Writing Styles and Performance Guidelines of Carl Vine's Piano
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WRITING STYLES AND PERFORMANCE GUIDELINES OF CARL VINE’S PIANO CONCERTO NO. 1 D.M.A DOCUMENT Presented in Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts in the Graduate School of The Ohio State University By Jiyoung Park, M.M. Graduate Program in Music ***** The Ohio State University 2012 Document Committee: Dr. Caroline Hong, Advisor Dr. Arved Ashby Professor Joseph Duchi Copyright by Jiyoung Park 2012 ABSTRACT There are several problems facing the pianist who wishes to study and/or perform Carl Vine’s Piano Concerto No. 1. Since the work is not widely known, it is difficult to perform with an orchestra, as was originally intended. There is just one recording of the work available, and the full orchestral score is located only in Australia. The piano reduction lacks instrumentation indications, making performing with a second pianist difficult because of problems related to tone quality and balance between the two pianists. The soloist faces challenges including frequent tempo changes and multi-tiered textural sections that could not be found in earlier musical periods. The main purpose of this document is to serve as a resource for better understanding Vine’s Piano Concerto No. 1. I studied the orchestral score and gained detailed knowledge of the piece and clues to the instrumentation in the piano reduction. I also studied Vine’s piano sonatas for further insight into his pianistic writing. Performance guidelines are offered at the conclusion, to aid in successful technical performance and execution of one’s interpretation. The work has various complex rhythmic passages, a wide melodic range, chordal gestures, and sections which call for percussive sounds and various other tone colors. Though this piece can be difficult to perform and understand initially, it would be a great choice for the adventurous piano soloist who is given the opportunity ii to perform with a symphony orchestra, because one can showcase his/her technique and pianistic ability. iii Dedicated to my family iv ACKNOWLEDGMENTS First of all, I would like to express my gratitude to my advisor, Dr. Caroline Hong, for always supporting and encouraging me in my performance and study at The Ohio State University. I could get her advisement not only regarding school life, but also on my individual situation. As a professor with great experience and knowledge of life, she provides generous advice. Without her effort and assistance, I could not complete my doctoral degree program. I want to express my deep appreciation to Dr. Arved Ashby for his kindness and assistance throughout the required recitals and general examination. I wish to say thanks to Professor Joseph Duchi for his encouragement and support for my document. Finally, my parents and younger sister always believe in me and support me with love. I could never have studied abroad for a number of years without their devotion. I could get courage from them when I had a moment of weakness. They are my first treasure and I have a firm belief that we love each other the most in the world. v VITA May 7th, 1982…………………………………........................Born in Seoul, Korea 2005 ………………………………………………………….B.A., Piano Performance, Kyeong Won University Seoul, Korea 2008 ………………………………………………………….M.M., Piano Performance, Indiana University Bloomington, IN FIELDS OF STUDY Major Field: Music Piano Performance ………………………………………….Dr. Caroline Hong vi TABLE OF CONTENTS Abstract………………………………………………………………………………..ii Acknowledgments…………………………………………………………………….v Vita……………………………………………………………………………………vi Field of Study…………………………………………………………………………vi Table of Contents…………………………………………………………………….vii List of Tables………………………………………………………………………….x List of Diagrams………………………………………………………………………xi List of Figures……………………………………………………………………......xii Chapter 1. Introduction……………………………………………………………….1 2. Biographical background………………………………………………….4 3. Carl Vine’s Piano Concerto No. 1…………………………..……………..8 3.1 Brief Survey of Piano Concerto No. 1………………………………...8 3.2 Compositional Style…………………………………………………10 3.2.1 Texture…………………………………………………10 3.2.2 Melody………………...…………………………………10 3.2.3 Rhythm……………………………………………..……10 3.2.4 Harmony and Structure…………………………………..11 3.2.4.1 First Movement…………………………………..11 3.2.4.2 Second Movement……………………………….16 3.2.4.3 Third Movement…………………………………19 4. Writing Style of Piano Concerto No.1 Compared with His PianoSonatas…………………………………….………………….……22 4.1 Repeated Rhythmic Passages………………………………………..23 4.2 Accented Note……………………………………………………… 27 vii 4.3 Triple Rhythmic Motive……………………………………………..30 4.4 Tone Cluster………………………………………………………….33 5. Instrumentation of Piano Concerto No.1………………………………...35 5.1 First Movement……………………………………………..………37 5.2 Second Movement…………………………………………………...44 5.3 Third Movement………………………………………….…...