A Study of Tyzen Hsiao's Piano Concerto, Op. 53

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A Study of Tyzen Hsiao’s Piano Concerto, Op. 53:

A Comparison with Rachmaninoff’s Piano Concerto No. 2

D.M.A Document

Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the

Graduate School of The Ohio State University

Lin-Min Chang, M.M.

Graduate Program in Music

The Ohio State University

2018

D.M.A. Document Committee:

Professor Steven Glaser, Advisor

Dr. Anna Gowboy

Dr. Kia-Hui Tan

Lin-Min Chang

2018

ABSTRACT

One of the most prominent Taiwanese composers, Tyzen Hsiao, is known as the “Sergei

Rachmaninoff of Taiwan.” The primary purpose of this document is to compare and discuss his

Piano Concerto Op. 53, from a performer’s perspective, with the Second Piano Concerto of

Sergei Rachmaninoff. Hsiao’s preferences of musical materials such as harmony, texture, and rhythmic patterns are influenced by Romantic, Impressionist, and 20th century musicians incorporating these elements together with Taiwanese folk song into a unique musical style.

This document consists of four chapters. The first chapter introduces Hsiao’s biography and his musical style; the second chapter focuses on analyzing Hsiao’s Piano Concerto Op. 53 in C minor from a performer’s perspective; the third chapter is a comparison of Hsiao and

Rachmaninoff’s Piano Concertos regarding the similarities of orchestration and structure, rhythm and technique, phrasing and articulation, harmony and texture. The chapter also covers the differences in the function of the cadenza, and the interaction between solo piano and orchestra; and the final chapter provides some performance suggestions to the practical issues in regard to phrasing, voicing, technique, color, pedaling, and articulation of Hsiao’s Piano Concerto from the perspective of a pianist.

DEDICATION

This document is dedicated to my mother.

iii

ACKNOWLEDGMENTS

Firstly, I would like to express my sincere gratitude to my advisor Professor Steven Glaser for the continuous support of my D.M.A. study, for his patience, motivation, and immense knowledge. His guidance helped me in all the time of research and writing of this document.

Besides my advisor, I would like to thank the rest of my document committee: Dr. Anna

Gawboy and Dr. Kia-Hui Tan, for their insightful comments and encouragement.

My sincere thanks also goes to my former teacher Dr. Grace Chung, who helped me to reach out for the full score of Tyzen Hsiao’s Piano Concerto in Taiwan.

Last but not the least, I wish to express how grateful I am to my family for their unconditional love and support during the past four years. None of this could have happened without my family.

VITA

2009...... Bachelor of Arts, piano performance,

Tainan National University of Arts, Taiwan

2013...... Master is Music, piano performance,

Kent State University

2014 – 2017...... Graduate Teaching Associate,

School of Music, The Ohio State University

FIELDS OF STUDY

Major Field: Music

TABLE OF CONTENTS

ABSTRACT ...... ii

DEDICATION ...... iii

ACKNOWLEDGMENT ...... iv

VITA ...... v

TABLE OF CONTENTS ...... vi

LIST OF TABLES ...... viii

LIST OF FIGURES ...... ix

INTRODUCTION ...... 1

CHAPTER 1: A BIOGRAPHY AND THE MUSICAL CHARACTERISTICS OF TYZEN HSIAO ...... 2

1.1 Life and Educational Background ...... 2 1.2 Three Periods of Hsiao ...... 4 1.3 Characteristics and Musical Style ...... 5 1.3.1 Taiwanese Folk Music ...... 9

CHAPTER 2: HSIAO’S PIANO CONCERTO OP. 53 ...... 11

2.1 Brief Background ...... 11 2.2 Analysis of Hsiao’s Piano Concerto ...... 13 2.2.1 Overview ...... 13 A) Thematic Material ...... 13 B) Rhythm ...... 17 C) Texture ...... 21 D) Harmony ...... 24 2.2.2 First Movement – Allegro Moderato ...... 26 2.2.3 Second Movement – Adagio ...... 38 2.2.4 Third Movement – Allegro con Fuoco ...... 47

