A Beautiful Mind

Total Page:16

File Type:pdf, Size:1020Kb

A Beautiful Mind ⼀ XINTONG WANG A BEAUTIFUL MIND FOR ORCHESTRA A THESIS SUBMITTED IN CONFORMITY WITH THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF MUSICAL ARTS FACULTY OF MUSIC THE UNIVERSITY OF TORONTO DURATION: 20 MINUTES COPYRIGHT © 2020 XINTONG WANG (SOCAN) ALL RIGHTS RESERVED Abstract A Beautiful Mind Doctor of Musical Arts 2020 Xintong Wang Faculty of Music The University of Toronto A Beautiful Mind, is a 20-minute-long orchestral composition in two movements and for the following instrumentation: *2, *2, 2, 2—4, 2, 2, 1—timpani, 2 percussion; harp; and string orchestra. As the title suggests, A Beautiful Mind is an intuitive meditation on the phenomenon of Beauty and its roots in the human psyche. In my own musical experience, I have encountered this sense of beauty in the music of the Romantic era, early Impressionism and folk music of various traditions and moments in human history. In preparing for this composition, I spent quite a bit of time studying the music of European Romanticism. Among the many masterpieces of this era, I have been influenced the most by the colorful timbres and rich layers of Ottorino Respighi’s music and the long, languid continuous phrases in the orchestral works of Gustav Mahler. During the past ten years I have been living in Canada. It was my first extensive living experience outside China, my birthplace. During this time, I have been deeply influenced by the simplicity of the Canadian landscape, its people and their traditions. I find everything here simple and authentic. This connection between authenticity and simplicity is something I have discovered in my new country and have embraced it. Canada’s diverse culture and wide-open spaces have inspired in me a sense of originality and uniqueness that it is easier for an outsider to detect and be inspired by than for people born here who may be so used to it that it becomes invisible to them. Christmas Window, the first movement, was inspired by window displays in Toronto during Christmas time. Everything was so beautiful, and I felt overwhelmed by a sense of longing and beauty. Simple Elegance, the second movement, was inspired by a journey across Canada with my parents. They helped me synthesize our age-old traditions of my native China with the boundless beauty of my new country. A Beautiful Mind is dedicated to my parents and the love of my life, my husband. ii Table of Contents Pages Movement I 1 Christmas Window Second Movement 26 Simple Elegance iii INSTRUMENTATION 2 FLUTES (II DOUBLING PICCOLO) 2 OBOES (II DOUBLING ENGLISH HORN IN F) 2 CLARINETS IN B-FLAT 2 BASSOONS 4 FRENCH HORNS IN F 2 TRUMPETS IN C 2 TROMBONES 1 TUBA 2 PERCUSSION: PERC. 1 CELESTA TRIANGLE CYMBAL PERC. 2 CASTANETS TIMPANI BASS DRUM HARP FIRST VIOLINS SECOND VIOLINS VIOLAS CELLOS CONTRABASSES I .
Recommended publications
  • OTTORINO RESPIGHI — Trittico Botticelliano (Three Botticelli Pictures)
    OTTORINO RESPIGHI — Trittico Botticelliano (Three Botticelli Pictures) Though he was born in Bologna, the composer Ottorino Respighi is inevitably and forever associated with Rome thanks to his so-called “Roman Trilogy” of orchestral tone poems: Fountains of Rome, Pines of Rome, and Roman Festivals. For his Trittico Botticelliano, however, we must travel north to Tuscany and the Renaissance capital of Florence. It was there at the Uffizi Gallery that Respighi encountered three paintings by Sandro Botticelli: La Primavera (“Spring”), L’Adorazione dei Magi (“The Adoration of the Magi”), and La Nascita di Venere (“The Birth of Venus”). These three pictures don’t seem to have much in common other than the artist and gallery, but Respighi’s style, especially in his tone poems, often thrives on juxtaposition and contrast and he uses their divergent subject matters to maximum effect here to create a dynamic collection of snapshots. The opening movement provides an exuberant depiction of spring with the bassoon first introducing a dance tune that is subsequently echoed and ornamented by the full ensemble. In addition to his work as a composer, Respighi was also a scholar of Italian music history, so it is no accident that his dance tune closely resembles one that might have accompanied the Renaissance festivities of Botticelli’s day. The second movement is really the centerpiece and is built around the ninth century Latin antiphon “Veni Emmanuel,” better known to us as the advent hymn “O Come, O Come, Emmanuel.” The mournful and mysterious opening gives way to more colorful musical textures as each of the three Magi arrive at the manger and present their gifts.
