andré mathieu and his piano concerto no. 4: the influence of arthur honegger in mathieu's...

André Mathieu and His Piano Concerto No.4: The Influence of Arthur Honegger in

Mathieu's Evolution Toward a Mature Voice

Item Type text; Electronic Dissertation

Authors Chan, Yun Jung Astrid

Publisher The University of Arizona.

Rights Copyright © is held by the author. Digital access to this materialis made possible by the University Libraries, University of Arizona.Further transmission, reproduction or presentation (such aspublic display or performance) of protected items is prohibitedexcept with permission of the author.

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Link to Item http://hdl.handle.net/10150/202744

http://hdl.handle.net/10150/202744

ANDRÉ MATHIEU AND HIS PIANO CONCERTO NO. 4: THE INFLUENCE OF

ARTHUR HONEGGER IN MATHIEU’S EVOLUTION TOWARD A MATURE

VOICE

by

Yun Jung Astrid Chan

__________________________

Copyright © Yun Jung Astrid Chan 2011

A Document Submitted to the Faculty of the

SCHOOL OF MUSIC

In Partial Fulfillment of the Requirements

For the Degree of

DOCTOR OF MUSICAL ARTS

In the Graduate College

THE UNIVERSITY OF ARIZONA

2011

2

THE UNIVERSITY OF ARIZONA

GRADUATE COLLEGE

As members of the Document Committee, we certify that we have read the document prepared by Yun-Jung Astrid Chan entitled André Mathieu and his Piano Concerto No. 4: The Influence of Arthur Honegger in Mathieu’s Evolution toward a Mature Voice and recommend that it be accepted as fulfilling the document requirement for the Degree of Doctor of Musical Arts

____________________________________________________________________Date: July 29, 2011

Tannis Gibson

___________________________________________________________________Date: July 29, 2011

Paula Fan

___________________________________________________________________Date: July 29, 2011

Lisa Zdechlik

Final approval and acceptance of this document is contingent upon the candidate’s submission of the final copies of the document to the Graduate College. I hereby certify that I have read this document prepared under my direction and recommend that it be accepted as fulfilling the document requirement.

______________________________________________ Date: July 29, 2011

Document Director: Tannis Gibson

3

STATEMENT BY AUTHOR

This document has been submitted in partial fulfillment of requirement 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: Yun Jung Astrid Chan

4

ACKNOWLEDGEMENTS

Writing a document is like playing a concerto; without the orchestra, the

soloist is not as effective. Therefore, I would like to show my deepest gratitude to

the conductor of this orchestra, my major advisor, Professor Tannis Gibson. Her

guidance, inspiration and consistent hard work have motivated my musical and

academic work. Because of her, I have learned to be a better scholar, teacher and

musician.

My committee members Dr. Lisa Zdechlik and Dr. Paula Fan have

dedicated so much of their time to revise and comment on my dissertation; it has

been a truly wonderful experience to know their insightful thoughts. I have

learned how to look at things from different perspectives.

I wish to thank three important interviewees who offered their in-depth

knowledge on André Mathieu in my dissertation: Canadian pianist, Alain Lefèvre;

Montreal conductor, Gilles Bellemare; and Mathieu’s official biographer, Georges

Nicholson. Your information on Mathieu and his music has been very precious

and important to my research and my dissertation would not have been completed

without your contribution.

My god parents Sudi and Jerry; they cooked for me often so I did not have

to eat leftovers constantly. Their love and encouragement have made my life

enjoyable and meaningful, as have the group of my close friends: Peter, Jenni,

Chialing, Julian, Curt, Akizu, Tom, Brian, Rene, Chris, Elena, Shu-ching, Nayeli,

Meily, Fernando, Jose Luis, Ana, Chiaching, and Quefan. I appreciate your

support and warm hearts; my dissertation process was more fun and colorful

because of you.

To my writing and theory tutors Lani and Kyle, thanks for your consistent

help; you both made my life a lot easier.

My family in Taiwan, their love and care have never stopped. Also, my cat

Orange and the seven stray cats that I have taken care of for two years; your

companionship means a lot to me and it has been endlessly entertaining to see

you guys play and fight with each other every day.

I would like to thank the following music publishers: C. F. Peters

Corporation, Dover Publication, G. Henle Verlag, Universal Publishing France,

Les Editions Orchestra Bella, and Canadian Music Center. Thank you for your

permissions!

5

DEDICATION

I would like to dedicate this dissertation to my teacher Tannis Gibson and

my family. Thank you for helping me become a better musician and human being.

With your effort and support, I will complete my doctorate and make my dream

come true.

6

TABLE OF CONTENTS

LIST OF MUSICAL EXAMPLES ..........................................................................8

LIST OF TABLES .................................................................................................17

ABSTRACT ...........................................................................................................18

CHAPTER I

INTRODUCTION .................................................................................................20

CHAPTER II

ANDRÉ MATHIEU: BIOGRAPHICAL OVERVIEW .........................................23

A. Early Years, 1929-1947: Canadian prodigy, pianist

and composer .............................................................................................23

B. Years of tumult and physical decline, 1946-1968 ......................................24

C. Mathieu’s music after his death to the present ...........................................26

D. Studies with Rodolphe Mathieu, Harold Morris and

Arthur Honegger ........................................................................................27

CHAPTER III

ANDRÉ MATHIEU’S PIANO WORKS ...............................................................31

A. Summary of solo piano works ...................................................................31

B. Background and summary of the four piano concerti ................................38

C. Mathieu as virtuoso pianist ........................................................................41

CHAPTER IV

INFLUENCES OF ROMANTICISM AND IMPRESSIONISM IN PIANO

CONCERTO NO. 4 ...............................................................................................47

A. Melody .......................................................................................................48

B. Harmony ....................................................................................................51

C. Texture .......................................................................................................66

D. Synthesis ....................................................................................................72

7

CHAPTER V

PIANO CONCERTO NO. 4: ARTISTIC GROWTH AND THE INFLUENCE OF

ARTHUR HONEGGER ........................................................................................76

A. First Movement ..........................................................................................77

B. Second Movement .....................................................................................91

C. Third Movement ......................................................................................104

CHAPTER VI

CONCLUSION .................................................................................................... 116

APPENDIX: PERMISSION FROM THE PUBLISHER ....................................120

REFERENCES ....................................................................................................125

8

LIST OF MUSICAL EXAMPLES

Musical Example 3.1: Mathieu, Les Mouettes, mm. 50-60 ...................................32

Musical Example 3.2a: Mathieu, Berceuse, mm. 1-6 ............................................33

Musical Example 3.2b: Mathieu, Berceuse, mm. 13-18 ........................................33

Musical Example 3.3: Mathieu, Bagatelle no 1, mm. 21-31 .................................34

Musical Example 3.4: Mathieu, Bagatelle no.1, mm. 4-8 .....................................35

Musical Example 3.5: Mathieu, Tristesse, mm.1-6 ...............................................36

Musical Example 3.6: Mathieu, Printemps Canadien, mm.102-105 ....................41

Musical Example 3.7: Mathieu, Piano Concerto No. 4,

movt. II, mm. 287-289 .....................................................................................42


movt. III, mm. 166-168 ....................................................................................42


movt. III, mm. 239-243 ....................................................................................43


movt. I, mm. 98-100 ........................................................................................43


movt. III, mm. 149-150 ....................................................................................44


movt. I, m. 71 ...................................................................................................44

9

LIST OF MUSICAL EXAMPLES-Continued


movt. I, mm. 150-157 ......................................................................................45


movt. I, mm. 31-32 ..........................................................................................45


movt. III mm. 77-79 ......................................................................................46


movt. I, mm. 295-298 ......................................................................................46


movt. II, mm. 268-269 .....................................................................................46


movt. III, mm. 176-179 ....................................................................................49


movt. II, mm.13-16 ..........................................................................................49


movt. III, mm. 90-95 ........................................................................................50


movt. II, mm. 8-16 ...........................................................................................50

Musical Example 4.5a: Chopin, Rondo“ à la Mazur,” Op. 5,

mm. 373-378 ....................................................................................................52

Musical Example 4.5b: Mathieu, Piano Concerto No. 4,

movt. II, mm. 278-280 .....................................................................................53

10


Musical Example 4.6a: Brahms, Clavierstücke Op. 76 No. 8 Capriccio,

mm. 22-23 ........................................................................................................54


movt. II, m. 198................................................................................................54

Musical Example 4.6c: Mathieu, Piano Concerto No. 4,

movt. III, mm. 102-104 ....................................................................................55

Musical Example 4.7a: Liszt, Sunt lacrymae rerum/En mode hongrois,

mm. 28-31 ........................................................................................................55


movt. I, mm. 190-194 ......................................................................................56

Musical Example 4,7c: Mathieu, Piano Concerto No. 4,

movt. III, mm.166-168 .....................................................................................57

Musical Example 4.8a: Chopin, Preludes, Op.28 No. 2,

mm. 9-12 ..........................................................................................................58


movt. II, mm. 206-207 .....................................................................................58

Musical Example 4.9a: Schumann, Piano Concerto in A

minor Op. 54 movt. III, mm. 76-81 .................................................................59


movt. I, mm. 93-97 ..........................................................................................59


movt. III, mm. 36-39 ........................................................................................60

11


Musical Example 4.10a: Chopin, Nocturne in F minor Op. 15 No. 1

mm. 62-65 ........................................................................................................60


movt. I, mm.135-139 .......................................................................................61


movt. II, mm. 222-226 .....................................................................................61

Musical Example 4.11a: Debussy, Preludes Book I “Voiles”

mm.1-4 .............................................................................................................62


movt. II, mm. 159-162 .....................................................................................63

Musical Example 4.12a: Debussy, Images “Reflets dans l’eau”

mm. 54-56 ........................................................................................................64


movt. II, mm. 278-280 .....................................................................................65

Musical Example 4.13a: Debussy, Nocturne,

mm. 61-62 ........................................................................................................65


movt. II, mm. 198-199 .....................................................................................66

Musical Example 4.14a: Rachmaninoff, Piano Concert No. 2,

movt. II, mm. 145-146 .....................................................................................67


movt. I, mm. 89-97 ..........................................................................................67

12


Musical Example 4.15a: Liszt, Venezia e Napoli,

m.104 ...............................................................................................................68


movt. I, mm. 329-332 ......................................................................................68

Musical Example 4.16a: Ravel, Piano Concerto in G major,

movt. I, mm. 255-256 ......................................................................................69


movt. II, mm. 109-111 .....................................................................................70

Musical Example 4.17a: Ravel, Gaspard de la nuit “Ondine,”

m. 61 ................................................................................................................70


movt. II, mm. 115-118 .....................................................................................71

Musical Example 4.18a: Ravel, Piano Concerto in G major,

movt. III, mm. 282-285 ....................................................................................71


movt. III, mm. 206-210 ....................................................................................72


movt. I, mm. 175-178 ......................................................................................73


movt. II, mm. 202-205 .....................................................................................74


movt. III, mm. 176-179 (Theme 5) ..................................................................75

13


Musical Example 5.1a: Mathieu, Piano Concerto No. 3,

movt. II, mm. 223-228 .....................................................................................78


movt. I, mm. 251-254 ......................................................................................79


movt. I, mm. 55-62 ..........................................................................................81


movt. I, mm.1-4 (Theme 1) ............................................................................ 85


movt. I, mm.175-177 (Theme 2) .................................................................... 85


movt. I, mm. 182-185 (Trans.3) .......................................................................85

Musical Example 5.3d: Mathieu, Piano Concerto No. 4,

movt. I, mm. 320-324 (Codetta in orchestral part) ..........................................86

Musical Example 5.3e: Mathieu, Piano Concerto No. 4,

movt. I, mm.126-128 (Trans. 2 in orchestral part) ......................................... 86

Musical Example 5.3f: Mathieu, Piano Concerto No. 4,

movt. I, mm. 279-285 (Theme 3) ................................................................... 86

Musical Example 5.4a: Honegger, Symphony No. 1,

movt. I, mm. 1-2 ..............................................................................................87

Musical Example 5.4b: Honegger, Symphony No. 1,

movt. I, mm. 199-200 ......................................................................................87

14


Musical Example 5.4c: Honegger, Symphony No. 1,

movt. I, mm. 210-211 .......................................................................................88

Musical Example 5.4d: Honegger, Symphony No. 1,

movt. I, mm. 222-224 ......................................................................................88


movt. I, mm. 49-52 (Theme 1) .........................................................................89


movt. I, mm. 109-112 .......................................................................................89


movt. I, mm. 5-8 ..............................................................................................90


movt. I, mm. 186-189 ......................................................................................90

Musical Example 5.9a: Mathieu Piano Concerto No. 3,

movt. II, mm. 184-187 (Section F) ..................................................................94


movt. II, mm. 258-261 (Section H)..................................................................95


movt. II, mm. 297-299 (Section I) ...................................................................95


movt. II, mm. 1-3 (Introduction) ......................................................................96


movt. II, mm. 21-27 .........................................................................................96

15



movt. II, mm. 31-34 (Trans.1) .........................................................................97

Musical Example 5.10d: Mathieu, Piano Concerto No. 4,

movt. II, mm. 35-37 (Trans.1) .........................................................................97

Musical Example 5.10e: Mathieu, Piano Concerto No. 4,

movt. II, mm. 131-138 (Passage 3 of Trans.3).................................................98


movt. II, mm. 60-63 (Theme 3) .......................................................................98


movt. II, mm. 83-86 (Theme 3) .......................................................................99


movt. II, mm.166-177 ......................................................................................99


movt. II, mm. 208-210 (Theme 6) .................................................................100


movt. II, mm. 219-221 ...................................................................................101


movt. II, mm. 115-118 ...................................................................................101


movt. II, mm, 159-162 (Passage 6 of Trans. 3)............................................ 102


movt. II, mm. 149-152 ...................................................................................102

16



movt. III, mm. 1-4 (Section A, introductory material)................................... 110


movt. III, mm. 118-121 (Retransition in orchestral part) ............................... 110


movt. III, mm. 27-29 (Theme 1) .................................................................... 110


movt. III, mm. 71-73 ...................................................................................... 111

Musical Example 5.19: Honegger, Symphony No. 2,

movt. I, mm. 72-77 ........................................................................................ 112

Musical Example 5.20: Honegger, Symphony No. 3,

movt. I, mm. 225-227 .................................................................................... 114


movt. I, mm. 257-262 .................................................................................... 115

17

LIST OF TABLES

Table 1: Formal Analysis of Mathieu Piano Concerto No. 3, movt. I ...................77

Table 2: Formal Analysis of Mathieu Piano Concerto No. 4, movt. I ...................80

Table 3: Formal Analysis of Honegger Symphony No. 3, movt. I .........................82

Table 4: Formal Analysis of Mathieu Piano Concerto No. 3, movt. II .................91

Table 5: Formal Analysis of Mathieu Piano Concerto No. 4, movt. II .................92

Table 6: Formal Analysis of Mathieu Piano Concerto No. 3, movt. III ..............104

Table 7: Formal Analysis of Mathieu Piano Concerto No. 4, movt. III ..............106

Table 8: Formal Analysis of Honegger Symphony No. 2, movt. III .....................108

18

ABSTRACT

André Mathieu (1929-1968), a Canadian composer and performer, received

acclaim in Europe, Canada and United States from his earliest years. He revealed

brilliant pianistic skill, and critics hailed him as the “young Canadian Mozart”.

