Unorthodox Pianism and Its Unexpected Consequences: A .../67531/metadc984226/...(Performance), May...

APPROVED: Joseph Banowetz, Major Professor Clay Couturiaux, Committee Member David Bard-Schwarz, Committee Member Steven Harlos, Chair of the Division of

Keyboard Studies Benjamin Brand, Director of Graduate

Studies in the College of Music John W. Richmond, Dean of the College of

Music Victor Prybutok, Vice Provost of the

Toulouse Graduate School

UNORTHODOX PIANISM AND ITS UNEXPECTED CONSEQUENCES:

A PERFORMANCE GUIDE TO LEO ORNSTEIN’S

SEVENTEEN WALTZES

Arsentiy Kharitonov, B.M., M.M.

Dissertation Prepared for the Degree of

DOCTOR OF MUSICAL ARTS

UNIVERSITY OF NORTH TEXAS

May 2017

Kharitonov, Arsentiy. Unorthodox Pianism and Its Unexpected Consequences: A

Performance Guide to Leo Ornstein’s Seventeen Waltzes. Doctor of Musical Arts

(Performance), May 2017, 44 pp., 33 musical examples, bibliography, 13 titles.

Leo Ornstein's most significant piano oeuvre, the Seventeen Waltzes, stand out

as a unique example of a pianism as a foundation for the composer's musical thoughts.

The purpose of this document is to provide musical and technical suggestions based on

Ornstein's pianistic patterns, which will help pianists understand the composer's

complex writing and form a coherent interpretation. The guide covers the main avant-

garde musical devices used by Ornstein such as tone clusters, polymeter, and

polyrhythm. A comparison process within the collection will help performers to address

Ornstein's unmarked waltzes by underlining the composer's similar ideas and traits.

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Copyright 2017

by

Arsentiy Kharitonov

iii

ACKNOWLEDGEMENTS

I would like to express my sincerest gratitude and appreciation to Joseph

Banowetz, Clay Couturiaux, David Bard-Schwarz, and Steven Harlos for their time,

help, and guidance, and Julia Bushkova for her artistic insight and support.

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TABLE OF CONTENTS

Page

ACKNOWLEDGEMENTS ............................................................................................... iii LIST OF MUSICAL EXAMPLES ..................................................................................... v CHAPTER 1. INTRODUCTION ....................................................................................... 1

The Significance of the Seventeen Waltzes by Leo Ornstein ............................... 2

Ornstein’s Pianism and Its Effect on His Compositions ........................................ 4 CHAPTER 2. ORNSTEIN’S AVANT-GARDE TECHNICAL DEVICES ............................ 6

Tone Clusters ....................................................................................................... 6

Polymeter ........................................................................................................... 11

Polyrhythm.......................................................................................................... 15 CHAPTER 3. PIANISTIC PATTERNS ........................................................................... 20

Fingerings ........................................................................................................... 21 CHAPTER 4. ORNSTEIN’S UNMARKED WALTZES ................................................... 29

Ornstein’s Interpretation Markings ...................................................................... 30

Waltz No.9 and the Related Unmarked Waltzes Nos. 4, 6, 7, and 13 ................ 31

Waltz No.11 and the Related Unmarked Waltzes Nos. 2, 3, 5, and 8 ................ 35

Comparison Process .......................................................................................... 37 CHAPTER 5. CONCLUSION ........................................................................................ 41 BIBLIOGRAPHY ........................................................................................................... 43

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LIST OF MUSICAL EXAMPLES

Page

Example 1. Leo Ornstein, Waltz No.17 mm. 220-226. (All accidentals apply only to those notes before which they stand. They do not carry through the measure.) ............ 8

Example 2. Leo Ornstein, Waltz No.8 mm. 166-172. (All accidentals apply only to those notes before which they stand. They do not carry through the measure.) ....................... 9

Example 3. Leo Ornstein, Waltz No.3 mm. 351-361. (All accidentals apply only to those notes before which they stand. They do not carry through the measure.) ....................... 9

Example 4. Leo Ornstein, Waltz No.9 mm. 253-261. (All accidentals apply only to those notes before which they stand. They do not carry through the measure.) ..................... 10


Example 6. Leo Ornstein, Waltz No.17 mm.104-106. (All accidentals apply only to those notes before which they stand. They do not carry through the measure.) ..................... 11

Example 7. Leo Ornstein, Waltz No.11 mm. 229-238. (All accidentals apply only to those notes before which they stand. They do not carry through the measure.) ........... 12



Example 10. Leo Ornstein, Waltz No.2 mm. 105-114 (All accidentals apply only to those notes before which they stand. They do not carry through the measure.) ..................... 16

Example 11. Leo Ornstein, Waltz No.5 mm. 109-120 (All accidentals apply only to those notes before which they stand. They do not carry through the measure.) ..................... 16

Example 12. Leo Ornstein, Waltz No.3 mm.225-230 (All accidentals apply only to those notes before which they stand. They do not carry through the measure.) ..................... 17

Example 13. Leo Ornstein, Waltz No.4 mm. 25-30. ...................................................... 18

Example 14. Leo Ornstein, Waltz No.6 mm. 31-35. ...................................................... 19

Example 15. Frédéric Chopin, Etude Op.25, No.12 mm. 1-2. ....................................... 20

Example 16. Frédéric Chopin, Etude Op.25, No.12 mm. 1-2. ....................................... 21

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Example 17. Ornstein, Waltz No.3, mm. 159-163. (All accidentals apply only to those notes before which they stand. They do not carry through the measure.) ..................... 22






Example 23. Ornstein, Waltz No.9, mm. 1-2. ................................................................ 31




Example 27. Ornstein, Waltz No.9, mm. 49-56. ............................................................ 33

Example 28. Ornstein, Waltz No.7, mm. 47-57. ............................................................ 34






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CHAPTER 1

INTRODUCTION

Russian-American composer Leo Ornstein (1893-2002), who was known for his

avant-garde piano output, stands as a unique example of a pianism that is a foundation

for the composer’s musical thoughts. A phenomenal piano virtuoso, Ornstein composed

primarily for his instrument. His musical language is highly complex, innovative, and

unique. “While Charles Ives remained almost completely unknown, Leo Ornstein, rather

than being a lone voice in the wilderness, was the center and focal point of a complex

network of advocates for modernism, which embraced the most important modernist

circles of the time.”1 Ornstein’s “extreme” works astonished audiences. His early The

Wild Men’s Dance (1913) and The Suicide in an Airplane (1913) gained him a

reputation as a notorious modernist. Leo Ornstein had a unique perspective on the

entire music of 20th century due to his long-lived life of 108 years. His compositional

style had been evolving from experimental modernistic qualities to neo-Romantic

idioms. Michael Bonney in his dissertation states: “The music of Ornstein’s ‘second life’

is widely unknown, and should not escape the attention of both scholars and musicians.