    [Show full text]
  • The Glorious Violin David Finckel and Wu Han, Artistic Directors July 14–August 5, 2017
    Music@Menlo CHAMBER MUSIC FESTIVAL AND INSTITUTE The Fifteenth Season: The Glorious Violin David Finckel and Wu Han, Artistic Directors July 14–August 5, 2017 REPERTOIRE LIST (* = Carte Blanche Concert) Joseph Achron (1886–1943) Hebrew Dance, op. 35, no. 1 (1913) Johann Sebastian Bach (1685–1750) Chaconne from Partita no. 2 in d minor for Solo Violin, BWV 1004 (1720)* Prelude from Partita no. 3 in E Major, BWV 1006 (arr. Kreisler) (1720)* Double Violin Concerto in d minor, BWV 1043 (1730–1731) Ludwig van Beethoven (1770–1827) String Quintet in C Major, op. 29 (1801) Violin Sonata no. 10 in G Major, op. 96 (1812) Heinrich Franz von Biber (1644–1704) Passacaglia in g minor for Solo Violin, The Guardian Angel, from The Mystery Sonatas (ca. 1674–1676)* Ernest Bloch (1880–1959) Violin Sonata no. 2, Poème mystique (1924)* Avodah (1929)* Bluegrass Fiddling (To be announced from the stage)* Alexander Borodin (1833–1887) String Quartet no. 2 in D Major (1881) Johannes Brahms (1833–1897) Horn Trio in E-flat Major, op. 40 (1865) String Quartet no. 3 in B-flat Major, op. 67 (1875)* Arcangelo Corelli (1653–1713) Concerto Grosso in g minor, op. 6, no. 8, Christmas Concerto (1714) Violin Sonata in d minor, op. 5, no. 12, La folia (arr. Kreisler) (1700)* John Corigliano (Born 1938) Red Violin Caprices (1999) Ferdinand David (1810–1873) Caprice in c minor from Six Caprices for Solo Violin, op. 9, no. 3 (1839) Claude Debussy (1862–1918) Petite suite for Piano, Four Hands (1886–1889) Ernő Dohnányi (1877–1960) Andante rubato, alla zingaresca (Gypsy Andante) from Ruralia hungarica, op.
    [Show full text]
  • The Pedagogical Legacy of Johann Nepomuk Hummel
    ABSTRACT Title of Document: THE PEDAGOGICAL LEGACY OF JOHANN NEPOMUK HUMMEL. Jarl Olaf Hulbert, Doctor of Philosophy, 2006 Directed By: Professor Shelley G. Davis School of Music, Division of Musicology & Ethnomusicology Johann Nepomuk Hummel (1778-1837), a student of Mozart and Haydn, and colleague of Beethoven, made a spectacular ascent from child-prodigy to pianist- superstar. A composer with considerable output, he garnered enormous recognition as piano virtuoso and teacher. Acclaimed for his dazzling, beautifully clean, and elegant legato playing, his superb pedagogical skills made him a much sought after and highly paid teacher. This dissertation examines Hummel’s eminent role as piano pedagogue reassessing his legacy. Furthering previous research (e.g. Karl Benyovszky, Marion Barnum, Joel Sachs) with newly consulted archival material, this study focuses on the impact of Hummel on his students. Part One deals with Hummel’s biography and his seminal piano treatise, Ausführliche theoretisch-practische Anweisung zum Piano- Forte-Spiel, vom ersten Elementar-Unterrichte an, bis zur vollkommensten Ausbildung, 1828 (published in German, English, French, and Italian). Part Two discusses Hummel, the pedagogue; the impact on his star-students, notably Adolph Henselt, Ferdinand Hiller, and Sigismond Thalberg; his influence on musicians such as Chopin and Mendelssohn; and the spreading of his method throughout Europe and the US. Part Three deals with the precipitous decline of Hummel’s reputation, particularly after severe attacks by Robert Schumann. His recent resurgence as a musician of note is exemplified in a case study of the changes in the appreciation of the Septet in D Minor, one of Hummel’s most celebrated compositions.