Mathieu’s early solo piano works, written mostly in ternary form, reveal an

abundance of compositional ideas based on the influences of Romantic and

Impressionist styles. However, when he began composing Piano Concerto No. 3,

a much larger work, his lack of compositional training became evident. Formal

weakness resulted in a disconnection between themes and lack of thematic and

motivic development. Not until Mathieu studied with Swiss composer Arthur

Honegger did he develop and clearly display a concept of formal structure. In this

study, I will demonstrate that, through compositional studies with Arthur

Honegger, André Mathieu assimilated a new approach to form, resulting in the

discovery of his mature compositional voice found for the first time in the Piano

Concerto No. 4. The synthesis of Romantic and Impressionistic styles in this

concerto further contributes to the unique nature of this mature voice.

This document is organized in six chapters. Chapter I reviews current

literature on André Mathieu and his music and points out both the values and the

limitations of this literature. Chapter II relates Mathieu’s biography. Chapter III

provides background information on Mathieu’s solo piano works and four

concerti, as well as the difficult pianistic techniques composed into those works.

Chapter IV discusses the influences of Romantic and Impressionist styles in Piano

Concerto No. 4 and how Mathieu synthesized both styles. Chapter V analyzes the

form, motivic and thematic material, and rhythmic design of all three movements

of Piano Concerto No. 4 and compares them with that of Piano Concerto No. 3.

19

Honegger’s influence also is discussed in Chapter V. Chapter VI is the conclusion.

Musical examples throughout will illustrate points made.

20

CHAPTER I

INTRODUCTION

On May 8, 2008, pianist Alain Lefèvre, with George Hanson, conductor of

the Tucson Symphony Orchestra (TSO), gave the world première of André

Mathieu’s Piano Concerto No. 4 in Tucson, Arizona. This event marked the

culmination of thirty years of extensive research. The concerto, written under

Swiss composer Arthur Honegger’s influence between 1946 and 1949, had fallen

into obscurity after Mathieu died in 1968, having been performed before that time

by the composer as a piece for solo piano. This milestone performance by the

TSO resurrected the piano and orchestra version.

The author attended this concert and was touched by the depth and beauty of

this concerto and, therefore, decided to research both André Mathieu and his

Piano Concerto No. 4. The scarcity of information surrounding Mathieu and his

music offers both a challenge and an opportunity for investigation. Although some

of Mathieu’s compositions and recordings have been published, sources of

information on Mathieu remain limited.

Two sources provide substantial basic information. Georges Nicholson’s

recent book, André Mathieu, published in French only, is an extensive biography

that includes complete, well-organized charts of Mathieu’s compositions, recital

programs and performance dates. Also, both Nicholson and Lefèvre contributed to

the recent documentary film, The Child Prodigy, a film about the life of André

Mathieu.

Only one dissertation makes mention of André Mathieu’s piano concertos:

Ireneus Bohdan Zuk’s “The Piano Concerto in Canada (1900-1980): A

21

Bibliographic Survey.”1 It provides brief background information on Mathieu’s

two concertinos and Piano Concerto No. 3. However, none of the above sources

provide analysis and discussion of Mathieu’s music, and especially none of Piano

Concerto No. 4.

Other sources directly related to the topic of this study include Bernard

Gaboty’s book, I Am a Composer, a book-length interview with Arthur Honegger.

Honegger, in speaking of his compositional ideas, claims that “one must give the

impression of a composition in which all is linked, the image of a predetermined

structure.”2 Daniel Quienton Parker’s dissertation, “The Symphonies of Arthur

Honegger: An Examination of Stylistic Factors and Form,”3 provides an analysis

of Arthur Honegger’s five symphonies and specifies the stylistic factors and

formal structures on which Honegger most heavily relied. In this valuable

resource, Parker identifies and analyzes Honegger’s use of melody, harmony,

tonality, rhythm, and texture. These two resources are important as, together, they

clearly reveal Honegger’s musical language, and are invaluable in demonstrating

the most probable ways in which Honegger’s teaching influenced Mathieu’s Piano

Concerto No. 4.

Since English language sources on Mathieu are limited, relevant

information in this study will be derived from interviews with Canadian pianist,

Alain Lefèvre; Montreal conductor, Gilles Bellemare; and Mathieu’s official

biographer, Georges Nicholson.

1 Ireneus Bohdan Zuk, “The Piano Concerto in Canada (1900-1980): A Bibliographic

Survey.” (D.M.A. diss., Peabody Conservatory, 1985). 2 Arthur Honegger, I Am a Composer, trans. Wilson O. Clough in collaboration with Allan Arthur

Willman (London: Faber and Faber Limited, 1966), 79. 3 Daniel Quienton Parker II, “The Symphonies of Arthur Honegger: An Examination of Stylistic

Factors and Form” (PhD diss., University of Kentucky, 1980).

22

In this study, I will demonstrate that through studies with Arthur Honegger,

André Mathieu assimilated a new approach to form, resulting in a compositional

turning point which moved him toward a mature compositional voice found for

the first time in the Piano Concerto No. 4. The synthesis of Romantic and

Impressionist styles in this concerto contributes further to the unique nature of this

mature voice.

The intention of this study is to benefit those seeking a deeper

understanding of André Mathieu and his compositions, Piano Concerto No. 4 in

particular, and its relative importance among the body of his works.

23

CHAPTER II

ANDRÉ MATHIEU: BIOGRAPHICAL OVERVIEW

A. Early Years, 1929-1947: Canadian prodigy, pianist and composer

André Mathieu, Canadian composer and pianist, was born in Montreal on

February 18, 1929, and died there on June 2, 1968 at the age of thirty-nine.

Mathieu's father, Rodolphe Mathieu, was a music teacher and composer, and his

mother, Wilhemine Gagnon-Mathieu, a cellist and teacher. As a child, Mathieu

showed exceptional musical talent both for the piano and for composition,

prompting his father to start Mathieu with lessons at the age of four. Mathieu

began performing publicly the following year, frequently playing his own

compositions in addition to the music of Bach, Chopin, Liszt, Debussy and Ravel.

In 1933, he presented his first recital at the Ritz-Carlton Hotel in Montreal and it

created a sensation.4 In 1936, at the age of seven, Mathieu obtained funding from

the government of Quebec and left for Paris with his family to study piano under

Yves Nat and Mrs. Giraud Latarse, as well as composition and harmony with

Jacques de la Presle. That same year he won over the Parisian critics with a recital

in the Chopin Pleyel Hall, where he performed eleven of his own compositions.

The event was repeated in the Salle Gaveau in March 1939. After this concert,

Emile Vuillermoz, one of France’s best-known music critics stated that: “If the

word ‘genius’ has meaning, it is here that we find it.”5 Critics were unanimous in

their praise of him, describing him as the “young Canadian Mozart.”6

4 Gilles Potvin, “André Mathieu,” The Encyclopedia of Music in Canada.

http://www.thecanadianencyclopedia.com/index.cfm?PgNm=TCE&Params=U1ARTU0003903

[accessed September 23, 2009]. 5 J. Rudel-Tessier, André Mathieu; Un Génie (Montréal: Éditions Héritage,1976), 290.

6 Stéphane Jean, “Mathieu Family-biographical sketches of André Mathieu,” Music Archive at the

National Library of Canada,


24

In 1940, Mathieu returned to Montreal, where he began concertizing and

soon made his debut at New York’s Town Hall. In this debut performance, as

in his Montreal concerts, Mathieu played his own compositions which he wrote

between ages five and nine. After the concert, critic Francis D. Perkins, stated

“ As a pianist, one of the salient features of his (André Mathieu) playing was its

remarkable energy, the volume of tone was fully of adult dimensions…his

technique in his own music, in its deftness and confidence, seemed to be that of

an adult artist. There was also an impression of musicianship and interpretative

sensibility.”7 From 1940-1943, the Mathieu family lived in New York and for a

brief period the young Mathieu studied composition with Harold Morris, at the

time a faculty member at Columbia University. Back in Montreal from 1943 until

late summer 1946, he frequently played concerts in New York (Carnegie Hall),

and continued composing.

B. Years of tumult and physical decline: 1946-1968

From September 1946 to June 1947, Mathieu was enrolled at the Paris

Conservatory, studying composition with Arthur Honegger and piano with Jules

Gentil, an assistant to Alfred Cortot. In 1947, Mathieu played for Alfred Cortot,

the eminent pianist and pedagogue, who responded: “Give me two years of your

life and I will make you the best pianist of your generation.”8

It was Mathieu’s first time away from home. He was lonely, homesick and

http://collectionscanada.gc.ca/pam_archives/index.php?fuseaction=genitem.displayItem&lang=en

g&rec_nbr=2120611&rec_nbr_list=2172124,2120611,3081627,3077394,3059486

[accessed June 23, 2009]. 7 Georges Nicholson, André Mathieu, (Québec : Québec Amérique Inc., 2010), 568-569.

8 Interview with Georges Nicholson in September,1 2009.

http://collectionscanada.gc.ca/pam_archives/index.php?fuseaction=genitem.displayItem&lang=eng&rec_nbr=2120611&rec_nbr_list=2172124,2120611,3081627,3077394,3059486

http://collectionscanada.gc.ca/pam_archives/index.php?fuseaction=genitem.displayItem&lang=eng&rec_nbr=2120611&rec_nbr_list=2172124,2120611,3081627,3077394,3059486

25

did not enjoy his studies at the Paris Conservatory. In letters to his parents

Mathieu wrote, “Now, I am alone with myself… I can see that life is like a huge

arena where we have to fight or be knocked out…I cannot stand the atmosphere at

the Conservatoire….” 9 Mathieu returned to Montreal for the final time in 1947,

depressed and exhausted.

From 1947 to 1968, Mathieu experienced numerous difficulties, mostly

associated with alcoholism. He cancelled concert tours and experienced physical

collapses, contributing to a severe decline in his professional performance

career.10

The only complete compositions in his last twenty years were Trio for

violin, cello and piano (1949), Quintet (1953), and Rhaposodie romantique for

piano and orchestra (1958)11

. In 1954, Mathieu launched the fleetingly famous

“pianothon,” in an attempt to break a previously held record of continual and

extended playing and improvisation. Mathieu played and improvised his own

compositions in the “pianothon.” The endurance record, however, was set by Carl

Fletcher, an American G.I. who remained at the piano for nineteen hours, one

minute and thirty seconds.12

In 1960, Mathieu married Marie-Ange Massicotte, but the relationship soon

failed, probably owing to his alcohol problems. Between 1960 and 1968, Mathieu

gave numerous concerts performing his solo and chamber music in Montreal. In

1968, he died suddenly at the age of thirty-nine of complications related to

alcoholism.13

9 Jean, Mathieu Family-biographical sketches of André Mathieu, 13.

10 Ibid.

11 One movement piece for piano and orchestra; the extension of the second movement of

Mathieu’s Piano Concerto No. 4. 12

Nicholson, 577. 13

Interview with Nicholson.

26

C. Mathieu’s music after his death to the present

After his death, Mathieu and his compositions were mostly forgotten until

1976 when excerpts from his works were used as the welcoming song and official

theme of the Montreal Olympics. That same year, the André Mathieu Foundation

was established to promote his works. In 1987, a street was named after him in

the Pointe-aux-Trembles district in Montreal.14

In May 2008 pianist Alain

Lefèvre with conductor George Hanson gave the world première of André

Mathieu’s Piano Concerto No. 4 with the Tucson Symphony Orchestra in Tucson,

Arizona. In May 2010, the documentary film The Child Prodigy15

received its

world-premiere in Shanghai, China.

As a result of the increasing attention of performers and audiences around

the world, the “Canadian Mozart’s” reputation has been re-established, both as a

composer and concert pianist.

14

Gilles Potvin, “André Mathieu,” The Encyclopedia of Music in Canada.


[accessed September 23, 2009]. 15

The Child Prodigy, a film about the life of André Mathieu, Luc Dionne, director; Denise Robert

and Daniel Louis, producers; Alain Lefèvre, music director and interpreter. World premiere,

Shanghai, May 9, 2010.