……..48 6. Performance Guidelines……………………………………………….....54 6.1 Piano Concerto No.1………………………………………………...54 6.2 Solo Performance Guidelines………………………………………..55 6.2.1 Tempo Changes…………………………………………....55 6.2.1.1 First Movement…………………………………..55 6.2.1.2 Second Movement……………………………….57 6.2.1.3 Third Movement………………………………....58 6.2.2 Beat Counting and Timing………………………………...58 6.2.2.1 First Movement…………………………………..58 6.2.2.2 Second Movement……………………………….61 6.2.2.3 Third Movement…………………………………64 6.2.3 Voicing and Phrasing……………………………………...65 6.2.3.1 First Movement…………………………………..65 6.2.3.2 Second Movement………………………………..69 6.2.3.3 Third Movement………………………………….70 6.2.4 Fingering…………………………………………………..75 6.2.4.1 First Movement…………………………………..75 6.2.4.2 Second Movement………………………………..76 6.2.4.3 Third Movement………………………………….79 6.2.5 Pedaling……………………………………………………81 6.2.5.1 First Movement…………………………………..81 6.2.5.2 Second Movement………………………………..82 6.2.5.3 Third Movement………………………………….83 6.2.6 Divisi………………………………………………………83 6.2.6.1 Second Movement………………………………..83 6.2.6.2 Third Movement………………………………….84 6.2.7 Dynamics…………………………………………………..86 5.2.8.1 Second Movement……………………………….86 6.2.8 Tone Quality……………………………………………….87 5.2.9.1 Third Movement…………………………………87 6.2.9 Tone Cluster……………………………………………….88 5.2.10.1Third Movement………………………………...88 6.2.10 Practice for the Climax…………………………………….88 6.2.10.1 First Movement………………………………….88 6.2.11 Posture……………………………………………………..91 6.2.11.1 Third Movement………………………………..91 6.2.12 Memorization……………………………………………...92 6.2.12.1 First Movement…………………………………92 viii 6.3 Ensemble Performance Guidelines………………………………….93 6.3.1 Rhythmic Timing…………………………………………..93 6.3.1.1 First Movement…………………………………..94 6.3.1.2 Second Movement………………………………..97 6.3.1.3 Third Movement………………………………….98 6.3.2 Melody Alternation………………………………………100 6.3.2.1 First Movement…………………………………100 6.3.2.2 Second Movement………………………………103 6.3.2.3 Third Movement………………………………103 7 Conclusion………………………………………………………….………105 Bibliography………………………………………………………………...………107 Appendix A: Carl Vine’s Piano Works…………...…………………………………109 Appendix B: Front Page of Orchestral Score…….…………………………………112 Appendix C: First Page of Orchestral Score…...……………...……………………113 ix LIST OF TABLES Tables Table 3.1 Carl Vine Piano Concerto No. 1, Overall Style……………………………..9 Table 3.2 Carl Vine Piano Concerto No. 1, First movement…………………………15 Table 3.3 Sub-Sections of the first movement……………………………………….15 Table 3.4 Carl Vine Piano Concerto No. 1, Second Movement ……………………18 Table 3.5 Sub-Sections of the second movement ……………………………………18 Table 3.6 Carl Vine Piano Concerto No. 1, Third Movement ……………………….20 Table 3.7 Sub-Sections of the third movement ……………………………………...20 Table 5.1 Carl Vine Piano Concerto No. 1, Instrumentation…………………………35 x LIST OF DIAGRAMS Diagrams Diagram 4.1 Carl Vine Piano Concerto No. 1, 3rd mov…………………………….28 Diagram 4.2 Carl Vine Piano Sonata No. 3, Presto, m. 281-292 ……………………29 Diagram 6.1 12 counts within one measure………………………………………….59 Diagram 6.2 Carl Vine Piano Concerto No. 1, 1st mov., m. 9………………………..60 Diagram 6.3 Carl Vine Piano Concerto No. 1, 1st mov., m. 124-127……………...…89 Diagram 6.4 Carl Vine Piano Concerto No. 1, 1st mov., m. 9, rhythmic timing……..95 Diagram 6.5 Carl Vine Piano Concerto No. 1, 2nd mov., m. 227…………………….97 xi LIST OF FIGURES Figures Figure 3.1 beginning of the Motive I in pitch center D, from measure 1………. …12 Figure 3.2 beginning of the Motive I in pitch center A, from measure 13…...………12 Figure 3.3 beginning of the Motive I in pitch center Ab, from measure 96 …………12 Figure 3.4 beginning of the Motive I in pitch center Bb, from measure 104……….. 12 Figure 3.5 beginning of the Motive II in pitch center G, from measure 58 ………..13 Figure 3.6 beginning of the Motive II in pitch center G, from measure 74 ………..13 Figure 3.7 beginning of the Motive III in pitch center G, from measure 112 ……14 Figure 3.8 beginning of the Motive III in pitch center E7, from measure 116 ……..14 Figure 4.1 Carl Vine Piano Concerto No. 1, 3rd mov., m. 326-329…………………..23 Figure 4.2 Carl Vine Piano Sonata No. 1, 1st mov., m. 105-119……………………..24 Figure 4.3 Carl Vine Piano Concerto No. 1, 3rd mov., m. 430-431…………………..25 Figure 4.4 Carl Vine Piano Concerto No. 1, 3rd mov., m. 434-435…………………..25 Figure 4.5 Carl Vine Piano Concerto No. 1, 3rd mov., m. 436-437…………………..26 Figure 4.6 Carl Vine Piano Sonata No. 1, 1st mov., m. 114-121……………………..26 Figure 4.7 Carl Vine Piano Concerto No. 1, 3rd mov., m. 405-407…………………..27 Figure 4.8 Carl Vine Piano Sonata No. 3, Presto, m. 281-292……………………….28 Figure 4.9 Vine Piano Concerto No. 1, 1st mov., m. 124-126………………………..29 Figure 4.10 Carl Vine Piano Sonata No. 2, 2nd mov., m. 426-429…………………....30 Figure 4.11 Carl Vine Piano Concerto No. 1, 3rd mov., m. 318……………………30 xii Figure 4.12 Carl Vine Piano Sonata No. 2, 1st mov., m. 19…………………………..31 Figure 4.13 Carl Vine Piano Concerto No. 1, 3rd mov., m. 307……………………...31 Figure 4.14 Carl Vine Piano Sonata No. 2, 1st mov., m. 9……………………………31 Figure 4.15 Carl Vine Piano Concerto No. 1, 1st mov., m. 24-25……………………32 Figure 4.16 Carl Vine Piano Concerto No.