It not only reveals a strikingly different style than his initial works of fame, but is highly

interesting music that should be exposed and performed more often.”2

After being long forgotten, Ornstein’s music is now rapidly making its way back

into hands of concert performers: Marc-André Hamelin’s recording of Ornstein’s Sonata

1 Denise Von Glahn and Michael Broyles, “Musical Modernism Before It Began: Leo Ornstein and a Case for Revisionist History,” Journal of the Society for American Music Volume 1, Issue 1 (2007): 34, accessed September 7, 2016, doi: 10.1017/S1752196307070022. 2 Michael Bonney, “The Compositional Transformation and Musical Rebirth of Leo Ornstein” (DMA diss., University of North Texas, 2011).

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No.8, Piano Quintet, and Á la Chinoise for Hyperion, Janice Weber’s recording of

Ornstein’s Sonata No.7 for Naxos, Martha Anne Verbit’s recording of Ornstein’s

Arabesques and Sonata No.4 for Albany Records to name a few. Since Ornstein’s

rediscovery in the 1970s, it has gradually become appealing to many pianists that seek

to perform lesser-known masterpieces of the classical piano repertoire.

The Significance of the Seventeen Waltzes by Leo Ornstein

One of the composer’s most significant piano oeuvres that is yet to be truly

recognized is the set of the Seventeen Waltzes S400-16, a collection of solo piano

works that are stylistically unique and versatile. In his liner notes to his album, Leo

Ornstein: Piano Music, Volume Two, Malcolm MacDonald describes these waltzes:

Over the basic waltz-tempo they cover a wide gamut stylistically, some of them being of uncertain tonality and employing some of the pungent dissonances of Ornstein’s earlier, radical piano works; others are more nostalgic revisitations of nineteenth-century waltz style—but all are irradiated with Ornstein’s original personality.3 Assembled into a set by the composer’s son, Severo Ornstein, Seventeen

Waltzes form one of the largest entries in the twentieth-century waltz genre. Other

notable sets of waltzes for piano include Valses Nobles et Sentimentales (1911) by

Maurice Ravel, Fantasy-Waltzes (1956) by William Alwyn, and 22 Waltzes by Frédéric

Devreese. Written over the course of twenty-two years (1958-1980), Ornstein’s

Seventeen Waltzes demonstrate phenomenal pianistic virtuosity, and more importantly,

various composer’s styles and their development.

3 Malcolm MacDonald, Leo Ornstein: Piano Music, Volume Two, Arsentiy Kharitonov, Toccata Classics compact disc TOCC0167, 2013, Liner Notes, 6.

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While many waltzes allude to his earlier compositional style (which is famous for

frequent use of dissonance), many waltzes exhibit expressive melodic lines and rich

harmonies. “Still drenched with dissonances and relentless rhythms, the melodies that

had previously just been hinted at in the moments between the crashing blows were

now given greater space to breath.”4 These waltzes present a vast color palette in

addition to original melodies, harmonies, and phrasing. Transcendental in nature, the

Seventeen Waltzes require a performer with high technical capabilities and incisive

musical intuition.

The author of this dissertation has both performed and created the world

premiere recording of the Seventeen Waltzes for Toccata Classics in London, an

international label distributed by Naxos.5 During the preparation of the CD, the author

frequently communicated with Severo Ornstein who has achieved the incredible feat of

bringing all Ornstein’s compositions to the attention of performers and audiences by

transcribing his father’s manuscripts into printed music, his Seventeen Waltzes among

them. These diverse pieces of music present a rather large set of obstacles for modern

pianists. Ornstein’s unorthodox pianism, which manifests itself in varied note clusters,

complex polyrhythmic figures, and seemingly chaotic passagework, startle any

conventional pianist. Although several of Ornstein’s works have now been published,

there are no critical or performance editions for Ornstein’s Seventeen Waltzes to help

pianists follow the composer’s writing and, consequently, find the best approach when

studying them. The author of this document hopes that this performance guide will be a

4 Michael Broyles and Denise Von Glahn, Leo Ornstein: Modernist Dilemmas, Personal Choices (Bloomington and Indianapolis: Indiana University Press, 2007), 278. 5 Leo Ornstein: Piano Music, Volume Two. Arsentiy Kharitonov. Toccata Classics TOCC0167, 2013, CD

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significant aid to pianists who are interested in understanding, learning, and performing

this magnificent oeuvre.

Ornstein’s Pianism and Its Effect on His Compositions

To understand Ornstein’s compositional process, it is essential to acknowledge

the nature of his relationship to music, which is Ornstein the virtuoso pianist. “The piano

is the composer’s own instrument, and in his piano music his ideals and ideas find their

most direct and generally available exposition.”6 Like many composer-pianists, Ornstein

relied on his pianism—both conceptually and in many details—as a foundation for his

creative process, especially if the source for his music was sheer improvisation. In her

book Making Music Modern, Carol Oja asserts that Ornstein’s compositions have “an

improvisatory feeling – as though hatched before the listener’s ears.”7 In the case of all

composers who possessed phenomenal pianistic skills, the physical process of piano

playing had a certain effect on their creative thinking. Perhaps in all cases there was a

subconscious desire for demonstrating their virtuosic abilities. These include most piano

compositions by Liszt, Chopin, Rachmaninoff, Scriabin, Prokofiev, etc. Each composer

had their own form of virtuosity made up of a combination of various technical elements

and natural physical advantages that would shape their music. For example, a wide

hand span underlines Rachmaninoff’s “signature” chordal texture, whereas finger

filigree is a common element in the music of Chopin. Yet, the aforementioned

6 Frederick H. Martens, Leo Ornstein: The Man, His Ideas, His Work (New York: Breitkopf & Härtel, 1918: reprint, New York: Arno Press, 1975), 53. 7 Carol J. Oja, Making Music Modern: New York in the 1920s (New York: Oxford University Press, 2000), 15.