27

D. Studies with Rodolphe Mathieu, Harold Morris and Arthur Honegger

Rodolphe Mathieu

André Mathieu’s father, Rodolphe Mathieu, was a composer, teacher, writer

and pianist. Born in Grodine, near Quebec on July 10, 1890, he died in Montreal

on June 29, 1962. His compositions include five chamber works, four piano

works and fourteen choral works. In 1920, Rudolphe attended the Schola

Cantorum16

in Paris, where he studied composition with Vincent d'Indy and

orchestration with Louis Aubert. He also studied orchestral conducting with

Vladimir Golschmann and psychology with Pierre Janet at the Collège de France.

Between 1923 and 1934, Mathieu founded the Canadian Institute of Music and

served as director of the International Society of Music, through which he

published some of his own works. After 1934 Mathieu devoted most of his time to

teaching and to furthering the musical career of André.17

Rodolphe Mathieu’s music reflects the influence of Debussy and Wagner

and the post-Wagnerianism of Schoenberg and Berg. Debussy’s influence is

demonstrated in the occasional use of the whole-tone scale, parallel chords, and

cadences built on chords with added notes. Rodolphe’s compositions are

predominately Romantic in style. The Wagnerian influence is displayed in

Rodolphe’s use of the chromatic scale, creating temporary tonal resting points yet

continually developing.18

Serialism is another influence that analysis of

16

A private music school in Paris found in 1894 as a counterbalance to the Paris Conservatory’s

emphasis on opera. http://www.schola-cantorum.com [accessed April 28, 2010]. 17

The Encyclopedia of Music in Canada, “Mathieu, Rodolphe,”


[accessed February 25, 2011]. 18

Ibid.

http://www.schola-cantorum.com/


28

Rodolphe’s themes reveals, as may be seen in Trio.19

In 1929, “Rodolphe Mathieu abandoned all his activities to look after a new

arrival: André Mathieu”.20

Rodolphe avidly occupied both the role of father and

that of teacher to his talented son. When André was four years old, Rodolphe

began to teach him piano and composition, continuing these lessons until André

went to Paris at the age of seven. During the period between 1933 and 1937,

André composed only for solo piano.

Not surprisingly, it would seem that André Mathieu’s early works strongly

reflect his father’s influence, which is rooted in Romanticism with Modern and

Impressionist color. André’s use of chromaticism, however, is not sophisticated

and unlike his father, André does not use serialism in any composition.

Harold Morris

Harold Morris, American composer and pianist, was born in Texas on

March 17, 1890 and died in New York, on May 6, 1964. He studied with Stillman

Kelley, Henry Rothwell, Rosario Scalero and Leopold Godowsky, while earning

undergraduate (University of Texas) and master (Cincinnati Conservatory of

Music) degrees. He taught at the Juilliard School from 1922-1939 and at

Columbia University Teachers College from 1935-1946. He actively promoted

modern music, both in his teaching and in his concert tours. Stylistically, the

music of Harold Morris tends toward neo-Romanticism. Much of it is

programmatic, in Impressionistic style, and with hints of the harmony and tonal

19

Ibid. 20

Stéphane Jean, 12.

29

structure of Skryabin.21

Although Mathieu briefly studied composition with Harold Morris in 1940,

it seems likely that he did not compose any significant compositions during that

time. Mathieu’s official biographer, Georges Nicholson, posits that Mathieu may

have written only composition exercises or revised earlier works during these

studies.22

Arthur Honegger

Arthur Honegger, a Swiss composer, was born in Le Havre, France, in 1892,

and died in Paris in 1955. He lived and worked in Paris throughout most of his

life. According to Muggler, “Honegger was a member of Les Six. His

serious-minded musical aesthetic was entirely different from that of others in the

group… His discovery of the music of Wagner, Strauss and Reger had a profound

effect on his emergent musical language.”23

His famous works include the

oratorio Le Roi David (1921), the flute piece Danse de la Chèvre (1921), the

orchestral work Pacific 231 ( 1923), and five symphonies written between 1930

and 1950, and the stage work Jeanne d'Arc au Bûcher (1935).

Honegger’s music is characterized by a superior sensitivity to formal

architecture which allowed him to combine many of the musical languages and

21

“Morris, Harold” The New Grove Dictionary of Music and Musician, edited Stanley Sadie.

(New York: Macmillan Publisher limited, 2001), 147. 22

Interview with Nicholson. 23

Fritz Muggler, “Honegger, Arthur” The New Grove Dictionary of Music and Musician. (New

York: Macmillan Publisher limited, 2001), 680.

http://en.wikipedia.org/wiki/Danse_de_la_Ch%C3%A8vre

http://en.wikipedia.org/wiki/Jeanne_d%27Arc_au_B%C3%BBcher

30

techniques of his era.24

Geoffrey Spratt25

points out, among Honegger’s principal

compositional elements are the influences of Bach’s counterpoint, the prominence

of modal devices, the occasional use of the whole-tone scale, and a tendency to

stress chromatic notes.26

Daniel Quienton Parker, in his dissertation, notes that

Honegger’s characteristic style includes driving rhythms, wide spatial range in the

melodies, and dissonant or nonfunctional harmony.27

Mathieu studied with Arthur Honegger at the Paris Conservatory from 1946

to 1947. His compositions under the tutelage of Honegger include Fantasie

brésilienne for piano and violin (1946) and two movements of the Piano Concerto

No. 4 (1946-1947).

24

Ibid. 25

A professional flautist and violist, who had already acquired a wide experience of choral,

operatic and orchestral conducting with both amateur and professional ensembles before coming

to live and work in Ireland in 1976. http://www.fleischmannchoir.com/gsbio.html

[accessed April 28, 2011]. 26

Geoffrey K.Spratt, The Music of Arthur Honegger (Cork: Cork University Press, 1987), 212, 57. 27

Parker II, 50,131,233.

http://www.fleischmannchoir.com/gsbio.html

31

CHAPTER III

MATHIEU’S PIANO WORKS

A. Summary of Solo Piano Works

Mathieu composed approximately thirty-eight solo piano works between

1933 and 1958. The only existing collection of his solo piano works, Douze

pièces pour piano seul, was published in 2007.28

The twelve pieces in this

collection have programmatic titles that may have been inspired by Mathieu’s life

experiences. The music is descriptive and expressive. According to Alan Lefèvre,

“Some scholars doubt whether Mathieu himself wrote his early compositions,

believing his father, Rodolphe, also a composer, may have composed them

instead.” Lefèvre argues against this idea: “ I have spent many years studying

Mathieu’s music, so I am intimately familiar with his style, his mistakes, his

strengths and weaknesses….There is no way anyone could have faked the

(compositional) procedure so perfectly.”29

Rodolphe had introduced the music of Debussy and Ravel to young

Mathieu as early as 1933.30

In fact, the influence of Impressionism is found in

Mathieu’s first composition, Dans la nuit (In the night, 1933), in which he

employs an E whole-tone scale within the upper melodic line. Les Mouettes (The

Seagulls, 1938) was composed during Mathieu’s first journey to Paris. The central

part of this piece lavishly uses dominant extension chords (dominant 7th

, 9th

, 11th

)

in oscillation, creating a sense of tonal ambiguity (see Example 3.1).This strongly

28

André Mathieu, Douze pièce pour piano seul, edited by Gilles Bellemare and revised /performed

by Alain Lefèvre (Québec: Les Éditions Orchestra Bella), 2007. 29

CD program notes from Hommage à André Mathieu, performed by Alain Lefèvre. Analekta AN

2 9275 [CD], 2005. 30

Ibid.

32

resembles Debussy’s characteristic manipulation of dominant harmonies.

Musical Example 3.1: Mathieu, Les Mouettes, mm. 50-60

Berceuse (1938) begins with a Gb pentatonic melody. In mm. 1-6, the

melody incorporates the complete scale (see Example 3.2a). A series of dominant

chords appear in mm 13-18: Cb7-C7-Ab7. Nonfunctional dominant chords C7

and Ab7 suggest Debussy’s harmonic language.

33

Musical Example 3.2a: Mathieu, Berceuse, mm. 1-6

Musical Example 3.2b: Mathieu, Berceuse, mm. 13-18

The melodic contour in Bagatelle No. 1 contains wide leaps with intervals

of sixths, sevenths and octaves. The large intervals appear mostly in melodic

downward motion, after which the melody immediately changes direction. Such

an expansive melodic line creates an expressive moment, and the changes of the

intervals among the phrases produce both consonant and dissonant sound effects

34

(see Example 3.3). Longyear states,“… devices characteristic of Romantic

melody include wide leaps for expressive purposes, often leaps of sixths, sevenths

and other intervals....”31

It would appear that Mathieu’s core style within these

short piano works is Romantic infused with Impressionist color.

Musical Example 3.3: Mathieu, Bagatelle no 1, mm. 21-31

In addition to Romantic and Impressionistic harmony, a series of jazz

chords with II-V-I cadences are also found in Mathieu’s solo piano work

Bagatelle No. 1.

31

Rey M. Longyear, Nineteenth-Century Romanticism in Music (New Jersey: Prentice Hall, Inc.,

1973), 20, 22.

35

Musical Example 3.4: Mathieu, Bagatelle no.1, mm. 4-8

Some of Mathieu’s solo piano compositions in this collection seem to

describe particular personal observations and feelings. Les abeilles piquantes

(Stinging Bees Op.17, 1933) mimics both the sounds and the speedy movements

of bees in flight through sixteenth-note chromatic passage work. The strong

dissonance of minor second intervals captures the annoying presence of bees; the

occasional rests between the phrases might represent sudden pauses in the bees’

movements. Mathieu composed Les abeilles piquantes when he was only four; his

abundant imagination is clearly illustrated. Tristesse (Sadness, 1936) was

dedicated to Mathieu’s personal doctor, J.E. Dubé, following his death. The

seven-year-old Mathieu used limited stepwise motion in the top melodic line and

repeated chromatic motion in the middle, along with a simple three quarter-note

accompaniment, to express the sad and painful feelings his doctor’s death sparked

(see Example 3.5).

36

Musical Example 3.5: Mathieu, Tristesse, mm.1-6

Some of Mathieu’s titles from early compositions reflect a strong nationalist

sentiment. Although he wrote pieces to describe all four seasons of Canada, only

Été canadien (Canadian Summer, 1939) and Printemps canadien (Canadian

Spring, 1940) survive. Été canadien outlines an Eb pentatonic scale in the

beginning and Printemps canadien anticipates the similar style of the second

movement of his Piano Concerto No. 3 (Quebec Concerto), written two years later.

His chamber works include Suite for two pianos (1939), Trio for violin, cello and

piano (1949) and Quintet (1953).

Mathieu’s solo piano works composed between 1933-1956 include32

:

Étude sur les noires Op. 1 (1933-1934)

Les Gros Chars Op. 2 (1933-1934)

Étude sur les noires et blanches Op. 3 (1933-1934)

Piano Concertino No. 1 (Estimated year 1934)

Valse pour enfant Op. 14 (1934)

Étude sur les blanches Op. 4 (1934-35)

Procession d’éléphants Op. 5 (1934-1935)

Marche funèbre Op. 7 (1934-1935)

32

Nicholson, 466-480.

37

Danse sauvage Op. 8 (1934-1935)

Les Cloches Op. 9 (1935)

Tristesse Op. 11 (1935)

Dans la nuit Op. 12 (1934-1935)

Piano Concertino No. 2 Op. 13 (1935)

Les Abeilles piquantes Op. 17 (1935)

Les Mouettes Op. 19 (1937)

Hommage à Mozart enfant Op. 20 (1937)

Berceuse (1938)

Les Vagues (1939)

Suite pour deux pianos (1939)

Printemps canadien (1940)

Étude No. 4 (1941)

Piano Concerto No. 3 (Concerto de Québec or Romantic Concerto)

Été canadien (1943)

Bagatelle No. 1 (1944)


Piano Concerto No. 4 (1946-1949)

Laurentienne No. 2 (1947)



Musique avec expérience (1948)

Fantaisie romantique, pastiche romantique No. 1 (1949)

Prélude Romantique (1951)

Danse pastorale (1953)

38

Musique de scène pour la pièce Les Insolities de Jacques Languirand (1956)

Rhapsodie romantique (1968)

B. Background and Summary of the Four Piano Concerti

Mathieu performed his Piano Concertino No. 1 with orchestra under J.J

Gagnier for CBC Radio (Canadian Broadcasting Corporation) in 1936. Very little

information about this work is available.

Piano Concertino No. 2 was written between 1934 and 1935. Mathieu

premiered this concerto with Symphonie La Salle, directed by Wilfrid Charette, in

1940. It received first prize in the Young Composers’ Competition organized by

the New York Philharmonic to mark its centenary, receiving higher recognition

than Leonard Bernstein’s entry in the same competition.33

At the time, Belgian

conductor Désiré Defauw (1885-1960), music director of the Montreal

Symphony Orchestra from 1941 to 1952, stated, “For a child, André Mathieu has

an amazingly assured musical sense. The Concertino, with its capricious rhythms

and fresh themes, proves this.”34

Music critic Leo-Pol Morin, reviewing the

premiere of Mathieu’s Concertino No. 2, remarked, “It is a very short schematic

work without much concern for development.”35

Piano Concerto No. 3 (also named Concerto de Québec or Romantic

Concerto), written after his year of study in New York, was completed in 1943, at

33

Gilles Potvin, “André Mathieu,” The Encyclopedia of Music in Canada,


[accessed September 22, 2009]. 34

Zuk, 247. The quotation has been translated from the original French. 35

Ibid., 24.