    [Show full text]
  • An Annotated Catalogue of the Major Piano Works of Sergei Rachmaninoff Angela Glover
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2003 An Annotated Catalogue of the Major Piano Works of Sergei Rachmaninoff Angela Glover Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY SCHOOL OF MUSIC AN ANNOTATED CATALOGUE OF THE MAJOR PIANO WORKS OF SERGEI RACHMANINOFF By ANGELA GLOVER A Treatise submitted to the School of Music in partial fulfillment of the requirements for the degree of Doctor of Music Degree Awarded: Spring Semester, 2003 The members of the Committee approve the treatise of Angela Glover defended on April 8, 2003. ___________________________________ Professor James Streem Professor Directing Treatise ___________________________________ Professor Janice Harsanyi Outside Committee Member ___________________________________ Professor Carolyn Bridger Committee Member ___________________________________ Professor Thomas Wright Committee Member The Office of Graduate Studies has verified and approved the above named committee members. TABLE OF CONTENTS Abstract………………………………………………….............................................. iv INTRODUCTION……………………………………………………………………. 1 1. MORCEAUX DE FANTAISIE, OP.3…………………………………………….. 3 2. MOMENTS MUSICAUX, OP.16……………………………………………….... 10 3. PRELUDES……………………………………………………………………….. 17 4. ETUDES-TABLEAUX…………………………………………………………… 36 5. SONATAS………………………………………………………………………… 51 6. VARIATIONS…………………………………………………………………….. 58 BIBLIOGRAPHY………………………………………………………………….
    [Show full text]
  • Pittsburgh Symphony Orchestra 2018-2019 Mellon Grand Classics Season March 15 and 17, 2019 JURAJ VALČUHA, CONDUCTOR LUKÁŠ
    Pittsburgh Symphony Orchestra 2018-2019 Mellon Grand Classics Season March 15 and 17, 2019 JURAJ VALČUHA, CONDUCTOR LUKÁŠ VONDRÁČEK, PIANO SERGEI RACHMANINOFF Concerto No. 3 in D minor for Piano and Orchestra, Opus 30 I. Allegro ma non tanto II. Intermezzo: Adagio — III. Finale: Alla breve Mr. Vondráček Intermission OTTORINO RESPIGHI The Fountains of Rome I. The Valle Giulia Fountain at Dawn II. The Triton Fountain at Morning III. The Trevi Fountain at Noon IV. The Villa Medici Fountain at Sunset (Played without pause) OTTORINO RESPIGHI The Pines of Rome I. The Pines of the Villa Borghese II. Pines near a Catacomb III. The Pines of the Janiculum IV. The Pines of the Appian Way (Played without pause) March 15-17, 2019, page 1 PROGRAM NOTES BY DR. RICHARD E. RODDA SERGEI RACHMANINOFF Concerto No. 3 in D minor for Piano and Orchestra, Op. 30 Sergei Rachmaninoff was born in Oneg (near Novgorod), Russia, on April 1, 1873, and died in Beverly Hills, California, on March 28, 1943. He composed his Third Piano Concerto in 1909, and it was premiered at Carnegie Hall in New York by the New York Philharmonic with conductor Walter Damrosch and Rachmaninoff as the soloist on November 28, 1909. The Pittsburgh Symphony first performed the concerto at Syria Mosque with conductor Fritz Reiner and Rachmaninoff again as the soloist in January 1941, and most recently performed it with conductor Gianandrea Noseda and pianist Denis Kozhukhin in January 2016. The score calls for pairs of woodwinds, four horns, two trumpets, three trombones, timpani, percussion and strings.