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composers wrote their music more-or-less regarding common rules of tonality that then

still prevailed over physical aspects of piano playing. Ornstein, on the other hand, was a

successful concert pianist who dared to break with all the traditions of tonality. Unlike

Schoenberg, Ornstein did not feel it is necessary to invent another system. Instead,

Ornstein’s compositions are based on, to use Michael Bonney’s term, “unity and

integration of thematic and rhythmic ideas.”8 With such atonal liberty, Ornstein could

rely solely on his pianistic skills while searching for a new musical language. The author

will point out specific pianistic idioms of Leo Ornstein and their effect on the Seventeen

Waltzes.

8 Michael Bonney, “The Compositional Transformation and Musical Rebirth of Leo Ornstein” (DMA diss., University of North Texas, 2011).

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CHAPTER 2

ORNSTEIN’S AVANT-GARDE TECHNICAL DEVICES

Ornstein fully explored twentieth-century avant-garde music and its complexity

and all avenues of technical possibility on the piano. Many contemporary critics

described Ornstein’s playing. A telling excerpt from Frederick H. Marten’s biography of

Ornstein describes Ornstein’s bombastic playing style. “He stormed its keys, scooping

chunks of slag and spouting scoriae like a vicious volcano.”9 Oja’s description illustrates

that Ornstein was among pioneer-composers that extended musical limits as well as

pianists’ technical possibilities: “Ornstein was the single most important figure on the

American modern-music scene in the 1910.”10 Seventeen Waltzes demonstrate

Ornstein’s avant-garde writing that is affiliated with his early style full of highly dissonant

harmonies, complex rhythmic figures and altering meters.”11 Each individual waltz in the

set possesses a complexity of avant-garde features that may present an obstacle for a

performer, such as frequent tempo-alterations, tone clusters, various hemiolas,

polymeter and polyrhythm.

Tone Clusters

Ornstein’s famous usage of tone clusters in his piano output shocked his

audiences. One of London’s critics at the time described it sarcastically: “It was

9 Frederick H. Martens, Leo Ornstein: The man, His ideas, His work (New York: Breitkopf & Härtel, 1918: reprint, New York: Arno Press, 1975), 54. 10 Carol J. Oja, Making Music Modern: New York in the 1920s (New York: Oxford University Press, 2000), 15. 11 Michael Bonney, “The Compositional Transformation and Musical Rebirth of Leo Ornstein” (DMA diss., University of North Texas, 2011).

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produced by putting the fingers close together, stiffening the hands and striking

alternately down on the keyboard perpendicularly in ramrod fashion as hard as possible,

with the loud pedal down.”12 When one has studied Ornstein’s scores of his early,

experimental style, it becomes obvious that the critic had described Wild Men’s Dance

Op.13 No.2. It is one Ornstein’s few pieces where he utilizes such tight hand tone

clusters. Other composers have since used such tone clusters and later developed a

specific cluster notation. One of them was American composer and Ornstein’s

successor, Henry Cowell.13 Due to Ornstein’s abrupt style change in 1915, many of his

radical uses of modernist elements, including the use of tone clusters, underwent

certain changes. “He moved away from his extreme modernist idiom around 1915, well

before most composers had even discovered theirs.”14 The majority of clusters in the

Seventeen Waltzes are of a different nature. In many cases they make up complex and

rich sonorities, rather than just a sound effect. Performers needed to take a much

different approach to studying and performing these waltzes than the approach that they

could use to perform Wild Men’s Dance. Nonetheless, these various note clusters

unmistakably denote Ornstein’s compositional style. These different forms of clusters

are clearly apparent in all of the Ornstein’s waltzes.

The waltzes that are atonal (nos. 1, 2, 3, 5, 8, 11, 12, 15, and 17) display various

clusters that influence the harmonies, melodies, and passagework. Frederick Martens

12 Frederick H. Martens, Leo Ornstein: The Man, His Ideas, His Work (New York: Breitkopf & Härtel, 1918: reprint, New York: Arno Press, 1975), 24. 13 Kevin Richmond, “Non-Traditional Notation and Techniques in Student Piano Repertoire”, MTNA e-Journal (2013): 2. 14 Michael Broyles and Denise Von Glahn, Leo Ornstein: Modernist Dilemmas, Personal Choices (Bloomington and Indianapolis: Indiana University Press, 2007), 279.

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states in his book: “For Ornstein there exist no actual chords or discords. His chord

combinations are not the conscious reflexion [sic] of a definite theoretic basis, but the

outcome of the impulse for a richer, fuller tonal coloring, one which extends the

possibilities of pure harmony far beyond the limits of the diatonic system.”15 In a way,

most of Seventeen Waltzes’ cluster technique became as a direct result of Ornstein’s

pianism and, in particular, his favorite choice of using a five-finger position. Ornstein’s

clusters vary in texture and harmonic color, depending on their purpose in a particular

tempo or character of the music.

The author would like to illustrate the main forms of Ornstein’s clusters and their

usage. A percussive nature of tone clusters underlines the bravura character in the

waltzes nos. 3, 5, 8, 11, 15, and 17 (Examples 1-3). Irregular rhythms together with tone

clusters create an abrupt ending that is an idiom in Ornstein’s work.

Example 1. Leo Ornstein, Waltz No.17 mm. 220-226.16 (All accidentals apply only to those notes before which they stand. They do not carry through the measure.)

15 Frederick H. Martens, Leo Ornstein: The Man, His Ideas, His Work (New York: Breitkopf & Härtel, 1918: reprint, New York: Arno Press, 1975), 42. 16 Leo Ornstein, Seventeen Waltzes (Woodside, CA: Poon Hill Press, 1990).

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Example 1 above, exhibits the ending of the final waltz No.17. Malcolm

Macdonald describes it as “granitic repeated chords of the conclusion: surely one of the

most unorthodox endings for a waltz ever devised.”17

Example 2. Leo Ornstein, Waltz No.8 mm. 166-172. (All accidentals apply only to those notes before which they stand. They do not carry through the measure.)


Some of the waltzes, such as Waltz No.7, No.9, No.13, and No.17, demonstrate

another type of harmonically rich and complex clusters that belong to Ornstein’s later

compositional approach resembling a neo-Romantic style with its abundance of


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expressive long melodies.18 In many tonal waltzes, Ornstein presents clusters as

dramatic highlights that are predestined to be resolved both harmonically and

emotionally. See Example 4.