39

the age of thirteen. The complete concerto was performed with the Canadian

Broadcasting Orchestra in 1947 under Jean Deslauriers.36

In the same year, the

second movement, the most well-known, was performed by Canadian pianist Neil

Chotem37

for the film La Forteresse (Whispering City)38

. Piano Concerto No. 3

was published as Concerto de Québec in 1948 by Southern Music. Mathieu

himself often performed the solo piano version of this concerto, and his last

performance of this work took place in 1957. This work was next performed in

public in 1977, when Montreal pianist André-Sébastien Savoie presented it in

Tunisia with the Tunis Orchestra, conducted by Quebec conductor, Raymond

Dessaints. Canadian pianist Alain Lefèvre recorded André Mathieu’s Piano

Concerto No. 3 with the Quebec Orchestra under Yoav Talmi in 2003. About this

concerto, Lefèvre explains, “Mathieu was in the predicament of knowing that he

was overly romantic and ‘behind the times.’ Suddenly he will inject some bizarre

attempt to be modern, and then just as quickly switch back to his Rachmaninoff

[Late Romantic] mode.”39

Mathieu’s last major piano work, Piano Concerto No. 4, was completed in

1949. Mathieu performed it numerous times as a solo piano piece, and

incorporated the orchestral passages into this version. Although many musicians

were aware of this concerto for many years, a complete score did not exist at the

36


Neil Chotem (1920-2007), pianist, composer, arranger, conductor and teacher.


[ accessed February 18, 2011]. 38

Drama, released in the USA in November 20, 1947.

The Internet Movie Database http://www.imdb.com/title/tt0039986/releaseinfo 39 André Mathieu, Concerto de Québec, Orchestre symphonique de Québec directed by Yoav Talmi and performed by Alain Lefèvre, Analekta AN 2 9814 [CD], 2003.


40

time of Mathieu’s death. All but nineteen pages had disappeared. Lefèvre

discovered this concerto quite by chance on September 21, 2005 at the

André-Mathieu Hall in Lavel, Quebec.40

After a performance of Piano Concerto

No. 3, a woman who had once known Mathieu approached Lefèvre and offered

him five vinyl LPs of Mathieu playing his own works. The collection included his

Piano Concerto No. 4 in a two-piano version. Upon realizing that it was Mathieu’s

unknown work, Lefèvre proposed to Montreal conductor, Gilles Bellemare, that

they reconstruct the concerto. Thereafter, they spent more than a year in the

process of reconstruction. Bellemare says:

Those vinyl LPs are the principal sources. The only written material

that we have is a fast handwritten document of nineteen pages that

corresponds to the beginning of the third movement. Unfortunately, the

technical and artistic quality of those recordings (LPs) is uneven…. I

had to imagine what music was allotted to the piano-solo part and what

was allotted to the orchestra…….I listened to those tapes a lot of times

trying to understand where he wanted to go and to be as close as

possible to his mind.41

The music world welcomed the reappearance of the newly reconstructed

Piano Concerto No. 4. In the two years since the new edition was published, the

work has been performed by Lefèvre in Tucson (Arizona), Berlin, London,

Shanghai, Ottawa and more than thirty countries with many symphony orchestras.

These performances have served to revive interest in Mathieu and his work.42

40

Program note from André Mathieu Concerto No. 4, performed by Alain Lefèvre with the

Tucson Symphony Orchestra under George Hanson, [CD], 2009. 41

Interview with Bellemare in December 10, 2009. 42

Steven Mazey, “ Pianist Alan Lefèvre Performs André Mathieu’s Piano Concerto No. 4 with

NACO Oct. 27-28,” Ottawa Citizen Blog, entry posted October 25, 2010,

http://communities.canada.com/ottawacitizen/blogs/classicalottawa/archive/2010/10/25/pianist-ala

in-lefevre-performs-andre-mathieu-s-concerto-no-4-with-naco-oct-27-28.aspx

[accessed February 28, 2011].

http://communities.canada.com/ottawacitizen/blogs/classicalottawa/archive/2010/10/25/pianist-alain-lefevre-performs-andre-mathieu-s-concerto-no-4-with-naco-oct-27-28.aspx

http://communities.canada.com/ottawacitizen/blogs/classicalottawa/archive/2010/10/25/pianist-alain-lefevre-performs-andre-mathieu-s-concerto-no-4-with-naco-oct-27-28.aspx

41

C. Mathieu as a Virtuoso Pianist

From a young age, Mathieu displayed impressive pianistic technique. Many

of his piano compositions reflect his extensive virtuosity, and a video exists which

clearly demonstrates his pianistic skill.43

Canadian pianist Alain Lefèvre, states

that “He (André Mathieu) had large hands and could stretch beyond an octave and

a fifth.”44

Therefore, chords spanning the interval of a tenth are frequently seen in

Mathieu’s compositions. The following examples illustrate virtuosic elements of

Mathieu’s pianism in Piano Concertos No. 3 and 4 (see Examples 3.6 and 3.7).

Musical Example 3.6: Mathieu, Printemps Canadien, mm. 102-105

In Example 3.6, a fast passage marked accelerando demonstrates left hand chords

spanning the interval of a tenth. The right hand executes light octaves.

43

Mathieu played his incomplete work Scherzando in a television show of Radio-Canada in 1956,

http://www.youtube.com/watch?v=PFP_d-Ew0W4&feature=related [accessed February 19, 2011]. 44

André Mathieu, Hommage à André Mathieu. Performed by Alain Lefèvre. Analekta AN 2 9275

[CD], 2005.

http://www.youtube.com/watch?v=PFP_d-Ew0W4&feature=related

42

Musical Example 3.7: Mathieu, Piano Concerto No. 4, movt. II, mm. 287-289

In Example 3.7, the interval of a tenth appears in the left hand in mm. 288 to 289

while the right hand builds chords in octaves and ninths.

Left hand patterns of four sixteenth notes in chromatic motion after a

melodic interval of a tenth are illustrated in Example 3.8.

Musical Example 3.8: Mathieu, Piano Concerto No. 4, movt. III, mm. 166-168

Leaps in the left hand accompaniment in presto tempo are found in

Example 3.9.

43


In addition to large spans and leaps, fast passages with double notes in

different intervals appear several times in the Piano Concerto No. 4 (see Example

3.10).

Musical Example 3.10: Mathieu, Piano Concerto No. 4 movt. I, mm. 98-100

In Example 3.11, Mathieu employs harmonic fourths after sweeping

arpeggios.

44

Musical Example 3.11: Mathieu, Piano Concerto No. 3, movt. III, mm.149-150

Right hand arpeggios with a dynamic marking of ff in a fast tempo appear

several times in the Piano Concerto No. 4’s first movement (see Example 3.12).

Musical Example 3.12: Mathieu, Piano Concerto No. 4 movt. I, m. 71

In the following example, full successive chords in both hands are derived

from quickly changing harmonies. The virtuosic demands of the passage create a

powerful and exciting sonority.

45


Fast extended right-hand arpeggios, traversing three octaves in ascending

and descending motion, outline the harmony in the following example.

Musical Example 3.14: Mathieu, Piano Concerto No. 4, movt. I, mm. 31-32

In Example 3.15, the right hand executes chordal figures against left-hand

octaves moving in contrary motion in tempo Allegro con fuoco.


46

Chromatic octaves in contrary motion with the right hand playing chords

are found at the end of the Piano Concerto No. 3’s first movement ( see Example

3.16).


In Examples 3.17 and 3.18, the right hand plays melodic octaves followed

by triads appearing within an arpeggiated figure. These fast extended arpeggios

span five octaves.


Mathieu’s approach to the piano was in the tradition of the Romantic virtuoso

soloist of the 19th

century, and his outstanding capacity as a pianist naturally led to

highly virtuosic writing for the instrument. Full chords in both hands, chords

spanning the interval of tenths, fast sixteenth-note passages with different intervals,

and fast extended arpeggios spanning different registers are often employed.

47

CHAPTER IV

INFLUENCES OF ROMANTICISM AND IMPRESSIONISM IN PIANO

CONCERTO NO. 4

During Mathieu’s lifetime (1929-1968), many composers consciously

moved away from existing conventional musical styles in order to pursue new

compositional directions. A self-avowed Romanticist, Mathieu chose not to follow

revolutionary compositional trends of his time. He described his approach to

music as “modern romantic.” In the article La Voix du Québec (The Voice of

Québec) on July 20, 1946, Mathieu stated:

Modern Romanticism will express both fiction and reality-realism in

the rhythm and harmony, and fiction in the melodic line. By “fiction in

the melodic line,” I mean that the theme of any work of music will be

more discernible and more tuneful than the “chicken cries” that certain

ridiculous composers offer us, wishing to pass off their geometric

flights of fancy as music…The modernism of 15-20 years ago

produced some great creative geniuses; but the modernism of today,

with the same material, brings us a music that is both devoid of the

sacred fire that expresses human feelings, and lacking in the pure

sensuality that must exist in all art…I believe that after the existence of

classicism, romanticism, and, finally, so-called modernism(which I

consider the classicism of the new artistic era to come), a [new]

romanticism is absolutely essential; and this will be modern

romanticism.45

Eugène Lapierre, Canadian music educator and journalist, states his opinion

regarding Mathieu’s compositional style in the article Le Devoir on December 11,

1950:

What is surprising and inwardly delightful in Mathieu’s compositional

style is that he never substitutes music with mathematics, does not

45

André Mathieu, “Realism and Fiction-Rhythm and Harmony Certain Nutty Composers and

others who produce chicken squawking- Is this music?” La Voix du Québec volume 1, no. 2 [July

1946]: 5. This quotation has been translated from the original French by Dr. Elizabeth Chesney

Zegura, associate professor in department of French and Italian at the University of Arizona.

48

employ the current decadent system, and never wallows in insolent

melodies or impenetrable rhythm…his music is essentially

symphonic…it is all about clarity—clarity of rhythm, clarity of

harmony, simple and supple melodies with a surprising breadth.46

The influences of both Romantic and Impressionist styles are reflected in

the melody, harmony and texture of Mathieu’s music, and especially in Piano

Concerto No. 4., a work that would appear to demonstrate his mature

compositional style.

A. Melody

A study of Mathieu’s works reveals the preeminent role of melody in his

compositional technique. Longyear states, “Most Romantic composers sought to

write long melodic lines, whether constructed from phrases, motives, or from a

seamless, unperiodic, exuberant melodic line….” 47

In the recent Canadian

documentary film of his life, Mathieu identifies, “melody is the most important

element in my music.” 48

An examination of his compositions reveals an

abundance of lyrical melodic lines with clear contour. Mathieu’s melodies are

predominantly Romantic in style as demonstrated in the following example.

Example 4.1 demonstrates Mathieu’s penchant for extended melodic line. Here he

constructs a long melody from shorter motives and phrases, much in the Romantic

style. This same example reveals a rich infusion of Impressionist influences such

as chromaticism and pentatonic scales. The long melodic line is constructed

through the repetition of the short motive X and chromaticism

(G-Ab-A-Bb-B-C-C#) in mm. 176-177, an Eb pentatonic scale appears between

46

André Mathieu, Trio & Quintette, performed by Alain Lefèvre, David Lefèvre, and Quatuor

Alcan, Analekta AN 2 9286 [CD], 2010. 47

Rey M. Longyear, Nineteenth-Century Romanticism in Music (New Jersey: Prentice Hall,

Inc.,1973), 20, 22. 48

From The Child Prodigy.

49

mm.178-179.


Whole-tone scales appear often within melodic structure in Piano Concerto

No. 4, especially in the second movement (see Example 4.2).

Musical Example 4.2: Mathieu, Piano Concerto No. 4, movt. II, mm.13-16

Pentatonic and modal scales within the melody are employed in Piano

Concerto No. 4. In Example 4.3, two pentatonic scales are displayed in one phrase,

50

as circled. In Example 4.4, B Mixolydian mode is used found in the first theme of

Concerto No. 4’s second movement.



51

B. Harmony

Harmonic Language of the Romantic Style

Although Romantic harmony had its origins in the Classical style, it was

much expanded in the Romantic period resulting in a more immediate, coloristic

effect. Compared with Classical composers, Romantic composers used more

dissonance, more complex and altered chords, more chromatic modulation and

distant key relationships. They employed faster harmonic rhythm and keys with

many flats or sharps. They explored exotic scales and harmonies, folk modes, and

other novelties.49

Several facets of the expanded harmonic language common in the Romantic

period deserve deeper discussion when considering Mathieu’s Piano Concerto No.

4: tangential harmonic progressions involving chords related by a tritone;

chromatic third and chromatic bass lines; and complex chord progressions

containing tritones or chromatic notes within a chord.50

a. Tangential Harmonic Progression

Example 4.5a from Chopin Rondo“à la Mazur,” demonstrates the Db and

Gø7

chords related by a tritone in the bass line, a progression commonly found in

the 19th

century.

49

Kenneth B. Klaus, The Romantic Period in Music (Boston: Allyn and Bacon, Inc., 1970), 172. 50

Leonard G. Ratner, Romantic Music: Sound and Syntax (New York: G. Schirmer Books, 1992),

111,120.

52

Musical Example 4.5a: Chopin, Rondo“ à la Mazur,” Op. 5, mm. 373-378

Mathieu regularly utilizes similar tritone relationships in nonfunctional

chord progressions. In Example 4.5b, a Bb11

arpeggiation moves to an E11

chord.

Even though the bass note in the second chord appears as a grace note in the solo

piano, the orchestra strengthens this tritone relationship by holding Bb and E with

longer note values.

53

Musical Example 4.5b: Mathieu, Piano Concerto No. 4, movt. II, mm. 278-280

Chromatic third relationships are employed extensively in Romantic music

to set the color of a chord against that of its neighbor, thus creating a non-diatonic

chord progression.51

Example 4.6a from Brahms’ Clavierstücke demonstrates the

chromatic third relationship between the C and Ab chords: the chord tone E in m.

22 abuts Eb in m. 23 and the ritardando smoothes the transition, creating a

tranquil mood when arriving at a pp Ab chord.

51

Ratner, 113.

54

Musical Example 4.6a: Brahms, Clavierstücke Op. 76 No. 8 Capriccio, mm. 22-23

Copyright © by Edition Peters. Used by permission. All Rights Reserved.