CHAPTER 3: A COMPARISON OF HSIAO’S PIANO CONCERTO OP. 53 AND RACHMANINOFF’S

PIANO CONCERTO NO. 2 ...... 57

3.1 A Brief Introduction of Rachmaninoff’s Piano Concerto No. 2 ...... 57 3.2 Similarities ...... 58 3.2.1 Orchestration and Structure ...... 58 3.2.2 Rhythm and Technique ...... 61 3.2.3 Phrasing and Articulation ...... 66 3.2.4 Voicing and Dynamic ...... 67 3.2.5 Harmony and Texture ...... 69 3.3 Differences ...... 73 3.3.1 The Function of the Cadenza ...... 73 3.3.2 The Interaction between Solo Piano and Orchestra ...... 75

CHAPTER 4: PRACTICAL ASPECTS IN PERFORMING HSIAO’S PIANO CONCERTO

IN C MINOR, OP. 53 ...... 77

4.1 Phrasing and Voicing Issues ...... 77 4.2 Articulation, Sound, and Color Issues ...... 88 4.3 Technical and Pedaling Issues ...... 92

CONCLUSION ...... 98

BIBLIOGRAPHY ...... 100

vii

LIST OF TABLES

Table 1: Overview of Tyzen Hsiao’s Piano Concerto in C minor op. 53, 1st movement ...... 26

Table 2: Overview of Tyzen Hsiao’s Piano Concerto in C minor op. 53, 2nd movement ...... 38

Table 3: Overview of Tyzen Hsiao’s Piano Concerto in C minor op. 53, 3rd movement ...... 47

Table 4: First movement ...... 58

Table 5: Second movement ...... 58

Table 6: Third movement ...... 59

viii

LIST OF FIGURES

Figure 1: Tyzen Hsiao, Prelude No. 1, m. 14 ...... 5

Figure 2: Tyzen Hsiao, Piano Concerto, mm. 120-125 ...... 6

Figure 3: Taiwanese folk song, Ocean Song ...... 7

Figure 4: Tyzen Hsiao, Piano Quintet, mm. 1-4 ...... 7

Figure 5: Tyzen Hsaio, Piano Concerto, 1st movement, mm. 152-159 ...... 8

Figure 6: Hsiao’s Piano Concerto, Second theme of the 1st movement, m. 74 ...... 13

Figure 7: Hsiao’s Piano Concerto, 2nd movement, m. 111 ...... 14

Figure 8: Hsiao’s Piano Concerto, 3rd movement, m. 207 ...... 14

Figure 9: Taiwanese folksong, Grief ...... 14

Figure 10: Hsiao’s Piano Concerto, 2nd movement, mm. 36-39 ...... 15

Figure 11: Hsiao’s Piano Concerto, 3rd movement, mm. 125-127 ...... 15

Figure 12: Hsiao’s early song, The Magic of Love ...... 16

Figure 13: Hsiao’s Piano Concerto, 3rd movement, mm.103-106 ...... 16

Figure 14: Hsiao’s Piano Concerto, first theme of the 1st movement, mm. 7-9 ...... 17

