herein.
Gently swayed the ears of com.
The woods softly rustled,
And the night was bright with stars.
And my soul spread
Wide its wings,
Arid flew over the silent land,
As if it were flying home.
In a Castle
Up there keeping watch,
The old knight has fallen asleep;
Rnin showers down,
And the woods rustle llrrough the iron bars.
Willi his hair and beard grown together as one,
I lis brcusl and his ruff turned to stone.
He has sat for hundreds of years
Up in his silent cell.
Outside it is peaceful and still.
All the people gone to the valley;
And solitary woodland birds sing
In the empty window arches.
A wedding party sails below
On the sunlit Rhine;
Musicians are playing merrily,
And the lovely bride weeps.
Melancholy
I can even sing at limes,
As if I were happy,
But secretly my tears well up,
And my heart is set free.
Outside the nightingales
hi Uie spring breeze
Sing out their yearning songs
From their deep prison.
Then all hearts listen
And are made glad,
But no one feels the grief
In the song of deep suffering.
In the Woods
A wedding party passed below the nuitmsfcps,
I heard the birds singing.
Manyridersflashedby, the hom sounded -
It was a merry hunt!
Before I had time to think,
The company enfolded in darkness.
Now only the woods rustle on the mountains,
And my heart is tilled with foreboding.
Spring Night
Over the garden through the breeze,
I heard the birds of passage flying,
Heralding of spring's fragrance;
Below already it begins to bloom.
1 want to shout with joy, and weep-
I can hardly believe it is tmel
Old miracles appear again
In the shining splendour of the moon.
 ;. In der Fremde
Aus der Heimat hinter den Blitzen rot
Da Kommen die Wolken her,
Aber Voter und Mutter sind lange tot,
Es kennt mich dort keiner mehr.
Wie bald, ach wie bald kommt die stille Zeit,
Da ruhe ich auch, und aber mir
Rauschtdie schdne Waldeinsamkeit,
Und keiner kennt mich mehr hier.
ii. Intermezzo
Dein Bildnis wunderselig
Hab' ich im Herzensgrund,
Das sieht so frisch undfrohlich
Mich an zu jeder Stund'.
Mein Herz still in sich singet
Ein altes, SchOnes Lied,
Das in die Luft sich schwmget
Und zu dir eilig zieht.
Hi. Waldesgesprach
'Es ist schon spat, es ist schon kalt.
Was reit 'st du einsam durch den Wald?
Der Wald ist long, du bist allein,
Du schone Braut! ich flihr' dich heim!'
"Gross ist der Manner Trug und List,
Vor Schmerz mein Herz gebrochen ist,
Wohl irrt das Waldhorn her und hin,
OJlieh'! Du weisst nichl, wer ich bin.'
'So reich geschmOckt ist Ross und Weib,
So wunderschOn der junge Leib;
Jetzt kemt' ich dich - Got! steh' mir bei!
Du bist die Hexe Lorelei.'
'Du kennst mich wohl, von hohem Stein
Sellout still mein Schloss tie/in den Rhein.
Es ist schon spdt, es ist schon kalt,
Kommst nimmermehr aus diesem Wald!'
iv. Die Stille
Es wiess und rat es doch keiner,
Wie mir so wohl ist, so wohl!
Ach, wasst' er nur Einer, nurEiner,
Kein Mensches sonst wissen soli!
So still ist's nicht draussen im Schnee,
So stumm und verschwiegen sind
Die Sterne nicht in der H6h',
Als meine Gedanken sind.
Ich wUnscht \ ich war' ein VOglein,
Und zOge aber das Meer,
Wohl aber das Meer und weiter,
Bis dass ich im Himmel war'!
v. Mondnacht
Es war, als halt' der Himmel
Die Erde still gekilsst.
Dass sie im Blatenschimmer
Von ihm nur trdumen mass!'!
Die Luftging durch die Felder,
In Foreign Parts
From beyond the lightning flashes,
Clouds comefrommy homeland.
Father and mother are long since dead,
And no one here knows me any more.
How soon, oh, how soon will come that quiet
time
When I too shall rest! And over me
In lovely solitude, the woods will rustle,
And no one here will know me any more.
In wondrous joy your image
I hold deep in my heart.
It looks at me, so happy and bright,
Every hour of the day.
Softly my heart sings to itself
An old and lovely song,
That soars into the air
And swiftly flies to you.
Dialogue in the Woods
'Already it is late, already cold -
Why do you ride alone through the woods?
The way through the wood is long, you are alone.
You lovely bride, I will carry you come!'
'Great is the guile and cunning of men,
My heart is broken with grief.
The straying hom sounds her and there.
Ofly! You know not who I am!'
'In fine array are horse and bride,
Of wondrous beauty her young form;
I know you now - may God protect me!
You are the siren, Lorelei!'
' You know me indeed - from a high rock
My castle looks still and deep into the Rhine.
Already it is late, already cold -
Nevermore will you leave these woods!'
Tranquillity
No one knows, no one can guess
How happy I am, how happy!
Ah, if one only knew, only the one -
And no one else at all!
The snow outside is not as still,
And secret and silent
The stars in their heights are,
But not as silent and still as my thoughts.
I wish I were a little bird
And went over the sea -
Indeed over the sea and further
Until I were in heaven!
Moonlit Night
It was as if heaven
Had softly kissed the earth,
And earth in blossoming splendour
Could only dream of heaven.
A breeze passing over the fields
 In Recital
Iwona Kaminska-Bowlby, pianist
In a doctoral degree recital

photograph taken from Warsaw, Poland, today

Wednesday, August 30,2000

Eight o'clock in the evening
U B C Recital Hall
6361 Memorial Road

This recital is in partialfulfilment of the doctor of musical arts degree program at the Univer
ish Columbia
 -program-

Sonata m e minor, Op. 90(1814) Ludwdg van Beethoven

i. Mit Lebhqftigkeit unddurchaus milEmpfindung undAusdruck (1770-1827)
ii. Nicht zu geschwind und sehr singbarvorgetragen

Sonata in b minor, Op. 58 (1844) Frederic Chopin

i. Allegro maestoso (1810-1849)
ii. Scherzo: Molto vivace ;
iii. Largo
rv. Finale: Presto; non tanto

-intermission-

Sonata No. 6 in A Major, Op. 82 (1939-40) Sergei Prokofiev

/. Allegro moderato (1891-1953)
ii. Allegretto
iii. Tempo di valzer lentissimo
iv. Vivace