Mathieu, too, employs chromatic third relationships by ascending or

descending major thirds to maintain the same sonority while also moving in a new

direction. This relationship often appears in conjunction with non-functional

dominant expansion chords and extensions with arpeggiated patterns. In example

4.6b, a D9 chord moving to a F11 creates a spacious sound and sudden coloristic

effect.

Musical Example 4.6b: Mathieu, Piano Concerto No. 4, movt. II, m. 198

55

In example 4.6c, a chromatic third relationship appears with 11th chords. In

this case, the harmonies are used with a four-octave range in the left hand,

creating a rich sound effect within a flowing motion.

Musical Example 4.6c: Mathieu, Piano Concerto No. 4, movt. III, mm. 102-104

A chromatic bass line is another frequent compositional device found in the

Romantic period. It generates rapid color change and often appears in descending

motion, the harmonies moving along the implied tonal center.52

In Example 4.7a,

Liszt uses chromatic lines on the top and bottom of the chords, creating a

goal-directed motion and immediate color change.

Musical Example 4.7a: Liszt, Sunt lacrymae rerum/En mode hongrois, mm. 28-31

In Mathieu’s Piano Concerto No. 4, chromatic bass lines appear in all three

movements. They intensify the linear motion. In Example 4.7b, the chromatic

52

Ibid., 115.

56

bass line is in half-note octaves. Different qualities of chords are presented with

chromatic bass notes as shown below: Fm7__

D°7__Bbm

6__Fm 6/4

__B°__

Bbm.

Musical Example 4.7b: Mathieu, Piano Concerto No. 4, movt. I, mm. 190-194

Another example of Mathieu’s use of a chromatic bass line is found in

Example 4.7c. In the left hand, four sixteenth-note patterns within a broken chord

structure create a vigorous accompaniment. The top line of the sixteenth-note

pattern descends chromatically, except for the dramatic omission of the note G in

the second beat of m.167. The resulting whole step constitutes an unusual effect.

57

Musical Example 4.7c: Mathieu, Piano Concerto No. 4 movt. III, mm.166-168

b. More Complex Chords

Early Romantic composers used complex chords in a functional manner at

times to intensify the progression from dominant to tonic or to a pivot chord in

modulation. Late Romantic and Impressionist composers, on the other hand,

frequently treated complex chords more as consonance than as dissonance in need

of resolution.53

Mathieu employs complex chords extensively to enrich the

harmony, but often leaves them unresolved (shown in the following examples), in

effect obscuring the tonality and creating dramatic tension.

Chopin’s use of half-diminished seventh chords serves as an example of how

Romantic era composers used this harmony to create a restless and dark effect.

Example 4.8a demonstrates Chopin’s use of a half-diminished seventh chord. In

m. 9, D major and D minor chords alternate. The chord progression becomes

more complex in m.10. Here, an A major chord is interrupted by the notes D# and

D and returns to A major on beat 4. The unrelated D# ø7

follows immediately,

forming a tritone relationship. DM7 also appears in the same measure.

53

Longyear, 27.

58

Musical Example 4.8a: Chopin, Preludes, Op. 28 No. 2 mm. 9-12

Copyright © 2003 by Edition Peters. Used by permission. All Rights Reserved.

In Example 4.8b, an F altered-dominant seventh chord moves to a D

half-diminished chord (with an omitted third) and moves to an F altered-dominant

ninth chord without resolution, building a dramatic climax.

Musical Example 4.8b: Mathieu, Piano Concerto No. 4 movt. II, mm. 206-207

For early Romantic composers, the augmented chord was typically a

passing harmony from tonic to subdominant as found in Example 4.9a. From the

middle of the nineteenth century onward it became a coloristic effect.54

54

Ibid., 29.

59

Musical Example 4.9a: Schumann, Piano Concerto in A minor Op. 54

movt. III, mm. 76-81

Mathieu employs the augmented chord in Piano Concerto No. 4 in a manner

similar to that of early Romantic composers only once (see Example 4.9b). He

frequently leaves the augmented chords unresolved (see Example 4.9c).

In Example 4.9b, a G dominant seventh chord moves to a G augmented triad

and resolves to a C major seventh chord.

Musical Example 4.9b: Mathieu, Piano Concerto No. 4 movt. I, mm. 93-97

60

In Example 4.9c, a Db minor chord in mm. 36-37 unexpectedly moves to a

Eb augmented chord, without resolution.

Musical Example 4.9c: Mathieu, Piano Concerto No. 4 movt. III, mm. 36-39

The altered dominant chord (with a lowered fifth note) occurs frequently in

Romantic harmony and exhibits the same sonority as the French augmented 6th

. It

is often treated freely and may appear without preparation or resolution. Note in

Chopin’s Nocturne Op. 15 No. 1, a G7b5 appears between the C major chord and

E diminished chords, without preparation and resolution.

Musical Example 4.10a: Chopin, Nocturne in F minor Op. 15 No. 1 mm. 62-65


61

Mathieu often uses the altered dominant to create dramatic tension. In

Example 4.10b, an altered dominant appears unexpectedly on beat three of m. 139

and thus interrupts the recurring tonic E minor chords.

Musical Example 4.10b: Mathieu, Piano Concerto No. 4 movt. I, mm.135-139

In Example 4.10c, the E altered dominant chord moves to a G dominant

sharp ninth chord without resolution, which creates the effect of a question mark

at the end of this phrase.

Musical Example 4.10c: Mathieu, Piano Concerto No. 4 movt. II, mm. 222-226

62

Harmonic Language of the Impressionist Style

Impressionist composers consciously used harmony as a coloristic element.

Claude Debussy, for example, used whole tones systematically to blur the

precision of the tonality.55

In Voiles, the whole-tone scale is employed frequently

to create coloristic effects. Tonality is blurred as all tones are equal and no single

note stands out.

Musical Example 4.11a: Debussy, Preludes book I “Voiles” mm. 10-13

Mathieu employs whole-tone scales and whole-tone collections throughout

Piano Concerto No. 4. These whole-tone treatments most often appear in ostinato

patterns or at the end of a phrase in arpeggiated patterns. The whole-tone scale or

collection is clear in Example 4.11b, where the left-hand melody outlines

C—D—E –Gb(F#)—Ab(G#)—Bb(A#). This melody is accompanied by a

chromatic ostinato pattern in the right hand.

55 Edward Lockspeiser, Debussy: His Life and Mind (London: Cassell and Company LTD., 1965),

234.

63


The non-functional dominant that moves away from traditional or

conventional harmonic usage and functions as its own effect is an immediately

recognizable trait in Debussy’s harmony.56

A succession of dominant seventh

chords is used to blur tonality and create a sense of wavering between keys. In

Reflets dans l’eau, Debussy uses three unrelated dominant seventh chords

B7—D4/3—G# (Ab7) to produce a vagueness of tonality.

56

Simon Trezise, ed., The Cambridge Companion to Debussy (Cambridge: Cambridge University

Press, 2003), 189.

64

Musical Example 4.12a: Debussy, Images “Reflets dans l’eau” mm. 54-56

Copyright © by G. 1989 Henle Verlag. Used by permission.

Mathieu uses dominant chords extensively in this concerto, but instead of

resolving dominant to tonic, he frequently moves from one dominant chord to

another. For both Debussy and Mathieu, a series of dominant chords is not

unusual; for these composers, it creates a searching effect or a dramatic moment.

In Example 4.12a, Mathieu uses a series of dominant chords as the chords

progress from Bb11

to E13

. He leaves the progression unresolved, descending to a

G9 chord.

65


Nonfunctional chord oscillations may be seen in Debussy’s piano music. In

Nocturne, the harmony alternates between a Cb major and a Bb augmented chord.

The oscillating chords create a lack of direction and brief obscuring of tonality

(see Example 4.13a).

Musical Example 4.13a: Debussy, Nocturne, mm. 61-62

Copyright © 2005 Reproduced with kind permission of Universal Music

Publishing France.

The same harmonic manipulation is found in Mathieu’s Piano Concerto No.

4. In Example 4.13b, two dominant extension chords in alternation are used to

blur the tonality.

66


C. Texture

Texture in the Romantic style

Arpeggiation and full chords are common textures found in the Romantic

style.

Romantic composers took advantage of improvements to the piano itself,

extensively using arpeggiation and full chords in different ranges and of different

durations to exploit the new, full, and broad sound.57

These two

textures—extended arpeggiation and full chords—form a pianistic texture typical

of the music of Chopin, Liszt and Rachmaninoff (see Example 4.14a).

57

Ratner, 40.

67

Musical Example 4.14a: Rachmaninoff, Piano Concerto No. 2 movt. II, mm.

145-146

Mathieu incorporates this pianistic texture when presenting themes; the

resulting thematic texture is found in many of his compositions. In Example 4.14b,

the five-note full chords in mm. 92-97 enrich the sound and intensify the melody.

The arpeggiated accompaniment with its octaves at the beginning creates strong

support and momentum.

Musical Example 4.14b: Mathieu, Piano Concerto No. 4 movt. I, mm. 89-97

68

Interlocking octaves are employed in Liszt’s piano compositions, usually in

a forte dynamic and within a fast tempo. Often credited with the invention of this

virtuosic device, Liszt’s use of interlocking octaves produces the effect of a

greatly expanded piano sonority and an enhanced ff capacity (see Example 4.15a).

Musical Example 4.15a: Liszt, Venezia e Napoli, m.104

Mathieu uses interlocking octaves toward the end of the first movement of

Piano Concerto No. 4 to build the final climax. The fast six-note groups at ff

dynamic increase the power and excitement of the final measures of the piece.


69

Texture in the Impressionist style

In this writer’s first interview with Nicholson, he stated that “besides

Rachmaninoff’s pianistic writing, there is Ravel. There are some passages in

Mathieu’s Piano Concerto No. 4 that you might think Ravel wrote.”58

Mathieu’s

own compositions predominated in his concert programs; however, he did

perform some of Ravel’s works, especially in early recitals. In a post-concert

interview in New York sometime between 1940 and 1942, Mathieu cited Ravel as

one of his favorite composers.59

In piano writing, Ravel often uses rapid figuration with a repetitive pattern

in both hands, creating a flowing effect and strong descending motion. In

Example 4.16a, rapid figuration moves in descending motion with a repetitive F#

arpeggio in the right hand and E minor arpeggio in the left hand.

Musical Example 4.16a: Ravel, Piano Concerto in G major, movt. I, .

mm.255-256 Copyright©1932 Reproduced with kind permission of Universal

Music Publishing France.

In Example 4.16b, Mathieu employs a similar texture, also in descending

motion with repetitive chromatic notes and tritones.


58


Tessier, 338.

70

Fast double notes with different intervals in descending chromatic motion,

also found in Ravel’s music, create particular coloristic effects. In Example 4.17a,

Ravel uses intervals of seconds, thirds, fourths, fifths, and sixths to outline a

chromatic descending lower line.

Musical Example 4.17a: Ravel, Gaspard de la nuit “Ondine,” m. 61


Mathieu employs a similar but simpler texture in the second movement of

Piano Concerto No. 4. In Example 4.17.b, alternating fourths and fifths appear by

turns, outlining the chromatic descending motion of a series of sixteenth notes in

the right hand.

71


Fast sixteenth notes in chromatic motion with broken chord accompaniment

appear in the presto (third) movement of Ravel’s Piano Concerto in G major (see

Example 4.18a).

Musical Example 4.18a: Ravel, Piano Concerto in G major, movt. III, mm.

282-285 Copyright© 1932 Reproduced with kind permission of Universal Music

Publishing France.

The same pianistic texture is found in the third movement of Mathieu’s

Piano Concerto No. 4, also marked “presto.” Both sixteenth notes in the right

hand and double notes in the left hand outline an ascending chromatic line.

72

Musical Example 4.18b: Mathieu, Piano Concerto No. 4 movt. III, mm. 206-210

D. Synthesis

Mathieu finds melodic, harmonic and textural material in both Romantic

and Impressionist techniques. Lyrical melodic lines appear extensively in thematic

material. Two harmonic syntaxes, already visible in Mathieu’s early works,

comprise much of the harmonic language he uses throughout his compositions.

Mathieu’s harmony appears to be firmly rooted in Romanticism; however, during

different stages of composition he incorporated various Impressionist effects. In

his earliest compositions, he employed whole-tone scales sparingly; later, he

incorporated them more extensively. Typical pianistic textures from Romantic and

Impressionist styles frequently are presented. Piano Concerto No. 4 contains

illustrative examples of techniques from both styles.

The synthesis of Romantic and Impressionist styles is most distinctive when

Mathieu presents thematic material. Within long melodic lines he here combines

in seamless fashion, the harmonic language of both Romantic and Impressionist

periods (see Example 4.19, 4.20, 4.21).

73

Musical Example 4.19: Mathieu, Piano Concerto No. 4, movt. I, mm.175-178

(Theme 2)

In Example 4.19, a long melodic line is constructed from shorter motives

and phrases. The Romantic influence is clear as the right hand builds richness in

full chords with a clear chromatic descending line in octaves over the left hand’s

extended arpeggios. Non-functional dominant chords appear in every measure

without resolution, one of the signatures of Debussy’s harmony. Chromatic third

relationships, in the style of Romantic composers, appear frequently between each

chord, except from F7 to Eb7. The chord progression appears as:

D9—F9—Ab9—F7—Eb7—Gb9.

In m. 175, a D9 arpeggio spreads to four octaves to produce a spacious and

Romantic sound; similar arpeggiated movement is applied to F9 in the next

measure (m. 176). The harmonic rhythm speeds up in mm.177 to 178, with two

chords and fragments of the rhythmic pattern in the melodic line create a strong

forward motion.