Figure 15: Hsiao’s Piano Concerto, 2nd movement, mm. 28-29 ...... 17

Figure 16: Hsiao’s Piano Concerto, 3rd movement, mm. 26-27 ...... 17

Figure 17: Hsiao’s Piano Concerto, 1st movement, mm. 38-40 ...... 18

Figure 18: Hsiao’s Piano Concerto, 3rd movement, mm. 4-6 ...... 18

Figure 19: Hsiao’s Piano Concerto, 1st movement, mm. 41-46 ...... 18

Figure 20: Hsiao’s Piano Concerto, 2nd movement, mm. 49-56 ...... 19

Figure 21: Hsiao’s Piano Concerto, 3rd movement, mm. 113-119 ...... 19

Figure 22: Hsiao’s Piano Concerto, 1st movement, mm. 301-305 ...... 20

Figure 23: Hsiao’s Piano Concerto, 2nd movement, mm. 163-166 ...... 20

Figure 24: Hsiao’s Piano Concerto, 3rd movement, mm. 26-27 ...... 20

ix Figure 25: Hsiao’s Piano Concerto, 1st movement, mm. 165-167 ...... 21

Figure 26: Hsiao’s Piano Concerto, 3rd movement, mm. 65-67 ...... 21

Figure 27: Hsiao’s Piano Concerto, 1st movement, mm.35-36 ...... 22

Figure 28: Hsiao’s Piano Concerto, 2nd movement, mm. 49-52 ...... 22

Figure 29: Hsiao’s Piano Concerto, 3rd movement, mm. 210-211 ...... 22

Figure 30: Hsiao’s Piano Concerto, 1st movement, mm. 14-15 ...... 23

Figure 31: Hsiao’s Piano Concerto, 2nd movement, mm. 28-29 ...... 23

Figure 32: Hsiao’s Piano Concerto, 3rd movement, mm. 96-101 ...... 23

Figure 33: Hsiao’s Piano Concerto, 1st movement, augmented chord and intervals in piano part, mm. 153-154 .. 24

Figure 34: Hsiao’s Piano Concerto, 1st movement, whole tone scale in bassoon part, m. 153 ...... 24

Figure 35: Hsiao’s Piano Concerto, 1st movement, chromatic scale in piano part, mm. 157 ...... 25

Figure 36: Hsiao’s Piano Concerto, 2nd movement, interval of a fourth and seventh chord, m. 150 ...... 25

Figure 37: Hsiao’s Piano Concerto, 2nd movement, parallel thirds, mm. 152-153 ...... 25

Figure 38: Hsiao’s Piano Concerto, first theme of the 1st movement, mm. 7-12 ...... 28

Figure 39: Hsiao’s Piano Concerto, second theme of the 1st movement, mm. 70- 75 ...... 29

Figure 40: Hsiao’s Piano Concerto, second theme of the 1st movement, mm. 86-89 ...... 29

Figure 41: Hsiao’s Piano Concerto, 1st movement, mm. 128-133 ...... 30

Figure 42: Hsiao’s Piano Concerto, development, mm. 152-154 (changing meters) ...... 31

Figure 43: Hsiao’s Piano Concerto, development, mm. 160-161 (chromatic writing) ...... 31

Figure 44: Hsiao’s Piano Concerto, the second subsection in development, m. 165 ...... 32

Figure 45: Hsiao’s Piano Concerto, German augmented sixth chord, mm. 183-184 ...... 33

Figure 46: Hsiao’s Piano Concerto, the third subsection in development, mm. 189-190 ...... 33

Figure 47: Hsiao’s Piano Concerto, the third subsection in development, mm. 200-202 ...... 33

Figure 48: Hsiao’s Piano Concerto, the fourth subsection in development, mm. 203-204 ...... 34

Figure 49: Hsiao’s Piano Concerto, the fifth subsection in development, mm. 219-220 ...... 35

Figure 50: Hsiao’s Piano Concerto, Cadenza, mm. 261 ...... 35

Figure 51: Hsiao’s Piano Concerto, second theme in the recapitulation, m. 279 ...... 36

x Figure 52: Rachmaninoff’s Second Piano Concerto, 3rd movement, m. 35 ...... 36

Figure 53: Hsiao’s Piano Concerto, transition, mm. 297-299 ...... 36

Figure 54: Hsiao’s Piano Concerto, Coda, mm. 311-312 ...... 37

Figure 55: Hsiao’s Piano Concerto, Coda, m. 316-325 ...... 37

Figure 56: Hsiao’s Piano Concerto, the opening theme (a) of 2nd movement, mm. 1-10 ...... 40

Figure 57: Hsiao’s Piano Concerto, 2nd movement, m. 11 ...... 40

Figure 58: Hsiao’s Piano Concerto, 2nd movement, theme b, mm. 12-16 ...... 41

Figure 59: Hsiao’s Piano Concerto, Taiwanese folk song, Grief ...... 41

Figure 60: Hsiao’s Piano Concerto, 2nd movement, theme c, mm. 28-29 ...... 42

Figure 61: Hsiao’s Piano Concerto, 2nd movement, Violin Cadenza, m. 48 ...... 42

Figure 62: Hsiao’s Piano Concerto, 2nd movement, the first subsection in B section, mm. 49-52 ...... 43