Often, the composer implements the chordal nature of cluster technique into

arpeggios and other horizontal textures. Many brilliant single line passages derive from

tone clusters that create a distinct virtuosic idiom in Leo Ornstein’s waltzes nos. 3, 11,

12, and 15 (Examples 5 and 6). Such passages present a combination of technical and

rhythmical challenges. Most of these passages stun listeners with their highly dissonant

sonorities and percussive nature.

18 Michael Bonney, “The Compositional Transformation and Musical Rebirth of Leo Ornstein” (DMA diss., University of North Texas, 2011), 3.

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Example 6. Leo Ornstein, Waltz No.17 mm.104-106. (All accidentals apply only to those notes before which they stand. They do not carry through the measure.)

In most cases, Ornstein’s creative tone clusters derive mainly from his pianism

and later become a medium for a melodic material or passagework. This pianistic

influence can be seen in the Example 6 above. The composer’s right-hand cluster in

measure 104 is a foundation for the passage that follows. The composer’s own fingering

for the beginning of the passage outlines the physical hand position, which is the cluster

itself. The author presents a detailed method of learning and performing such pianistic

patterns in Chapter 3.

Polymeter

While hemiola and polymeter had been in use long before Ornstein’s completion

of the Seventeen Waltzes, they became a major part of Ornstein’s modernist

26 27 28 29 30

104 105 106

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compositional language. These elements played an essential role in making the

Seventeen Waltzes sound unique and original. A composer who questioned traditions

and dared to look for a completely new approach, Ornstein experimented with hemiola

and polymeter throughout the Seventeen Waltzes. It resulted in two significant and

original idioms that can be found in Ornstein’s waltzes that are often interchangeable: 1)

the ability to shift the pulse of any particular waltz and 2) ostinato rhythmic patterns that

submerge the usual waltz-like meter (Examples 7 and 8). These elements allowed

Ornstein to revolutionize the essence of the waltz’s triple meter and, therefore, highlight

new aesthetics of this genre.


Example 7 shows the use of hemiola in the left-hand accompaniment while

fortissimo accents enforce the metric confusion. The listener might perceive it as a

dance in 2/4 meter in a significantly faster pace. Like Ornstein’s early compositions The

Wild Men’s Dance and Cossack Impressions, such waltz exhibits a fiery untamed

229 230 231 232 233

234 235 236 237 238

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dance-like character. It is an astounding experience to witness an immediate transition

of the Viennese-like waltz into a primitive barbaric dance. Waltz No.11, as well as

waltzes nos. 2, 3, 5, and 15, display a top level of pianistic virtuosity achieved in this

genre.


Example 8 demonstrates a combination of an irregular number of intervals that

become a loop pattern in the left hand accompaniment. This ostinato rhythmic pattern

abolishes the comprehension of ¾ meter, as its irregular nature does not provide a

stable downbeat. Such usage of polymeter is seemingly Ornstein’s favorite technique

and is present throughout the entire oeuvre.

186 187 188 189 190 191 192 193

194 195 196 197 198 199 200

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Example 9 demonstrates yet another artistic result—a combination of polymeter

and vivid harmonies create a spectacle of unique “Debussy-esque” tone colors.

Ornstein is an incredible colorist whose waltzes very often allude to masterpieces of

impressionism. “Like Debussy in his early works, Ornstein frequently repeats

immediately what he has said, causing the music to circle back and slow down in its

unfolding. This allows Ornstein, as it did Debussy, to wring maximal music from a

minimum of musical ideas.”19

The main and the most striking influence of hemiolas and polymeter in the waltz

genre is the ironic ability of music to escape the awareness of ¾ meter. Ornstein

mentioned Stravinsky as one of his favorite composers. Stravinsky was famous for his

19 Michael Broyles and Denise Von Glahn, Leo Ornstein: Modernist Dilemmas, Personal Choices (Bloomington and Indianapolis: Indiana University Press, 2007), 112.

58 59 60 61 62

63 64 65 66 67

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innovative rhythmic and metric constructions in La Sacre du Printemps that included

changing meter, syncopation, polymeter, etc. It is hard to say whether the great

composer of “Ballets Russes” influenced Ornstein’s love for complex rhythm and meter.

Such modernistic values of primacy do not play an important role. “While he would not

had an opportunity to experience the La Sacre prior to composing his own “futuristic”

works, Ornstein did acknowledge later that Stravinsky was among his favorite

composers.”20 In his Seventeen Waltzes Ornstein does not follow Stravinsky’s meter

alteration techniques except in the Waltz No.2 (Example 8). Ornstein uses meter

alterations to create the effect of a sarcastic stumble in the most aristocratic waltz in the

entire collection.

Polyrhythm

Polyrhythm is another writing tool Ornstein uses throughout the Seventeen

Waltzes. While polymeter was Ornstein’s favorite modernistic devise that appeared only

in his atonal type waltzes, polyrhythm was present in both atonal and tonal waltzes.

Perhaps it is the most recurrent compositional devise that bares Ornstein’s pianistic

legacy. It is a result of Ornstein’s virtuosic fingerings and hand independence that

logically finds its apogee in the most complex waltzes: nos. 2, 3, 5, 11, 15, 16, and 17

(Examples 10 and 11).

20 Michael Broyles and Denise Von Glahn, Leo Ornstein: Modernist Dilemmas, Personal Choices (Bloomington and Indianapolis: Indiana University Press, 2007), 278.

16

Example 10. Leo Ornstein, Waltz No.2 mm. 105-114 (All accidentals apply only to those notes before which they stand. They do not carry through the measure.)

Example 11. Leo Ornstein, Waltz No.5 mm. 109-120 (All accidentals apply only to those notes before which they stand. They do not carry through the measure.)

105 106 107 108 109

110 111 112 113 114

109 110 111 112 113 114

115 116 117 118 119 120

17

The best practicing approach to such intricate polyrhythms is to learn and

memorize hands separately up to the speed of performance. Only when each hand has

reached the maximum level of rhythmic stability may the pianist put their hands

together.

Throughout his career Ornstein experimented with all sorts of polyrhythms,

especially with polyphonic texture in waltzes. It seems that Ornstein often felt

dissatisfied with a repetitive ¾ meter and consistently tried to “improve” its monotonous

pulse. One would suspect whether the waltz genre is just a motive for Ornstein to evoke

other types of dances that perhaps are more rhythmically sophisticated. Frequently the

rhythmic turmoil in his waltzes evokes the wildest emotional upheaval that sounds as if

the entire waltz collapses into shreds of unrelated supercharged rhythmic patterns. See

Example 12.