74


(Theme 6)

Full chords and octaves appear in the right hand, while the left hand plays

extended arpeggios in three different octaves. A repetitive rhythmic pattern further

builds the theme. Both hands outline a C whole-tone scale (C-D-E-Ab(G#)) and a

G whole-tone scale (G-A-B-Eb(D#)-F), respectively, in mm. 202-203. Even if

these two whole-tone scales are not built on a standard hexachord, the notes in

each whole-tone scale outline an augmented chord, emphasizing the whole-tone

effect. The melodic line also outlines a Gb whole-tone scale in m. 204, and thus

the Impressionist influence. In mm. 204 to 205, extended arpeggios form Ab9 and

D11 chords, creating a tritone relationship, which is often found in Romantic

harmony.

75


(Theme 5)

As circled in the example, chromaticism in the lyrical melodic line is

intensified by repetition in octaves and full chords in ascending motion, along

with extended arpeggios. The shifts of melodic major and minor thirds in m.176,

m. 177 and m. 179 create an outstanding coloristic effect. When the melody

repeats twice in m.177, it begins to move away and ascend to the high point, the

note C, and descends in the next phrase. A rising and falling contour constitutes

expressiveness in the melody. Parallel chords and a pentatonic scale on Eb appear

near the end of m.177 and between mm. 178 and 179. Chromatic third

relationships are found between the extensions of Eb7 (D#7) to B7 chords in mm.

176-178 and among Eb7-C7-AbM7 in mm. 178-179.The non-functional chord

oscillations of Eb7 and B7, suggesting Debussy, provide an unsettling emotional

background and finally move to C7 when the melody reaches its high point; the

Bb of the C7 chord in m.179, opens a new direction to Ab

76

CHAPTER V

PIANO CONCERTO NO. 4: ARTISTIC GROWTH AND THE INFLUENCE OF

ARTHUR HONEGGER

Most of Mathieu’s solo piano works prior to Piano Concerto No. 4 were

composed in ternary or binary form. Additionally, there are a few

through-composed works. In these shorter early works, Mathieu’s writing is

refined and the simple forms are well suited to the music itself. However, when

Mathieu approached his first larger work, Piano Concerto No. 3, he was

ill-equipped to handle the thematic development necessary within a large formal

structure. Of Piano Concerto No. 3, Robert Markow, states “music theorists will

be quick to pounce on its episodic construction and formal weakness.” It is clear

that Markow viewed the work as far from perfect, not yet that of a mature

composer. It is not surprising that this work should suffer from such weakness

since its composer was only thirteen years of age at the time he wrote it.

However, there is a notable difference in Mathieu’s use of formal structure

in the Piano Concerto No. 4. The movements, all of significant length, appear in

sonata, ternary and rondo forms. Since this concerto was written during Mathieu’s

compositional studies with Arthur Honegger, it would seem possible that the

teacher’s impact was significant in eliciting coherent and more complex

compositional structures from the young student composer.

A comparison of the formal structures and rhythmic designs found in

Mathieu’s Piano Concertos No. 3 and 4 are included in the following analysis to

better illustrate the compositional growth between these two concerti. Formal

structures and rhythmic designs of Arthur Honegger are also included.

77

A. First Movement

A1. Form of Piano Concerto No. 3, movt. I

Table 1: Formal Analysis of Mathieu Piano Concerto No. 3, movt. I

A sectional structure prevails in this first movement of Piano Concerto No.

3. Five thematic ideas exist only in the B, C, D, E and G sections, while the

remaining A and F sections consist of passage work. All of the themes are

introduced briefly and without further development. The key arrangement of this

Section Measure Beginning Key Modulation to

A 1-37 Cm Gb

B (Theme 1) 38-56 Db (from Gb major) Remains in Db

Retrans.1 57-68 Fm Remains in Fm

A’ 69-93 Fm Ab

C (Theme 2) 94-130 FMm6/5 Ab-Abm

Trans. 2 131-143 Abm Ebm

D (Theme 3) 144-164 Ebm Gb prepared by

V 4/3

E (Theme 4) 165-181 Gb Gb: ii°

F 182-203 Gb No key center (passage

work)

Trans. 3 204-231 AMm7/5b No key center (passage

work)

G (Theme 5) 232-249 Gb Remains in Gb major

Trans. 4 250-272 Gb Cm: V

Closing section 273-289 Cm Remains in Cm

Codetta 290-299 Cm Remains in Cm

78

movement is unconventional and adventurous. The concerto begins in C minor

and modulates to Gb major, a diminished 5th

relationship. The key of Gb major

appears four times in different sections and the reverse modulation occurs in

Transition 4, which closes the concerto. This unusual tritone relationship is

emphasized further by the placement of themes in sections E, F, and G, which are

in Gb major.

In Piano Concerto No. 3, Mathieu often uses fermatas, short scale passages

or long and repetitive rhythmic patterns as the main transitional material to

connect different themes. However, transitions do not always exist between these

major sections. The lack of both thematic development and transitional material

sometimes creates abrupt moments in the first movement. In the following

example, the fermata and short scale passage are circled as transitional material.

Musical Example 5.1a: Mathieu, Piano Concerto No. 3, movt. II, mm. 223-228

79

Example 5.1b demonstrates repetitive passage work used as transitional material.

This example displays part of the transition and the rest of it is built up in the

same or similar rhythmic patterns.


80

A2. Form of Piano Concerto No. 4, movt. I

Table 2: Formal Analysis of Mathieu Piano Concerto No. 4, movt. I

Section Measure Beginning Key Modulation

to

Exposition [1-170]

Theme 1 (Motive X) 1-54 Em Bm-F#m

Trans.1 55-79 Em Remains in

Em

Theme 2 80-97 Em

Trans. 2 (Motive X) 98-108 Em

Theme 2 109-125 Em

Trans. 2’ (Motive X) 126-134 Em

Theme 3 135-164 Em

Trans. 1 165-169 Em

Development [170-208]

Theme 2 (Motive X) 170-178 Em

Trans.3 (Motive X) 179-190 No key center

(passage work)

Theme 2 (Motive X) 191-208 Fm Em

Cadenza After 208 No key Center

(passage work) Db-Em:V

Recapitulation [209-251]

Theme 1 209-251 Em Bm-F#m

Coda [251-332]

Folkloric Theme 251-278 C-centered Db

Theme 3 (Closing theme) 279-317 A-centered Em

Codetta (Motive X) 318-332 Em Em

81

The first movement of Piano Concerto No. 4 exhibits a formal structure

which could be viewed as modified sonata form. Themes 1, 2 and 3 are employed

as the main thematic materials in this movement and all are connected by

transitions. The key of the Exposition, Em, persists, except for short modulations

to the ominant keys of B minor and F# minor. In the Development, passage work

and modulation to remote keys obscure the tonality. A folkloric theme first

appears in the Coda, an unusual place to present a new theme. In the

Recapitulation, only Theme1 returns and Theme 3 returns only in the Coda

section. Transitional material in Piano Concerto No. 3 is treated differently from

that found in Piano Concerto No. 3. In the following example, the transition is

displayed with clear themes instead of a fermata or short passage work. This more

sophisticated transition demonstrates greater rhythmic variety than that found in

Piano Concerto No. 3.


82

It is worth noting that Honegger often stressed the importance of strong

formal structure; it may be his most important compositional characteristic.

According to Honegger, “First of all, I experience great difficulty in determining

the frame for my work. To me, a symphonic work must be built logically….”60

Honegger extensively employed sonata form in symphonic works, particularly in

the first and third (final) movements. Spratt’s example of Honegger’s sonata form

is shown below:

Table 3: Formal Analysis of Honegger Symphony No. 3, movt. I.61

Exposition

Measures 1-116 (Rehearsal number [ ] )

Introduction

[1] Theme 1 and developed counterstatement

[4] Theme 2 (a), (b) and (c)

[5] Theme 3 with counterstatements including those by inversion

[7] Theme 4

[10] Codetta-Theme 2 (a) including augmented version

Development:

Measures 117-152

[11] Introduction material and Theme 1 with Theme 2 (c) providing the

link to the recapitulation

60

Honegger,79. 61

Spratt, 428.

83

Recapitulation

Measures 153-208

[15] Theme 1

[16] Theme 2 (c)

Theme 3 and inversion

[17] Theme 4 (opening)

Theme 3 and inversion

[18] Theme 4 (conclusion)

[19] Theme 3 and inversion

Theme 2 (a) and –by diminution-2 (b)

Coda

Measures 209-224

[20]- Bird theme (new theme) over version by diminution of Theme 2 (b)

[21]- Introduction material

Modified-sonata form is presented with a second development appearing

toward the end of the recapitulation. Throughout Honegger’s five symphonies,

twelve of the fifteen total movements are written in developmental forms in which

the motivic material is developed consistently. Repeated themes are given varied

formations, primarily through augmentation or diminution.62

Table 2 supports Markow’s observations regarding the weak formal

structure and immaturity of Piano Concerto No. 3. By contrast, Piano Concerto

No. 4 displays a strong formal structure in the first movement’s modified-sonata

62

Parker II, 294.

84

form. All themes are presented clearly with transitions effectively linking thematic

material. The appearance of a new theme to introduce the coda is an often used

technique for Honegger, but Mathieu makes use of this device for the first time in

Piano Concerto No. 4. The dramatic changes in the handling of formal structure

between these two concerti by Mathieu suggest evidence of Honegger’s impact.

B. Motive and thematic material in Piano Concerto No. 4, movt. I

No motives are employed in the first movement of Piano Concerto No. 3.

However, in the first movement of Piano Concerto No. 4, three themes are used,

all of which are linked by transitions. Motive X first appears in Theme 1, a triplet

figure with pitches E, B, E and F# (see Example 5.3a). It appears with the same

rhythmic pattern but in chromatic motion in Theme 2 and Transition 3 and with

the similar form in the Codetta (see Example 5.3b to 5.3d). Motive X exists in

rhythmic alternation in Transition 2’ and Theme 3 (see Example 5.3e to 5.3f).

85

Musical Example 5.3a: Mathieu, Piano Concerto No. 4 movt. I, mm. 1-4 (Theme

1)


(Theme 2)

Musical Example 5.3c: Mathieu, Piano Concerto No. 4 movt. I, mm. 182-185

(Trans. 3)

86

Musical Example 5.3d: Mathieu, Piano Concerto No. 4 movt. I, mm. 320-324

(Codetta in orchestral part)

Musical Example 5.3e: Mathieu, Piano Concerto No. 4 movt. I, mm. 126-128

(Trans 2’ in orchestral part)

Musical Example 5.3f: Mathieu, Piano Concerto No. 4 movt. I, mm. 279-285

(Theme 3)

Motive X appears mostly in Themes 1 and 2, as well as Transitions 1 and 2,

with occasional alterations. Theme 2 is developed with diminution and modulates

from a minor to a major key. Motive X appears in the latter part of Theme 2 in

chromatic motion for developmental purposes.

Honegger often utilizes motives in the introductory sections and at

important thematic junctures, especially for developmental purposes. Sometimes

he alters the contour, the interval and rhythm of the motives, and uses fragments

87

to manipulate development sections.63

Motive X appears in the beginning of his

Symphony No. 1, first movement (see Example 5.4a); the contour of the motive is

altered in mm.199-200 (see Example 5.4b); intervallic and rhythmic alterations

appear in mm. 210-211 (see Example 5.4c); a fragment of motive X is employed

in mm. 222-224 (see Example 5.4d)64

.The same techniques are found in the first

movement of Mathieu’s Piano Concerto No. 4.

Musical Example 5.4a: Honegger, Symphony No. 1, movt. I, mm. 1-2

Musical Example 5.4b: Honegger, Symphony No. 1, movt. I, mm. 199-200

63

Ibid., 42, 44. 64

Examples 5.4a to 5.4d are taken from Parker’s dissertation, 42, 44.

88

Musical Example 5.4c: Honegger, Symphony No. 1, movt. I, mm. 210-211

Musical Example 5.4d: Honegger, Symphony No. 1, movt. I, mm. 222-224

C1. Rhythmic design of Piano Concerto No. 3, mvt. I

The rhythmic designs in Piano Concerto No. 3 are simpler and more regular

and repetitive. In Example 5.5, each down beat is emphasized. In addition to a

lack of rhythmic variety, no ostinato patterns or metric displacement are found in

Piano Concerto No. 3.

89


(Theme 1)

Example 5.5 demonstrates the way in which Mathieu uses repetitive

rhythmic patterns and how he emphasized the large beat.


C2. Rhythmic design of Piano Concerto No. 4, mvt. I

In Piano Concerto No. 4, the rhythms become more diverse and energetic.

Shifting meter is common throughout much of Mathieu’s music.

90


In addition to metrical changes, Mathieu often alters the rhythmic pulse by

combining different patterns within a measure or by using ties to create

syncopation. In Example 5.8, the rhythmic pulse switches from a group of three to

groups of two in m. 186, and from triplet to quadruplet in m. 187. Syncopation

created by tying a note on the weak part of a beat to a strong beat between the

meter changes in mm. 188-189 obscures the steady pulse but adds to the rhythmic

variety.


91

B. Second Movement

A1. Form of Piano Concerto No. 3, movt. II

Table 4: Formal Analysis of Mathieu Piano Concerto No. 3, movt. II

Like the first movement of Piano Concerto No. 3, the second movement is

built in a sectional form comprising nine sections (A to I). The length of each

section varies. Chromatic work, arpeggios, and fermatas are used as

unsophisticated transitional material to link the sections. All sections are

presented individually and without further development. The keys are mostly

diatonic in major keys, relating sections with tonic and dominant relationships. A

remote key relationship appears only in section E.

Section

Measure

Beginning

Key

Modulation to

Introduction 1-9 Db Gb

A (Theme 1) 9-47 Gb Gb-Db

B (Theme 2) 48-88 Gb Db-Dbm

C (Theme 3) 89-106 Db Db

D (Theme 4) 107-150 Db Db

E (Theme 5) 151-176 Db Fm-Gb

F (Theme 6 - Motive X) 177-225 Chromatic

passage Db-Eb-Gm

A (Theme 1) 226-237 Eb Eb:V7

G (Theme 7) 238-260 Gb Db

H (Theme 6 - Motive X) 261-290 Db Eb

92

A2. Form of Piano Concerto No. 4, movt. II

Table 5: Formal Analysis of Mathieu Piano Concerto No. 4, movt. II.


