Four Modern Piano Compositions Incorporating the B-A-C-H Motive

An Analysis and Comparison of Four Modern Piano
Compositions Incorporating the B-A-C-H Motive: Valse-
improvisation sur le nom de Bach (1932) by Francis
Poulenc, Simbolo from Quaderno Musicale di
Annalibera (1952) by Luigi Dallapiccola,
Variations on BACH (1951) by Jean Coulthard, and
Magnificat (2004) by Sangjick Jun.
This research discusses four compositions written
within the past century that all make use of the B-A-
C-H motive and demonstrate the continuing influence
of Bach upon composers of many nations up to the
present day. Four nations (France, Italy, Canada,
and Korea) are represented in this study by
composers who come from very different backgrounds,
life experiences, and philosophical approaches to
composition. Each work s incorporation of the B-A-C-
H motive is analyzed, with particular attention
going to issues of rhythm, motivic development,
texture, and compositional structure in connection
to the motive. The greatest attention, of course,
goes to the methods each composer uses to employ the
B-A-C-H motive along with its numerous
transformations.

Autorentext

Dr. Seyoung Jeong : DMA in Piano Performance at West Virginia University, MM at Duquesne University, BM and MM at Ewha Womans University. Former faculty of Community Arts of WVU, Graduate Teaching Assistant, Accompanist of WVU Opera Theatre, the Accademia Musicale Pescarese Voice Program in Italy, Missouri Symphony Society Summer Festival.

Klappentext

An Analysis and Comparison of Four Modern Piano Compositions Incorporating the B-A-C-H Motive: Valse-improvisation sur le nom de Bach (1932) by Francis Poulenc, "Simbolo" from Quaderno Musicale di Annalibera (1952) by Luigi Dallapiccola,Variations on BACH (1951) by Jean Coulthard, and Magnificat (2004) by Sangjick Jun.This research discusses four compositions written within the past century that all make use of the B-A-C-H motive and demonstrate the continuing influence of Bach upon composers of many nations up to the present day. Four nations (France, Italy, Canada, and Korea) are represented in this study by composers who come from very different backgrounds, life experiences, and philosophical approaches to composition. Each work's incorporation of the B-A-C-H motive is analyzed, with particular attention going to issues of rhythm, motivic development, texture, and compositional structure in connection to the motive. The greatest attention, of course, goes to the methods each composer uses to employ the B-A-C-H motive along with its numerous transformations.