Example 12. Leo Ornstein, Waltz No.3 mm.225-230 (All accidentals apply only to those notes before which they stand. They do not carry through the measure.)

225 226 227

228 229 230

18

The contrasting side of Ornstein’s “muscular” waltzes is fully represented in his

waltzes Nos. 4, 6, 7, 9, 10, and 14. These tonal waltzes possess beautiful harmonies

and expressive long melodies. In the Vivian Perlis and Libby Van Cleve book

Composers’ Voices from Ives to Ellington, these musical characteristics refer to

Ornstein’s later compositions, sometimes described as late-nineteenth century neo-

Romantic style.21 Oddly enough, there is a challenge in performing polyrhythms in

slower tonal waltzes No.4 and No.6 (Examples 13, 14).

Example 13. Leo Ornstein, Waltz No.4 mm. 25-30.

In Example 10, the 6/4 meter suggests that the performer should think of the

tempo in a triple meter in which the half notes are the beat, rather than the quarter

notes; this should result in a slightly faster tempo. The pianist needs to align hands on

21 Vivian Perlis and Libby Van Cleve, Composers’ Voices from Ives to Ellington (New Haven & London: Yale University Press, 2005), 78.

25 26 27

28 29 30

19

the bass downbeat rather than to fret about mechanical precision of fitting left hand

various rhythmic groups against right hand part.

Example 14. Leo Ornstein, Waltz No.6 mm. 31-35.

The Seventeen Waltzes presents the most complex polyrhythms that are found

in Ornstein’s piano repertoire. If it were not for use of various polyrhythms, many of

Ornstein’s tonal waltzes could be perceived as a traditional 19th century works. This is

the case of the Waltz No.6 (Example 14). “Dated 15 December 1966, a piece that

seems to hark back to Schubert and Schumann, though Ornstein throws in a few of his

personal trademarks like left-hand arpeggios in five-in-a-bar.”22


31 32 33 34 35

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CHAPTER 3

PIANISTIC PATTERNS

Ornstein’s virtuosic pianism was a key factor of his compositional process.

Whether it is a small passage or a concept for the entire waltz, the foundation of

Ornstein’s musical texture is based on pianistic patterns. Understanding and

recognizing these patterns can help a performer to be more efficient when learning the

musical text. It also may help a performer upgrade his or her level of technique, as the

recognition of the right pianistic pattern would result in the most economical fingerings.

Like Chopin or Rachmaninoff, whose piano music enveloped their physical hand

comfort, Ornstein’s avant-garde techniques mirrored his pianism. As an example of

Chopin the pianist, his Etude Op.25 No.12 is built on a pianistic pattern in the form of a

broken chord. See example 15.

Example 15. Frédéric Chopin, Etude Op.25, No.12 mm. 1-2.23

The first three notes in each hand form a six-note chord that is repeated going up

and down covering almost an entire keyboard. Even though the notes change for every

other chord, the pattern stays the same and serves as a formula for the entire étude.

The meter of the pattern is a hemiola with the ratio 3:2 (Example 16).

23 Frédéric Chopin, Etudes, Op.25, (New York: G.Schirmer, 1934).

1 2

21

Example 16. Frédéric Chopin, Etude Op.25, No.12 mm. 1-2.

Composer-performers relied on their strong and individual technical qualities that

could differ between one composer-performer to another. As an example, Ravel was

famous for his virtuosic thumb and its use to press two neighboring keys. This technique

resulted in a rapid passage of seconds as intervals in his famous Scarbo from Gaspard

de la Nuit. Chopin’s independent and flexible 3rd, 4th, and 5th fingers allowed him to

write his notoriously difficult Etude op.10, No.2. There are many more examples like

these that demonstrate various types of pianism. Ornstein’s best technical qualities are

not documented but the fact remains that he was a virtuoso pianist that transformed his

pianism into a highly complex musical texture that startles many accomplished pianists.

Fingerings

Pianistic patterns highlight the most efficient fingerings for the various hand

types. In the case of Ornstein, recognition of pianistic patterns plays a greater role of

comprehending the composer’s complex, and seemingly random, collection of notes.

The following example demonstrates how identifying such patterns in Ornstein’s music

aid a performer to choose the most efficient fingerings. Suggested tempo indication is

1 2

22

Vivace. Repeated pianistic pattern of the fingering 1245 in the right hand is the basis for

this particular example.

Example 17. Ornstein, Waltz No.3, mm. 159-163.24 (All accidentals apply only to those notes before which they stand. They do not carry through the measure.)

While it is possible to come up with variety of fingerings for measures 159, 160,

162, and 163, the only efficient fingering for measure 161 is the combination of fingers

1245. It underlines a natural pianistic hand position. The same finger pattern works best

in the remaining measures 159, 160, 162, and 163. Its systematic usage also helps the

performer to organize the seemingly random pitches into coherent passages. The

author also provides the additional fingering in italics for a more comfortable connection

between the repeated patterns. The same fingering applies to measures 162 and 163.

Pianistic patterns are essential for the player to recognize when dealing with tone

clusters. The performing of clusters falls into a category of chordal technique with all its

technical routine. The only feasible difference is that there are more possibilities to fit

various smaller clusters into a single hand position without shifting the thumb. The hand

position is mostly defined by the position of the thumb. Unlike other composers such as

24 Leo Ornstein, Seventeen Waltzes (Woodside, CA: Poon Hill Press, 1990).

23

Henry Cowell (1897-1965), Einojuhani Rautavaara (1928-2016), and Stephen Chatman

(1950) who used a special cluster notation, which designated that their clusters should

be played by hand, fist, palm, or the entire forearm, Ornstein wrote out his clusters in a

traditional notation and performed them in a regular manner, i.e. using five fingers. Even

Ornstein’s most complex clusters are written in a traditional notation. The composer

often wrote a combination of various clusters performed in a fast tempo. Example 18

demonstrates the Barbaro section in the Waltz No.15 and its combination of rapid

clusters. Like in his composition, The Wild Men’s Dance Op.13 No.2, Ornstein utilizes

many dotted rhythms. More so, in Waltz No. 15, Ornstein extends the role of cluster

technique from a merely repeated rhythmic pattern to a broad thematic material. In

addition to rapid hand shifts, the performer must execute the right balance and

phrasing—the essence of all melodic material.