    [Show full text]
  • EXPLORING MUSIC with Bill Mcglaughlin Broadcast Schedule – Summer 2019
    EXPLORING MUSIC with Bill McGlaughlin Broadcast Schedule – Summer 2019 PROGRAM #: EXP 19-40 RELEASE: Week of June 24, 2019 Ports of Call, Part II This week Exploring Music continues traveling with composers around the world. Listen to them express the sounds of their native land and paint musical pictures of their travels. We will hear music of homesick George Gershwin in Paris, Charles Ives floating down the Housatonic River in the Berkshire Mountains of Massachusetts, and Ella Fitzgerald and her friends on the “A” train in New York City. PROGRAM #: EXP 19-41 RELEASE: Week of July 1, 2019 Arias and Barcarolles Taking a cue from President Eisenhower's famous remark to Leonard Bernstein, “… I like music with a theme, not all them arias and barcarolles." This week is a sampling of arias, overtures, barcarolles, and other melodic delights that deserve more time on the airwaves. Bill will spin tunes like Lawrence Welk’s “Bubbles in the Wine” and Fred Waring and his Pennsylvanians performing Jerome Kern’s “Smoke Gets in Your Eyes.” This is a week to just sit back and enjoy. PROGRAM #: EXP 19-42 RELEASE: Week of July 8, 2019 Hector Berlioz Louis-Hector Berlioz (1803-69) wrote that “Beethoven opened before me a new world of music, as Shakespeare had revealed a new universe of poetry.” Bill covers the arc of Berlioz’s life and music, from leaving medical school in Paris to attend the opera and studying at the Paris Conservatory, then being a model of the Romantic movement. This week’s fifth episode features the last two movements of Symphonie Fantastique, displaying Berlioz's gift for spectacular drama and concludes with an excerpt from his setting of “La Marseillaise,” the French national anthem.
    [Show full text]
  • 01 April 2020
    01 April 2020 12:01 AM Johann Christoph Pez (1664-1716) Overture in D minor Hildebrand'sche Hoboisten Compagnie DEWDR 12:10 AM Edvard Grieg (1843-1907) 3 Pieces from Slatter (Norwegian Peasant Dances), Op 72 Havard Gimse (piano) NONRK 12:19 AM Veljo Tormis (1930-2017) Sugismaastikud (Autumn landscapes) Norwegian Soloists' Choir, Grete Helgerod (conductor) DKDR 12:29 AM Jean-Baptiste Quinault (1687-1745) Overture and Dances - from the Comedy 'Le Nouveau Monde' (1723) L'ensemble Arion CACBC 12:38 AM Mario Nardelli (b.1952) Three pieces for guitar (1979) Mario Nardelli (guitar) HRHRT 12:47 AM Gabriel Faure (1845-1924), Jon Washburn (orchestrator) Messe Basse Henriette Schellenberg (soprano), Vancouver Chamber Choir, CBC Vancouver Orchestra, Jon Washburn (conductor) CACBC 12:57 AM Joseph Haydn (1732-1809) Symphony No. 97 in C major Hob.I:97 (1792) Royal Concertgebouw Orchestra, Nikolaus Harnoncourt (conductor) NLNPO 01:23 AM Johann Sebastian Bach (1685-1750), Felix Mendelssohn (arranger) Chaconne in D minor, from 'Partita No. 2, BWV 1004' arr. Mendelssohn Hiro Kurosaki (violin), Linda Nicholson (fortepiano) DEWDR 01:35 AM Wolfgang Amadeus Mozart (1756-1791) Quintet for piano, oboe, clarinet, bassoon and horn in E flat major, K452 Douglas Boyd (oboe), Hans Christian Braein (clarinet), Kjell Erik Arnesen (french horn), Per Hannisdal (bassoon), Andreas Staier (piano) NONRK 02:01 AM Bela Bartok (1881-1945) Divertimento, Sz. 113 Romanian Chamber Orchestra, Cristian Macelaru (conductor) ROROR 02:27 AM Dan Variu (b.1983) MikroDivertisment Romanian
    [Show full text]
  • 2018 Winter Festival America, Inspiring: Respighi & Prokofiev
    NOTES ON THE PROGRAM BY LAURIE SHULMAN, ©2017 2018 Winter Festival America, Inspiring: Respighi & Prokofiev ONE-MINUTE NOTES Chen Yi: Ge Xu (Antiphony). Chen Yi’s music fuses Chinese traditions with Western forms and instruments. Ge Xu is based on the antiphonal singing with which the Southern Chinese celebrate the Lunar New Year. The piece is about high spirits and hope. PROKOFIEV: Piano Concerto No. 3. Romanticism, classicism and modernism are finely balanced in Prokofiev’s dazzling Third Concerto. The second-movement variations, based on the Baroque gavotte, reveal his quirky melodic gift, while hisbiting humor surfaces in the finale. RESPIGHI: Pines of Rome and Fountains of Rome. Respighi’s famous tone poems are brilliant orchestral evocations of the Eternal City. Fountains evokes the interplay of water and light at various times of day. The more landscape-oriented Pines delves into imagined recollections of Rome’s glory days. The brass in the finale will raise the hairs on the back of your neck! CHEN YI: Ge Xu (Antiphony) CHEN YI Born: April 4, 1953 in Guangzhou, China. Currently resides in Kansas City, Missouri. Composed: 1993–94 World Premiere: January 28, 1995, in San Francisco NJSO Premiere: These are the NJSO premiere performances. Duration: 8 minutes As with other Chinese-American composers, Chen Yi’s life and philosophy were formed by China’s Cultural Revolution. Her parents were both well-to-do physicians with a keen interest in music. Chen studied both violin and piano from age 3. In the late 1960s, she was sent to the Chinese countryside to do forced labor.
