Type of Document	Dissertation
Author	Cvetkov, Vasil Atanasov
Author's Email Address	vcvetkov@lsu.edu
URN	etd-11162010-135231
Title	"Chromatic Fantasy Sonata" by Dave Brubeck
Degree	Doctor of Philosophy (Ph.D.)
Department	Music
Advisory Committee	Advisor Name Title Smyth, David H. Committee Chair Delony, Willis Committee Member Grimes, William F. Committee Member Perry, Jeffrey Committee Member Parker, Rod Dean's Representative
Keywords	american music 12-tone themes sonata Dave Brubeck An die Music transcription fantasy Bach jazz idiom analysis sketches solo piano classical tradition
Date of Defense	2010-10-29
Availability	unrestricted
Abstract Dave Brubeck (b. 1920) is best known as a jazz composer, pianist, and bandleader, but he has also composed dozens of works that reach beyond the realm of jazz. His Chromatic Fantasy Sonata represents a milestone in his compositional activity, artfully fusing elements from European art music and the American jazz idiom. The work's subtitle ("inspired by J. S. Bach") makes clear the influence of the Baroque master, but gives no hint of the thoroughgoing jazz influences Brubeck also included in the piece. The Chromatic Fantasy Sonata was originally commissioned in 1988 by the chamber group An die Musik (oboe, violin, viola, cello, and piano), but Brubeck has rewritten and rearranged portions of it for a variety of ensembles, including the Brodsky String Quartet, the Dave Brubeck Quartet, and the London Symphony Orchestra. The transcription of the work for solo piano, completed by John Salmon, was published in 2003. The analysis presented here is based on Salmon’s transcription. This composition was chosen as subject for because it best represents my scholarly interest in music that combines classical and jazz traditions. No extended analytical study of the sonata exists. The investigation of this unique work will shed considerable light on Brubeck’s eclectic style and clarify his assimilation of the often noted classical tendencies in his music. Following an account of the genesis of the work and a brief description of selected sketches from the Brubeck Archive at the University of the Pacific, this essay provides a detailed analysis of each of the Sonata's four movements and a concluding summary. Included are considerations of the work's form, harmonic language, thematic and motivic constructions, and allusions to the works and the name of Bach.
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