Example 18. Ornstein, Waltz No.15, mm. 61-67. (All accidentals apply only to those notes before which they stand. They do not carry through the measure.)

61

62 63 64 65 66 67

60 59 58 57

24

The purely technical aspect of pianistic pattern will help a performer with a fast

series of clusters in the right hand in measures 61 through 67. Ornstein outlines the

melody with a set of eight tone clusters that periodically repeat. The task is to pair some

of the clusters under the same hand position in order to reduce unnecessary jumps. The

performer may also organize some clusters into groups. This method will result in a

much quicker memorization process. Example 19 demonstrates the most efficient way

of cluster organization for the same measures 61 through 67.


In Example 19, Group A presents two clusters interchanging in ascending

motion. Group B demonstrates the pair of two clusters unified with a single hand

position. The same approach should be used in groups C, D, and E. It is the most

comfortable to play the tone cluster A-B-E with fingers one and three while the thumb

presses two keys at once, as shown in groups A and C.

63 64 65 66 67

60 59 58 57

25

A large amount of the Seventeen Waltzes’ virtuosity is directed mostly to the

pianist’s left hand, especially in the numerous accompaniment type passages that

become a foundation for waltzes nos. 3, 10, 11, 15, and 17. Here especially one can

distinguish Ornstein’s affinity to use the maximum number of digits per hand position

and therefore to reduce the total number of hand positions per passage (usually, the

composer did not exceed more than two hand positions at a time in a similar type

passages). This drastically reduces the repetitiveness of a thumb, allows the player to fit

more notes per hand position, and enables the passage to have a greater velocity in

general (Examples 20 and 21).


In Example 20, the left hand ostinato quintuplet spans larger than two octaves.

Its vast jumps between the first three notes of each measure could become a

challenging predicament for many conventionally thinking pianists. As stated above,

Ornstein’s hand patterns outline the main tendency to reduce the number of hand

84 85 86 87 88

89 90 91 92 93

26

positions, i.e. repetitiveness of a thumb. Instead, the composer preferred a rapid shift or

jump between thumb and a fifth finger, which for most pianists would still be a nuisance.

The author has tried various fingerings and yet the obvious pianistic hand pattern that

Ornstein had in mind seams the most comfortable and effective (see Example 21).


The pianistic pattern above is a combination of two hand positions (A & B).

Whereas the notes in the group B change each turn, the fingering stays the same

throughout as a stencil of Ornstein’s pianism and its forefront base for his composing

ideas.

84 85 86 87 88

89 90 91 92 93

27


In Example 22, the left hand passage displays Ornstein’s favorite nuance of

repeated notes, a result of switching hand positions (groups A and B). Just like in the

previous example, the composer manages to distribute the passage fingerings most

effectively within a minimum number of hand positions.

During the process of learning the musical text of the Seventeen Waltzes, the

author encountered many inconsistencies and misprints. Severo Ornstein addressed

these issues immediately after each instance of their correspondence. “Transcribing

these scores from manuscripts has not been easy as the manuscripts certainly do

contain occasional apparent errors.”25 Since Ornstein wrote most of the waltzes in ABA

form, there are repeated A sections with slightly different notes. It was important to

25 Severo Ornstein, e-mail message to Arsentiy Kharitonov, September 23, 2012.

136 137 138 139 140

141 142 143 144 145

28

differentiate whether the manuscript had a mistake or if the composer, indeed, wanted

some chords or passages to have slight alterations. In many cases the author would

rely on Leo Ornstein’s prodigious fingerings, since his chords and passagework would

always lie comfortably in the performer’s hands. Ornstein’s specific five-finger patterns

and their repeated usage would underline the correct, logical reading of the text and,

therefore, be most helpful for the player trying to understand the manuscript’s mistakes.

The process of rectifying the musical text included performing certain passages first as

written, and then as corrected. After following the logic and comfort of pianistic patterns

and fingerings, the author and Mr. Ornstein would both then agree on a final decision.

29

CHAPTER 4

ORNSTEIN’S UNMARKED WALTZES

Leo Ornstein was infamous for his disinterest in providing a performer with any

performance indications. Just as Ornstein did not indicate his fingerings in any of his

waltzes (except for a couple of places in the Waltz No.15), he had little patience to

specify other interpretational details such as tempi, dynamics, articulation, and phrasing.

Only seven waltzes out of seventeen have any composer’s indications. The majority of

Seventeen Waltzes fall into the category of composer’s works that require performers’

strong musical instincts with confidence in building a solid interpretation. As a

composer, Ornstein preferred his musical impulse to a systematic theoretical approach.

“He never wavered in his belief in the importance of intuition, and he firmly eschewed

any theoretical framework that might inhibit the free flow of ideas.”26 Such philosophy

was a result of Leo Ornstein being a concert pianist in the era of so-called “Golden Age

pianists”. Performers like Sergei Rachmaninoff, Benno Moiseiwitsch, Ignaz Friedman,

Josef Hofmann and many other phenomenal pianists were famous for their personal

approach to any musical piece that was written before. Their playing possessed

phenomenal virtuosity and strong personality as well as poetic freedom with a great

sense of improvisation.27 In the correspondence with the author, Severo Ornstein wrote:

He was very impatient about writing things down - I can still hear my mother shouting to him “write it down” as he improvised. If it weren’t for her, lots of music would never have been written down. He wouldn’t have the patience to make clean copy himself, he let her do it and then signed his name at the bottom. As for fingering, he rarely indicated any in his manuscripts (although he prided himself on his clever fingerings) and rarely even indicated tempos, let alone

26 Michael Broyles and Denise Von Glahn, Leo Ornstein: Modernist Dilemmas, Personal Choices (Bloomington and Indianapolis: Indiana University Press, 2007), 279. 27 Harold C. Schonberg, The Great Pianists (New York: Simon & Schuster, 1987), 37-44.

30

phrasing and articulation. When I asked about these lacks he simply said, “Anyone who doesn’t intuitively understand the proper tempos and phrasing shouldn’t be playing such music.”28 For modern day pianists it is critical to be aware of as many stylistic and

interpretational details as possible. Perhaps performers feel more secure when

performing music by a composer whose style is defined and clearly notated. This is not

the case for Leo Ornstein. He was opposed to composers who cared for their style and

was indifferent to any particular musical style as well.29 There are no critical or

performance editions for Ornstein’s Seventeen Waltzes to help pianists follow the

composer’s writing and, therefore, to find the best approach when studying them. A

conspicuous absence of any performing suggestions is likely to result in unconvincing

interpretation and stylistic chaos when dealing with Ornstein’s waltzes, thus, a

performance guide for Ornstein’s Seventeen Waltzes is greatly needed.