    [Show full text]
  • LSO 2019-20 Program Book.Indd
    The Force of Destiny SATURDAY, FEBRUARY 15, 2020 7:30 PM Vance Brand Civic Auditorium Elliot Moore, conductor Andrew Sords, violin Longmont Youth Symphony, Keynes Chen, director La forza del destino: Overture GIUSEPPE VERDI The Red Violin: Chaconne for Violin and Orchestra JOHN CORIGLIANO Mr. Sords ~INTERMISSION~ “La Campanella” from Violin Concerto No. 2 NICOLO PAGANINI Mr. Sords Pini di Roma (Pines of Rome) OTTORINO RESPIGHI I pini de Villa Borghese (The Pines of the Villa Borghese) Pini presso una catacomba (Pines Near a Catacomb) I pini del Gianicolo (The Pines of the Janiculum) I pini della via Appia (The Pines of the Appian Way) Side-by-side with the Longmont Youth Symphony LSO Afterglow Party Please join us directly following the concert at Longmont Public House (1111 Francis Street) for happy hour food & drink specials. page 24 ARTIST BIOGRAPHY About Andrew Sords Saint-Saëns with the Carson City Symphony; American violinist Andrew Sords has a and continues touring with baritone celebrated career as a soloist on four Daniel Singer and pianist Elizabeth DeMio continents and in performances with his trio. featuring the obscure “6 Gesange” by Having collaborated with 300 orchestras, Louis Spohr. Uniting with John Walz (cello) Sords has been cited for combining visceral and Timothy Durkovic (piano), Sords will virtuosity with a ravishing tone, while appear in several all-Beethoven programs international critics endorse Sords as “a throughout the Los Angeles area, including fully formed artist” (Kalisz-Poland News), return appearances at Pasadena’s Boston “utterly radiant” (Canada’s Arts Forum), Court Concert Series and the St.
    [Show full text]
  • New on Naxos | FEBRUARY 2014 the Complete Rossini Overtures by Christian Benda and the Prague Sinfonia Orchestra
    NEWThe World’s O LeadingN ClassicalNAXO Music LabelS FEBRUARY 2014 This Month’s Other Highlights © 2014 Naxos Rights US, Inc. • Contact Us: [email protected] www.naxos.com • www.classicsonline.com • www.naxosmusiclibrary.com • blog.naxos.com NEW ON NAXOS | FEBRUARY 2014 The Complete Rossini Overtures by Christian Benda and the Prague Sinfonia Orchestra Rossini’s ceaseless wit and invention are best exemplified in his series of operas. His colourful orchestration and command of both comic and tragic elements can be savoured in Naxos’s complete series of symphonic overtures, either in four standard CD volumes or the spectacular sonics of the two Blu-ray Audio discs. Complete Overtures, Volume 1 La gazza ladra • Semiramide • Elisabetta, Regina d’Inghilterra (Il barbiere di Siviglia) Otello • Le siège de Corinthe • Sinfonia in D ‘al Conventello’ • Ermione 7 47313 09337 3 La gazza ladra (The Thieving Magpie) is perhaps one of the world’s most popular concert openers. The overture for Elisabetta, Regina d’Inghilterra was used again a year later by Rossini for Il barbiere di Siviglia. “an admirable start to what looks like being a very desirable series” – MusicWeb International 8.570933 Complete Overtures, Volume 2 Guillaume Tell • Eduardo e Cristina • L’inganno felice • La scala di seta Demetrio e Polibio • Il Signor Bruschino • Sinfonia di Bologna • Sigismondo 7 47313 09347 2 8.572735 Playing Time: 55:31 Guillaume Tell, with its overture in four movements, includes a scene for five solo cellos. La scala di seta (The Silken Ladder), one of his most popular pieces, opens with an overture of charm and élan.