A section [1-59]

Introduction-

Motive X 1-10 Ebm E

Theme 1a 11-21 E (with B Mixolydian in

the melody) E

Theme 1b- Motive X

22-30 E Db-GbM7

Trans.1- Motive X

31-42

Undefined

(E+ over F,

nonfunctional)

Bbm-Db-Gb

Theme 2 43-51 Db Gb-undefined

Trans. 2 52-59

Undefined

(series of nonfunctional

dominant chords)

Undefined

B section [60-263]

Theme 3- Motive Y 60-88 E Mixolydian E-centered-G#m-G#

-Bbm

Theme 4 89-101 Bbm Undefined

(chromatic passage)

Trans. 3 [102-170] - 6 passage works

Passage 1 102-114 B-centered Bb-centered

Passage 2 115-124 Bb-centered F7(Implied V7

Passage 3 - Motive X 125-144

Chromatic passage work

with emphasis on Ab

diminished chord

Ab9 (Implied

dominant chord)

Passage 4 145-148 Ab9 Chromatic passage

Passage 5 149-158 Ab9 (Implied dominant

chord Ebm-Ab9

Passage 6 159-170 C whole-tone scale Ab9

Theme 5 - Motive Z 171-183 Db G

Theme 6 - Motive Z 184-225 G Gb-Db-Bm-F#m-

G#9

93

Theme 7 226-239 G E

Trans. 4 240-251 Ab-centered Inconclusively on

non-functional chord

Theme 8 252-263 Bm Bm

A section [264-293]

Theme 1 -

Trans. to mvt. 3 264-293 E Db-E-F7b5

The form of the second movement is A-B-A with an extremely lengthy

middle section. Section A begins with an introduction in Eb minor and modulates

to E major, setting up the key for Theme 1, where B Mixolydian is clearly

demonstrated. Transitions exist between Themes 1 and 2, Themes 2 and 3,

Themes 4 and 5, and Themes 7 and 8. After Transition 1, Theme 2 appears in Db

major and immediately modulates to Gb major in the same measure. The key in

the rest of Theme 2 remains undefined because of the unstable and unpredictable

harmonic progression.

The B section is three times as large as the A section. Six themes (Themes 3

to 8) are employed, with transitions between themes, except between Themes 3

and 4, 5 and 6, and 6 and 7. E Mixolydian appears in the beginning of Themes 3,

the second time this church mode appears in this movement. The unusual length

of the B section is a result of the extensive passage work in Transition 3. In this

transition, six iterations of passage work are employed in different tonal centers,

using chromatic motion, and a whole-tone scale with no links or development. An

Ab9 chord is used extensively from passage 3 to 6, creating the effect of a

dominant chord. However, it does not resolve until it arrives on Db in Theme. 5.

The harmonic components in each area of passage work vary but the texture is

94

similar, almost universally fast-note passages.

The recurring A section is short and only Theme 1 returns. This

manipulation is the same as that employed by Mathieu in the Recapitulation of the

first movement. A transition followed by Theme 1 is highly chromatic and

continually pushes toward the third movement.

In the second movement of Piano Concerto No. 4, Mathieu not only uses

major and minor keys, but also church modes, different key centers and

whole-tone scales.

B1. Motivic and thematic material in Piano Concerto No. 3, movt. II

Mathieu uses only one motive (X) in the second movement of Piano

Concerto No. 3. It appears mostly in the original form in sections F, H and I.

Seven themes appear in the second movement of Piano Concerto No. 3.

Arpeggiated patterns and fermatas are often used as a simplistic transitional

material to link or separate each theme.

Musical Example 5.9a: Mathieu Piano Concerto No. 3, movt. II, mm. 184-187

(Section F)

95


(Section H)

Musical Example 5.9c: Mathieu, Piano Concerto No. 3 movt. II, mm. 297-299

(Section I)

B2. Motivic and thematic material in Piano Concerto No. 4, movt. II

Eight themes are used in this movement, each with an independent

character. Most of the themes are stated in major or minor keys. The exception is

Theme 3, written in E Mixolydian. Three motives (X, Y, Z) are used in the second

movement of Piano Concerto No. 4. Motive X appears mostly in the same rhythm

but often alters the melody to fit the texture and character of the different sections.

In the beginning of this movement, the orchestra plays Motive X in Eb minor (see

Example 5.10a). Theme 1b begins with Motive X in intervallic alteration in E

major and later modulates to Db major (see Example 5.10b). In Transition 1, the

motive appears in Bb minor (see Example 5.10c) and the interval is changed again,

outlining an E augmented chord (see Example 5.10d). The final appearance of

Motive X before the exposition is found in passage 3 of Transition 3, where

96

Mathieu uses this motive and its fragment to build to a climax (see Example

5.10e).


(Introduction)


97

Musical Example 5.10c: Mathieu, Piano Concerto No. 4, movt. II, mm. 31-34

(Trans.1)

Musical Example 5.10d: Mathieu, Piano Concerto No. 4, movt. II, mm. 35-37

(Trans.1)

98

Musical Example 5.10e: Mathieu, Piano Concerto No. 4, movt. II, mm. 131-138

(Passage 3 of Trans.3)

Motive Y only appears in the orchestra part of Theme 3 and repeats

frequently, building rhythmic excitement (see Example 5.11a).


(Theme 3)

99


(Theme 3)

Motive Z, as applied, breaks down the long melodic line of Theme 5 (see

Example 5.12a) and appears again in Theme 6, though with rhythmic alternation

(see Example 5.12b).

Musical Example 5.12a: Mathieu, Piano Concerto No. 4, movt. II, mm.166-177

100

Example 5.12b: Mathieu, Piano Concerto No. 4, movt. II, mm. 208-210

(Theme 6)

Mathieu incorporates eight themes and three motives in the second

movement of Piano Concerto No. 4. The ideas of each theme seldom are further

developed or linked to other thematic materials, except Themes 5 and 6, where

Motive Y is used to link both themes. Like Honegger, Mathieu uses Motive X as

introductory material with alterations especially in the melody, Motive X often

appears with the same rhythm in different textures throughout the entire

movement; however, it does not serve to link different themes, but is, rather, one

of the melodic materials.

C1. Rhythmic design of Piano Concerto No. 3, movt. II

The rhythmic design of the second movement of Piano Concerto No. 3 is as

regular and repetitive as that in the first movement. Syncopated rhythm and

syncopations formed by ties or slurs rarely are seen in Piano Concerto No. 3.

C2. Rhythmic design of Piano Concerto No. 4, second movement

In the second movement of the Piano Concerto No. 4, Mathieu frequently

employs syncopation for rhythmic effect. Syncopations used in this concerto can

101

be divided into two types: those syncopations created by tying a note on the weak

part of a beat to a strong beat (see Example 5.13); and those shaped by slurs that

emphasize upbeats (see Example 5.14).



Ostinato, another more sophisticated rhythmic feature, is found in this

movement. In Example, 5.15, it appears as a fast chromatic motion in the right

hand.

102

Musical Example 5.15: Mathieu, Piano Concerto No. 4, movt. II, mm, 159-162

(Passage 6 of Trans. 3)

Example 5.16 demonstrates a set of different rhythmic groupings—six,

seven, eight and nine notes in each—as well as a metric shift from 9/8 and 12/8.


103

Syncopation is an important rhythmic feature in Honegger’s music.65

It is

regularly found in all of his symphonies66

and in his concertino for piano and

orchestra. Although Honegger is considerably more varied and sophisticated in

his use of syncopation, there are similarities between Honegger and Mathieu’s

Piano Concerto No. 4 in this regard, particularly in the tendency to tie over the bar

line.

65

Parker II, 197. 66

Ibid., 201.

104

C. Third Movement

A1. Form of Piano Concerto No. 3, movt. III

Table 6: Formal Analysis of Mathieu Piano Concerto No. 3, movt, III


A (Theme 1) 1-35 D#m D#m

Trans.1 36-56 D#m F#

B [57-189] (Parts a to d)

Part a (Theme 2)

57-72

E

(Altered chromatic

jazz chord, music

never reaches tonic

reso1ution)

Abrupt ending on F# major

(add 6)

Trans.2

73-95

Undefined

(Chromatic passage) Dm-Db (F#m:V)

Part b (Theme 3) 96-127 F#m Db

Part c (Theme 4) 128-150 Gb Db ( Gb:V)

Part d (Theme 5)

151-180 Gb

Ebm-Fm-Abm-Gbm-Ab

Db-rapid nonfunctional chord

progression

Part b 181-189 Gbm Gb

A (Theme 1) 190-211 Em Em

Trans. 1 212-222 Em G ( Bbm:V/ ii°)

Coda 223-240 Bbm: ii° Bbm

105

Mathieu employs ABA form in the third movement of Piano Concerto No.

3 with transitions between A and B, returning A and Coda sections. In the A

section, one thematic idea is employed. The lengthy B section is made up of four

parts (a.b.c.d), each part with its own theme. The transition in the B section only

appears between Themes 2 and 3.

Major and minor systems are used mainly in the third movement of Piano

Concerto No. 3. This movement begins in D# minor and modulates to F# major, a

mediant modulation. In the middle section, a remote modulation (F# minor to Db

major) is found in part b; a dominant modulation (Gb major to Db major) in Part c;

and a parallel modulation (Gb minor to Gb major) in Part b’. When Theme A

returns, it begins in E minor instead of the tonic Bb minor, then Gs in octaves

appear as a preparation for C° (Bbm: ii°). The movement ends in Bb minor,

outlining a tritone relationship with the E minor in the return of Theme A. The

keys are undefined in Transition 2 and the end of Part c because of the chromatic

passage and rapid nonfunctional chord progression, respectively. A series of jazz

chords appear without reaching tonic resolution in Part a of the B section. It is the

first appearance of jazz harmony in Mathieu’s piano works.

106

A1. Form of Piano Concerto No. 4, movt. III

Table 7: Formal Analysis of Mathieu Piano Concerto No. 4, movt, III


A - Motive X 1-25 Bbm Bb

B (Theme 1) 26-44 Bb Dbm-B-centered-B

Trans. 1 -

Motive X 45-64 Undefined Bbm

A’ (Theme 2) -

Motive X 65-85 Bbm Bbm

Trans. 2 85-89 Bbm Chromatic passage to Gb

C (Theme 3) 90-115 Gb

Ab pentatonic-Gb-Ab

pentatonic-tritone

relation-chromatic third

relation (repeat the same

progression)

Retrans. - Motive X' 116-128 Chromatic passage B

A (Theme 2’) -

Motive X 129-134 C#m C#

Trans. 4 135-142 C#m C#

D (Theme 4) 143-149 D9-Ab9

(Tritone relationship) D9 to Ab9

Trans. 5 149-158 D9-Ab9 Bbm: V

A (Theme 2) 159-175 Bbm Eb:V

E (Theme 5) 176-191 Eb Ab- Bm- Db-F#:V

Coda 192-287 G center

C center-chromatic

passage-C center- F

center-undefined

(Chromatic and tritone

passage)

A 288-309 Bbm Bbm

Codetta 309-327 Bb Bb

107

Mathieu uses rondo form (ABACADA) in this movement, with transitions

between each section. This movement begins and remains in Bb minor throughout

most of the movement, ending in Bb major. In addition to the major and minor

key system, pentatonic scale, tonal centers, chromatic passages, and tritone

passages are also used. The application of different systems enriches the sound

effect but sometimes may obscure the tonality. Parallel modulations appear in the

A section and in Transition 4, where the keys suddenly modulate from minor to

major. Tritone relationships exist in the C and D sections and chromatic third

relationships appear in the C section only.

The third movements of Piano Concertos No. 3 and 4 contain ternary and

rondo forms, respectively. The former has an extremely expansive B section and

the latter has more equal length among sections. Only the major and minor system

is used in No. 3 while different tonal centers, tritone relationships, and chromatic

third relationships are often employed in No. 4. In addition, the key arrangement

in Piano Concerto No. 3 is more unconventional—different remote keys are

approached and the concerto ends in a new key. However, in Concerto No. 4, the

tonic key is emphasized and it ends in the parallel major key.

Mathieu uses rondo form in the third movement of Piano Concerto No. 4,

the first time rondo form is employed in his piano compositions. Honegger does

not use rondo form often in his symphonies. However, he combines both

modified-sonata form and rondo patterning67

in the third movement of Symphony

No. 2 (see Table 8).

67

This word is used by Geoffrey K. Spratt, The Music of Arthur Honegger, 422. It means the

music does not follow the strict rondo form but returns to first theme or motive frequently.

108

Table 8: Formal Analysis of Honegger Symphony No. 2, movt. III

Exposition

Measures 1-116 (Rehearsal number [ ])

Theme 1

[2] Theme 2

[3] Theme 1

[4] Theme 3

[5] Theme 4

Development:

[7] Theme 1

[9] Theme 1 and 2

[10] Theme 1 and 3

[11] Theme 1

Recapitulation

[14] Theme 4

[17] Theme 1

[18] Theme 3

[19] Theme 5 (conclusion)

[22] Coda

In Table 8, sonata form is clearly displayed and five thematic ideas are used

in this movement. Rondo patterning is also apparent as the thematic material

returns to theme 1 extensively throughout the entire movement. It is obvious that

Honegger and Mathieu employ their rondo forms differently. The former uses the

109

idea of rondo form under the sonata form while the latter uses basic rondo form.

Although Mathieu’s rondo form is less sophisticated than Honegger’s, the rondo

form in Mathieu’s third movement of Piano Concerto No. 4 is presented in an

organized and structural way, and each section is well balanced with effective

transitions. These compositional values of balance and structural control are

important features throughout Honegger’s music.