Ornstein’s Interpretation Markings

Despite Ornstein’s stylistically versatile Seventeen Waltzes, it is possible to find

certain compositional details that are vivid and recur habitually. At one point during his

career, Ornstein was criticized for repetitiveness in his musical ideas.30 Ornstein’s

waltzes possess many of his persistent musical concepts. In addition, there are several

waltzes in which composer left some indications: Nos. 9, 11, 12, 13, 14, 15, and 17.

Fortunately, these particular waltzes cover the majority of styles in which Ornstein was

28 Severo Ornstein, e-mail message to Arsentiy Kharitonov, August 18, 2016. 29 Michael Broyles and Denise Von Glahn, Leo Ornstein: Modernist Dilemmas, Personal Choices (Bloomington and Indianapolis: Indiana University Press, 2007), 277-283. 30 Ibid, 291-293.

31

composing. The most important interpretational concepts that were notated by Ornstein

in these waltzes include: character-tempi, dynamic-texture, and dynamic-tempo

relations.

Waltz No.9 and the Related Unmarked Waltzes Nos. 4, 6, 7, and 13

The Waltz No.9 is a great example of Ornstein’s late compositional period.

Beautiful melodic lines together with rich harmonies present the magnificent expressive

style of Ornstein. It is the first of the composer’s late waltzes. Ornstein completed it in

February 1980. It is the first waltz in the sequence of late waltzes to have a tempo

indication (Moderato con moto) and dynamic plan.31 This waltz serves as an example of

Ornstein’s intentions for unmarked waltzes nos. 4, 6, and .7

Example 23. Ornstein, Waltz No.9, mm. 1-2.

The specified tempo of the chordal beginning (measure = 54) and the dynamic

plan of mezzo forte in the waltz No.9 are equally suitable for waltzes nos. 4, 6, and 7

(Examples 24, 25, 26).


1 2 3 4

32




Another important detail of Waltz No. 9 is the change of texture and its influence

on the character and tempo (Example 27).

1 2 3

1 2 3 4

1 2 3 4

33


In Example 27, the left hand possesses a long melodic line, accompanied by

melismatic right hand passages with occasional clusters. The composer indicates the

tempo change: Con animato. This waltz, like the rest of Ornstein waltzes, has a

contrasting B section that differs either in texture, dynamics, and tempi. Similarly, in the

waltz no.7, the scherzando B section in a major key becomes a contrast to a

melancholic A section (Example 28).

49 50 51 52

53 54 55 56

34


Waltz No.7 is a significant example of Ornstein’s strong romantic qualities, and

yet has a contrasting chromatic scherzando as a B section.32

Ornstein is very specific when notating sustained pedaling (Examples 23 and

27). The change of pedaling consistently appears on the bass notes of each newly

presented harmony. It enriches the composer’s magnificent and sophisticated sonorities

and helps to outline the phrase structure. Phrases follow the bass/harmonic change

precisely: whether it is a two bar phrase (example 20 and 24) or a one bar phrase

(example 22 and 23) or the combination of two that often manifests in a traditional

Viennese type phrasing short+short+long (example 25, mm. 50-57). The same concept

of tempo-character and pedal-phrasing relations is presented in the waltz No.13. Its B


47 48 49 50 51

52 53 54 55 56 57

35

section presumes a similar tempo change (Con animato) as in the waltz No.9 due to

long melody lines and melismatic texture in the left hand (Example 29 below).


Even though this waltz is written in the same manner where “all accidentals apply

only to those notes before which the stand”, it has a strong tonal pull of C sharp

major/minor.

Waltz No.11 and the Related Unmarked Waltzes Nos. 2, 3, 5, and 8

The virtuosic side of Ornstein that is the core of his waltz No.11 has many details

that occur in other unmarked but similar type waltzes. Percussive nature and vibrant

rhythms are the essential elements that bring Ornstein’s avant-garde extremes into the

“ballroom.” These extremes include fortissimos and vicious tempi, syncopated accents

45 46 47 48

49 50 51 52

36

and metric confusions, clusters and restless harmonic exploration. “Waltz No.11 (19

June1979) is marked Vivo, and contains a ceaselessly brilliant left-hand motion.”33


Analogous toccata type qualities such as strong downbeats, the extended use of

clusters, and hidden pianistic patterns, form opening thematic material in the waltzes

No. 3, 5, and 8. Ornstein juxtaposed the contrasting second theme material by writing it

in a lyrical, subdued, and expressive manner (Example 31).


1 2 3 4 5

6 7 8 9 10

37


Example 31 illustrates that the second theme is full of beautiful ornaments and

short expressive appoggiatura motifs in the top voice accompanied by chromaticism in

the left hand. “There is a gentler, slightly oriental-sounding melody for the central

section, with a little recurrent decorative curlicue.”34 The chromatic idiom that is

reminiscent of Scriabin’s middle and late compositional periods is the main palette that

influences Ornstein’s melodies and harmonies. The dynamic plan follows the melodic

contour precisely whether it goes up (crescendo) or down (diminuendo) in the register.

Comparison Process

As stated previously, all of the Seventeen Waltzes possess many of Ornstein’s


54 55 56 57 58

59 60 61 62 63

38

persistent musical concepts. To justify a certain interpretation, a performer may use a

detailed comparison between marked and unmarked waltzes that bare a somewhat

similar musical result. The process includes a comparison of similar waltzes and their

specific places where a character change occurs. The following two examples

demonstrate the composer’s similar ideas in the marked Waltz No.15 and the unmarked

Waltz No.5.


This waltz, perhaps, evokes the set’s most barbaric and powerful toccata-like

character.35 Yet the composer creates a short contrastingly quiet B section marked

Poco meno mosso and suavely in measure 103. This section unveils a singing legato

melody with rhythmic suspensions (ties) accompanied by left hand hemiolas. The

composer prepares this contrast by marking diminuendo in measure 101 and poco

ritenuto in measure 102. A musically similar interpretation could be found in the

unmarked waltz No.5 that shares these same qualities.


