Willy Burkhard (1900–1955) was one of the most prolific Swiss composers of the twentieth century. His works comprise ninety-nine opuses and include a multitude of genres. Burkhard was awarded the Swiss Composersʼ Prize and the Music Prize of the City of Zürich. He held teaching positions at the conservatories in Bern and Zürich and was a Swiss Musiciansʼ Society board member for thirteen years. Indicating his importance to Swiss musical history, the Willy Burkhard Gesellschaft was founded in Bern in 1964.
This dissertation examines Burkhardʼs solo and chamber music for flute, including the Suite en miniature für Flöte und Klavier, Op. 71, No. 2 (1944), the Serenade für Flöte und Gitarre, Op. 71, No. 3 (1944), the Serenade für Flöte und Klarinette, Op. 92 (1953), and the Suite for Flöte solo, Op. 98 (1955). These works represent Burkhardʼs mature compositional style and their study provides insight into Burkhardʼs musical language and processes. Burkhardʼs music straddles the line between the tonal and atonal worlds. He often creates a tonal center through repetition of the tonic pitch class or harmony. However, he avoids diatonic scales in favor of chromatic and octatonic pitch sets. The formal structure of the music is closely related to Burkhardʼs treatment of tonality. Pitch and rhythmic motives are integral to Burkhardʼs music and appear in both melodic and secondary lines. He uses ostinato figures in the accompaniment that may either complement or contradict the melody. Burkhardʼs use of intervals is deeply intertwined with all of these elements, as he is partial to the minor second, minor third, major third, and perfect fourth. These intervals serve to create both local and long-distance connections. Of lesser importance is Burkhardʼs use of harmony, in which he generally chooses smooth linear motion and color over function. Burkhard also explores different textures in his music, regardless of instrumentation.
The knowledge gained through analysis is then used as a basis for notes regarding the performance of these works, with the goal of inspiring an appropriate stylistic interpretation. In addition to these suggestions, technical information and practice ideas are provided when applicable. / Suite en miniature für Flöte und Klavier, op. 71, no. 2 -- Serenade für Flöte und Gitarre, op. 71, no. 3 -- Serenade für Flöte und Klarinette, op. 92 -- Suite für Flöte solo, op. 98. / School of Music
| Identifer | oai:union.ndltd.org:BSU/oai:cardinalscholar.bsu.edu:123456789/195150 |
| Date | 24 January 2012 |
| Creators | Speiran, Kimberly L. |
| Contributors | Pohly, Linda, 1954-, Watanabe, Mihoko |
| Source Sets | Ball State University |
| Detected Language | English |
Page generated in 0.0017 seconds