B1. Motivic and thematic material in Piano Concerto No. 3, movt. III

Mathieu does not use any motives in the third movement of Piano Concerto

No. 3. In this movement, five themes are employed and transitions only appear

between Themes 1 and 2 and between Themes 2 and 3. Each theme is presented

with its own character and remains independent.

B2. Motivic and thematic material in Piano Concerto No. 4, movt. III

Mathieu uses only one motive (Motive X) in the third movement of Piano

Concerto No. 4. Motive X appears several times in its original form in the

beginning of Section A; with melodic and rhythmic alternations in Theme 1, and

in fragmentation in the Retransition. The key of this motive generally remains in

Bb minor (see Example 5.19a), but it does modulate to C# minor in the return of

the A Section.

110

Musical Example 5.17a: Mathieu, Piano Concerto No. 4, movt. III, mm. 1-4

(Section A, introductory material)

Musical Example 5.17b: Mathieu, Piano Concerto No. 4, movt. III, mm. 118-121

(Retransition in orchestral part)

The melodic contour and rhythm of Motive X are changed in Theme 1 of

Section A (see Example 5.17c).

Musical Example 5.17c: Mathieu, Piano Concerto No. 4, movt. III, mm. 27-29

(Theme 1)

111

Motive X is not used for developmental purposes, as Mathieu does not use

it to extend his compositional ideas or to link each section. Thematic materials

appear in each of the five themes in different keys with independent characters.

Only Themes 1 and 2 from Sections A and B are linked by Motive X. The other

themes remain isolated.

C. Rhythmic design of Piano Concerto No. 4, movt. III

1. Analysis

Mathieu’s metric usage in Piano Concerto No. 3 confirms the meter and the

pulse groupings are stable and consistent. Metric displacement is not found in any

of the movements of Piano Concerto No. 3. However, in the Piano Concerto No. 4,

Mathieu’s metric usage suggests meters other than the original time signature.

Example 5.18 demonstrates this technique. The meter is 4/4, but the rhythmic

pattern of the two phrases suggests 5/4, as illustrated y the arrows in the example.


112

A characteristic of Honegger’s symphonies is the pulse organization within a

consistent meter. The initial time signature of a movement is often maintained

throughout the entire movement and most passages show internal pulse groupings.

Honegger states that the frequent changing of meters causes confusion and asserts

that it is nonsense to alter the time signature by section.68

As for

regularly-recurring pulse groupings, there are two different types of passages: in

one type, the pulse grouping confirms the meter; in the other, more sophisticated

type, regularly recurring pulse groupings suggest other meters69

, as shown in

Example 5.19:

Musical Example 5.19: Honegger, Symphony No. 2, movt. I, mm. 72-7770

68

Honegger, 190. 69

Parker, 191. 70

Arthur Honegger, Symphonie pour cordes (Paris: Éditions Salabert,1942), 7.

113

In Example 5.19, a four quarter-note motive with an eighth-note ending is

repeated for several measures, thus creating a pulse grouping. The original meter

is 4/4, but this recurring pattern suggests 5/4, owing to the repetition of every fifth

notes. In addition, the example displays Honegger’s use of metric displacement.

Following the arrows in the example, the first beat of each pulse grouping begins

on beat three and relocates to beat two, three and four.

This similar usage of pulse groupings demonstrates Mathieu’s strong

connection to Honegger, but perhaps a more striking similarity between the two

composers is to be found in their treatment of thematic material within the coda

section. The unusual device of introducing new material at the onset of the coda

became a musical signature for Arthur Honegger and is found frequently in his

music. According to Daniel Parker, “Honegger most frequently places new

thematic materials in the coda or development sections of a particular movement.

In fact, of the fifteen new post-expositional melodies encountered in these

movements, the majority (seven) are first heard in codas.”71

Often this new theme

was accompanied by ostinato patterns or repetitive rhythmic figures, such as those

found in the third movement of Honegger’s Symphony No. 2 and in all three

movements of No. 3,72

Example 5.20 illustrates this technique.

71

Ibid., 314. 72

Ibid.

114

Musical Example 5.20: Honegger, Symphony, No. 3, movt. I, mm. 225-227

At the onset of the Coda in Example 5.20, the new theme is given to the

flute and the clarinet and accompanied by a unison ostinato pattern in clarinets

and bassoons.

Mathieu attempts a similar approach in the Coda of his Piano Concerto No.

4, first movement. In Example 5.21 a folkloric march theme appears for the first

time in the Coda. Mathieu places a simple repeated drone below the theme. The

melodic line is highlighted in the example. Here Mathieu’s treatment is effective

in creating a sense of surprise at the opening of the coda. The compositional

115

device of introducing new material in the coda is not found in any of Mathieu’s

earlier published works.


(Reduction for two pianos)73

73 André Mathieu, Quatrième Concerto pour piano et orchestre version pour deux pianos

(Canada:Les Éditions Orchestra Bella, 2008), 29.

116

CHAPTER VI

CONCLUSION

Compositional mastery was not Mathieu’s invariable attribute, particularly

early in his career. His first larger work, Piano Concerto No. 3, suffers from a

weak formal structure, possessing little logic and almost no skillful connection

between sections or themes. Neither does he develop his thematic material in

these earlier works. Here, Mathieu’s compositional ideas are abundant and

imaginative but cannot be supported or extended because of the formal weakness.

Piano Concerto No. 4 was written only three years after Piano Concerto No.

3, but in the intervening time, Mathieu’s compositional style had developed

significantly. The artistic growth between Piano Concertos No. 3 and 4 is readily

noticeable. Modified-sonata form, ternary form and rondo form are used,

respectively, in the three movements of Piano Concerto No. 4, while sectional and

ternary forms are employed in Piano Concerto No. 3. In Piano Concerto No. 4,

effective transitions appear regularly between themes, often with developed

thematic material or sometimes as extensive passage work. In Piano Concerto No.

3, Mathieu inserts brief uncomplicated transitions between themes, usually in the

form of singular fermatas, simple arpeggios or long repetitive rhythmic patterns to

connect the different themes. The resulting effect is often one of abruptness.

Unique thematic material appears in both Concertos Nos. 3 and 4, but Mathieu

manages these themes quite differently. In Piano Concerto No. 4, thematic ideas

are often linked through motives, even though the ideas are not developed further.

In Piano Concerto No. 3, the abundance of themes are varied and contrasting, but

are lacking in motivic development as well as effective transitional material. In

117

this earlier concerto, each theme remains isolated. Motivic material appears in all

three movements of Piano Concerto No. 4. Here Mathieu alters the melody and

rhythm of his motives, but in limited fashion. Motivic material does not appear in

the outer movements of Piano Concerto No. 3, however, unaltered motivic ideas

are found in the second movement. Other significant improvements in Mathieu’s

compositional style are found in his expanded rhythmic vocabulary. New devices

appear for the first time in Piano Concerto No. 4 including ostinato, syncopation

and metric displacement.

Mathieu began to acquire an understanding of formal structure during

studies in Paris with the great Swiss composer, Arthur Honegger. Among

Honegger’s wealth of tools was a superior grasp of the use of form. Mathieu’s

Piano Concerto No. 4, written under the tutelage of Arthur Honegger,

demonstrates a more mature compositional ability, when compared to the earlier

Piano Concerto No. 3, especially in the application of formal structure. Honegger,

in speaking of his compositional ideas, claims that “one must give the impression

of a composition in which all is linked, the image of a predetermined

structure….”74

Although Mathieu and Honegger are different in their

compositional styles, it is obvious that Mathieu absorbed Honegger’s core

compositional belief and demonstrated it in Piano Concerto No. 4. This

improvement allowed Mathieu to expand and develop his musical ideas and also

made it possible for him to synthesize different musical syntaxes, in particular the

harmonic language of both the Romantic and Impressionistic eras, into a unique

voice.

74

Honegger, 79.

118

Perhaps nowhere is Honegger’s influence more transparent than in the

treatment of coda. The introduction of a new theme at the beginning of the coda

section became a trademark of sorts for the Swiss composer. It would appear that

the resulting element of surprise found in the last moments of a work was in some

way attractive to Mathieu as evidenced in the similar treatment in his Piano

Concerto No. 4. In the coda of the concerto’s first movement, Mathieu not only

introduces a new theme but accompanies it with an ostinato, a clear homage to his

teacher.

Piano Concerto No. 4 serves as a pivot point between Mathieu’s youthful

works and the two later chamber music compositions: Trio for violin, cello and

piano (1949) and Quintet for piano and string quartet (1953). These late chamber

works, both written after Piano Concerto No. 4, show a continuous development

of harmony and formal structure. Romanticism remains at the core in both pieces,

but Mathieu obviously extends his harmonic language to 20th

century music as

dissonant harmony is more evident than in earlier compositions. At times,

dissonance and chromaticism obscure the tonal centers. Jean Vallerand, a

respected music critic at Le Devoir states, “With this piano trio, we find ourselves

in a different musical landscape; a land of gales and earthquakes…With this work,

the composer has entered the pantheon of great composers.”75

Mathieu’s last

major work Quintet was completed in 1953 and premiered in 1956. Lucie Renaud,

the author of CD program note, states that “The work is spangled with remarkable

technical difficulties. In the tradition of the great French schools, he employs

contrasts, even within sections, that oscillate between powerful drama and an

75

Ibid.

119

almost naïve charm.”76

According to Nicholson, “There is an extraordinary

progress in Mathieu’s writing in the Trio and Quintet. Mathieu has learned

something, especially in the areas of formal structure and development. He was

finally able to use a theme and not only repeat it but also transform it.”77

Piano

Concerto No. 4 was a very important predecessor in this regard.

Piano Concerto No. 4 stands at the threshold of Mathieu’s mature

compositional style. The discipline and organizing principals imparted to Mathieu

by his teacher Arthur Honegger during his final Paris trip enabled the young

composer to express his musical ideas confidently and logically. The more

assertive nature of Piano Concerto No. 4 is impressive and undeniable; it is as

though Mathieu has found compositional opportunities previously unavailable to

him and is delighted by the discovery.

76

Ibid. 77

Interview with Nicholson.

120

APPENDIX

PERMISSION FROM THE PUBLISHER

125

REFERENCES

Books

Honegger, Arthur. I Am a Composer. Trans.Wilson O. Clough in collaboration with

Allan Arthur Willman. London: Faber and Faber Limited, 1966.

Jean, Stéphane. The Mathieu Family Fonds. National Library of Canada, 1997.

Kaus, B. Kenneth. The Romantic Period in Music. Boston: Allyn and Bacon, Inc.,

1970.

Lockspeiser, Edward. Debussy: His Life and Mind. London: Cassell and Company

LTD, 1965.

Longyear, M. Rey. Nineteenth-Century Romanticism in Music. New Jersey:

Prentice Hall, Inc., 1973.

Nicholson, Georges. André Mathieu. Québec: Québec Amérique Inc., 2010.

Ratner, G. Leonard. Romantic Music: Sound and Syntax. New York: Schirmer

Books, 1992.

Rudel-Tessier. André Mathieu; Un genie. Montreal: Éditions Héritage, 1976.

Spratt, Geoffrey K. The Music of Arthur Honegger. Cork: Cork University Press,

1987.

Thompson, Oscar. Debussy: Man and Artist. New York: Dover Publication, Inc.,

1967.

Timbrell, Charles. French Pianism. Oregon: Amadeus Press, 1999.

Trezise, Simon., ed. The Cambridge Companion to Debussy. Cambridge:

Cambridge University Press, 2003.

Dissertations

Parker II, Daniel Quiention. “The Symphony of Arthur Honegger: An Examination

of Stylistic Factors and Form.” PhD diss., University of Kentucky, 1990.

Zuk, Ireneus Bohdan. “The Piano Concerto in Canada (1900-1980): A

Bibliographic Survey.” D.M.A. diss., Peabody Conservatory, 1985.

126

REFERENCES - Continued

Interviews

Alain Lefèvre, Canadian pianist, interview by author on Skype, September 1,

2009.

Gilles Bellemare, Montreal conductor, interview by author on Skype, December

10, 2009

Georges Nicholson, Mathieu’s official biographer, interview by author on Skype,

September 1, 2009.

Websites

Lefèvre, Alain. Alain Lefèvre official website. http://www.alainlefevre.com/

[accessed September 23, 2009].

Potvin, Gilles. “André Mathieu.” Encyclopedia of Music in Canada.

http://www.thecanadianencyclopedia.com/index.cfm?PgNm=TCE&Params=

U1ARTU0003903

[accessed September 23, 2009].

Rose, Charlie. “A Conversation with Pianist and Composer Alain Lefèvre.”

Charlie Rose Web site. http://www.charlierose.com/view/interview/9828.

[accessed in December.15, 2008].

Sound Recordings

Mathieu, André. 2003. Concerto de Québec. Orchestre symphonique de Québec

directed by Yoav Talmi, performed by Alain Lefèvre. Analekta AN 2 9814

[CD].

Mathieu, André. 2005. Hommage à André Mathieu. Performed by Alain Lefèvre.

Analekta AN 2 9275 [CD].

Mathieu, André. 2009. Piano Concerto No. 4. Tucson Symphony Orchestra

directed by George Hanson with pianist Alain Lefèvre. Analekta AN 2 9281

[CD].

http://www.alainlefevre.com/



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REFERENCES - Continued

Scores

Mathieu, André. Quatrième Concerto pour piano et orchestre version pour deux

pianos. Canada: Les Éditions Orchestra Bella, 2008.

Mathieu, André. Concerto de Québec version pour deux pianos. Canada:

Canadian Music Centre.

Honegger, Arthur. Symphonie pour cordes. Paris: Éditions Salabert, 1942.

Honegger, Arthur. Symphonie Liturgique. Paris: Éditions Salabert, 1946.

andré mathieu and his piano concerto no. 4: the influence of arthur honegger in mathieu's...

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