101 102 103 104

39


The melody in the right hand (measure 93-94) is an almost exact copy of the

melody in the waltz No.15 (example 33) both rhythmically and in pitch relation. Another

similarity is represented by the left hand accompaniment in measures 93-94 and its

hemiolas. It becomes apparent that Ornstein used the same musical approach in writing

transitions as well as B sections in waltzes No.15 and No.5. The author proposes to

apply Ornstein’s markings of the Example 32 to Example 33. The result below offers a

sensible interpretation for measures 91 through 94 in the waltz No.5.

The performer may use this approach when working with other unmarked

waltzes. Below is the list of marked-unmarked pairs of waltzes that share similar

compositional nuances.

No.15 (mm. 101-104) – No.5 (mm. 91-94): Transition between sections A and B

91 92 93 94

91 92 93 94

40

No.15 (mm.186-202) – No.3 (mm. 73-106): Phrasing and pedaling

No.15 (mm. 103-117) – No.8 (mm. 54-102): Articulation of various layers of the texture

No.15 (mm.122-132) – No.16 (mm. 30-48): Texture and tempo

No.9 (mm. 221-236) – No.2 (mm. 291-307): Phrasing and pedaling

No.9 (mm. 65-89) – No.3 (mm. 40-64): Rubato and accelerando

No.9 (mm.1-48) – No.4 (mm.1-25): Tempo, phrasing, and pedaling

No.9 (mm. 205-220) – No.6 (mm.1-23): Tempo and pedaling

No.9 (mm.131-205) – No.7 (mm.1-50): Tempo and phrasing

No.9 (mm. 237-245) – No.10 (mm.1-32): Texture in B sections, phrasing in A sections

No.9 (mm. 89-131) – No.13 (mm. 77-92): Pedaling and phrasing

No.9 (mm.102-112) – No.16 (mm.1-8): Tempo, similar symmetrical hands movement

No.14 (mm. 24-61) – No.10 (mm. 33-70): Tempo and pedaling in B sections

No.14 (mm.1-24) – No.16 (mm. 49-63): Tempo and phrasing

No.17 (mm.1-17) – No.1 (mm. 51-63): Texture, polymeter, and pedaling

No.17 (mm. 65-96) – No.5 (mm.158-179): Texture, polyphony, and polymeter

41

CHAPTER 5

CONCLUSION

In addition to being a unique input into the waltz genre, the Seventeen Waltzes

demonstrate a rare symbiosis of 20th century brilliant virtuosity, its avant-garde

compositional solutions, and various stylistic traits. Leo Ornstein’s intentional decision to

withdraw from the concert career’s spotlight caused him and his music to be

abandoned. Yet today, his gigantic piano output is back on the radar of many concert

pianists. Severo Ornstein dedicated his lifetime to popularize his father’s music. During

the preparation of Leo Ornstein: Piano Music, Volume Two, Severo Ornstein proposed

that the author record the Seventeen Waltzes. Mr. Ornstein expressed sincere

enthusiasm for the Seventeen Waltzes to be heard in its entirety, so that the listeners

would encounter the whole spectrum of his father’s music. Leo Ornstein’s

expressiveness faced no boundaries of style, pianism, and traditions. In his email to the

author Severo Ornstein wrote:

It has long puzzled me that such wonderful music should receive so little attention. Which, of course, is why I dedicated a major segment of my life to trying to rectify the situation. My father always said that his job was to “put the spots” in the right place and it was up to others to make of it what they would.36 During the preparation period, the author became certain that the Seventeen

Waltzes had been a result of reversed composing process. Rather subconsciously,

Ornstein’s virtuosity, its unorthodox pianism, and sheer improvisation led the composer

to write things down depending on if the musical result seemed valuable. Various

pianistic patterns that formed a variety in ideas in combination with the performer’s

36 Severo Ornstein, e-mail message to Arsentiy Kharitonov, July 13, 2012.

42

musical instincts complete Ornstein’s intentions as a composer. The author believes

that his recording may serve as a foundation to a performance edition of the entire

Seventeen Waltzes. Severo Ornstein’s in his message to the author stated: “I’ve

listened to everything [Seventeen Waltzes] a couple more times and continue to be

overwhelmed, both by the wonderful waltzes themselves and by the fact that you’ve got

them so right – tempo, timing, phrasing, emphasis – everything. I can’t imagine a better

performance.”37

37 Severo Ornstein, e-mail message to Arsentiy Kharitonov, March 28, 2013.

43

BIBLIOGRAPHY

Books

Broyles, Michael. Mavericks and Other Traditions in American Music. New Haven: Yale University Press, 2004.

Broyles, Michael, and Denise Von Glahn. Leo Ornstein: Modernist Dilemmas, Personal Choices. Bloomington and Indianapolis: Indiana University Press, 2007.

Martens, Frederick H. Leo Ornstein: The Man-His Ideas-His Work. New York: Breitkopf & Härtel, 1918: reprint, New York: Arno Press, 1975.

Oja, Carol J. Making Music Modern: New York in the 1920s. New York: Oxford University Press, 2000.

Perlis, Vivian, and Libby Van Cleve. Composers’ Voices from Ives to Ellington. New Haven & London: Yale University Press, 2005.

Schonberg, Harold C. The Great Pianists. New York: Simon & Schuster, 1987.

Online Resources and Articles

Glahn, Denis V., and Michael Broyles. “Musical Modernism Before It Began: Leo Ornstein and a Case for Revisionist History.” Journal of the Society for American Music Volume 1, Issue 1 (2007): 29-55. Accessed September 7, 2016. doi: 10.1017/S1752196307070022.

Ornstein, Severo. “About Leo Ornstein.” Leo Ornstein Web Site. http://poonhill.ipower.com/leo_ornstein.html.

Music Scores

Ornstein, Leo. Seventeen Waltzes. Woodside, CA: Poon Hill Press, 2013.

Ornstein, Leo. The Wild Men’s Dance. Woodside, CA: Poom Hill Press, 2013.

Dissertations

Bonney, Michael. “The Compositional Transformation and Musical Rebirth of Leo Ornstein.” DMA diss., University of North Texas, 2011.

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Recordings

Leo Ornstein: Piano Music, Volume Two. Arsentiy Kharitonov. Toccata Classics compact disc TOCC0167, 2013.

Liner Notes

Malcom MacDonald, Leo Ornstein: Piano Music, Volume Two. Arsentiy Kharitonov. Toccata Classics compact disc TOCC0167, 2013. Liner Notes.

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