    [Show full text]
  • Ottorino Respighi Concerto All’Antica Ancient Airs and Dances Suites Nos
    OTTORINO RESPIGHI CONCERTO ALL’ANTICA ANCIENT AIRS AND DANCES SUITES NOS. 1–3 DAVIDE ALOGNA VIOLIN CHAMBER ORCHESTRA OF NEW YORK SALVATORE DI VITTORIO Ottorino RESPIGHI (1879–1936) Ottorino Concerto all’antica • Ancient Airs and Dances, Suites Nos. 1–3 The renowned Italian composer Ottorino Respighi as well as composition with Giuseppe Martucci RESPIGHI (Bologna, 9 July 1879 – Rome, 18 April 1936) is and musicology with Luigi Torchi – a scholar of (1879–1936) perhaps most well known for his Roman Trilogy: Early Music. Following his graduation from the Concerto all’antica, P. 75 (1908) * ......................................................................... 30:13 Fountains of Rome, Pines of Rome and Roman conservatory in 1900, Respighi travelled to Russia 1 I. Allegro ..................................................................................................................................12:47 Festivals. His compositions from the 20th century to become principal violist for the Russian Imperial 2 II. Adagio non troppo ................................................................................................................8:15 signalled the rebirth of Italian symphonic music, and Theatre Orchestra of St Petersburg for its season 3 III. Vivace – Tempo di minuetto – Tempo I ...............................................................................9:11 a restored appreciation of Renaissance and Baroque of Italian opera. During his stay, Respighi studied musical forms. His orchestral works are thus composition for five months with Rimsky-Korsakov. considered the culmination of the Italian symphonic He then returned to Bologna to earn a second Antiche danze ed arie per liuto (‘Ancient Airs and Dances’) repertoire. Of equal importance, Respighi embraced degree in composition. From 1908 to 1909 he spent Suite No. 1, P. 109 (1917) ............................................................................................ 14:46 the continuity of tradition with a love of the ancient some time performing in Germany and also studied 4 I.
    [Show full text]
  • PROGRAM NOTES by Daniel Maki Suite
    PROGRAM NOTES by Daniel Maki Suite No. 1 from Ancient Airs and Dances, P.109 by Ottorino Respighi (1879 -1936) The beginning of the twentieth century was a period marked by furious experiment as composers looked for new directions that would take them away from what had come before, namely nineteenth century Romanticism. One of the most important developments came near the end of the First World War as a number of composers began to explore pre-romantic music. These were styles which featured an emotionally restrained approach that offered a refreshing change from the melodramatic and sometimes bombastic style played by the gigantic ensembles of the late Romantic era. Sometimes called the “Back to Bach” movement when it alluded to baroque style, this style became more or less officially known by the vague term neo-classicism. Neo-classicism would eventually come to refer to a style that was unmistakably modern but influenced by various characteristics of baroque music such as the use of small performing groups and an increased use of counterpoint. Another aspect of the movement, though, was the borrowing of actual old music and then arranging it in modern style. One of the early examples of this old -wine-in-new- bottles approach were the three suites of Ancient Airs and Dances by Ottorino Respighi, the first of which, heard today, was written in 1917. Respighi was something that not all composers are, namely a trained musicologist with an extensive knowledge of baroque and pre-baroque music. In this case, Respighi borrowed lute music of the Italian Renaissance period that had been collected by a fellow musicologist and early music performer named Oscar Chilesotti.
    [Show full text]