Figure 63: Hsiao’s Piano Concerto, 2nd movement, the first subsection in B section, mm. 77-79 ...... 43

Figure 64: Hsiao’s Piano Concerto, 2nd movement, the second subsection in B section, mm. 85-96 ...... 44

Figure 65: Hsiao’s Piano Concerto, the third subsection in B section, mm. 111-114 ...... 45

Figure 66: Hsiao’s Piano Concerto, the fourth subsection in B section, mm. 129-130 ...... 45

Figure 67: Hsiao’s Piano Concerto, B section, transition leads to the cadenza, mm. 147-150 ...... 45

Figure 68: Hsiao’s Piano Concerto, Theme d in 2nd movement, mm. 163-166 ...... 46

Figure 69: Hsiao’s Piano Concerto, Coda in 2nd movement, mm. 169-179 ...... 46

Figure 70: Hsiao’s Piano Concerto, Cadenza in 3rd movement, mm. 1-3 ...... 49

Figure 71: Hsiao’s Piano Concerto, First theme in 3rd movement, mm. 4-6 ...... 49

Figure 72: Hsiao’s Piano Concerto, Transition in 3rd movement, mm. 34-36 ...... 50

Figure 73: Hsiao’s Piano Concerto, motif from the introduction of the first movement, mm. 52-53 ...... 50

Figure 74: Hsiao’s Piano Concerto, The first half of theme b, mm. 56-59 ...... 51

Figure 75: Hsiao’s Piano Concerto, the second half of theme b, mm. 64-67 ...... 51

Figure 76: Hsiao’s Piano Concerto, theme b, mm. 72-77 ...... 52

Figure 77: Hsiao’s Piano Concerto, part of the second cadenza, m. 102 ...... 53

Figure 78: Hsiao’s Piano Concerto, 3rd movement, mm. 144-147 ...... 54

xi Figure 79: Hsiao’s Piano Concerto, four measure bridge from introduction of 1st movement, mm. 160-163 ...... 54

Figure 80: Hsiao’s Piano Concerto, Coda in 3rd movement, mm. 193-218 ...... 55

Figure 81: Hsiao’s Piano Concerto, Coda, mm. 219-222 ...... 56

Figure 82: Hsiao’s Piano Concerto, Coda, mm 223-229 ...... 56

Figure 83: Rachmaninoff’s Second Piano Concerto, first movement, mm. 257-267 ...... 59

Figure 84: Hsiao’s Piano Concerto, second movement, mm. 129-139 ...... 60

Figure 85: Rachmaninoff’s Second Piano Concerto, second movement, mm. 102-103 ...... 61

Figure 86: Hsiao’s Piano Concerto, first movement, mm. 138-140 ...... 61

Figure 87: Rachmaninoff’s Second Piano Concerto, first movement, mm. 369-374 ...... 62

Figure 88: Hsiao’s Piano Concerto, third movement, mm. 185-186 ...... 62

Figure 89: Rachmaninoff’s Second Piano Concerto, first movement, mm. 237-240 ...... 62

Figure 90: Hsiao’s Piano Concerto, third movement, mm. 82-83 ...... 63

Figure 91: Rachmaninoff’s Second Piano Concerto, first movement, mm. 106-108 ...... 63

Figure 92: Hsiao’s Piano Concerto, first movement, mm. 7-8 ...... 63

Figure 93: Rachmaninoff’s Second Piano Concerto, first movement, mm. 219-224 ...... 64

Figure 94: Hsiao’s Piano Concerto, third movement, mm. 34-36 ...... 64

Figure 95: Rachmaninoff’s Second Piano Concerto, third movement, mm. 344-347 ...... 65

Figure 96: Hsiao’s Piano Concerto, second movement, mm. 136-139 ...... 65

Figure 97: Rachmaninoff’s Second Piano Concerto, second movement, mm. 106-107 ...... 65

Figure 98: Hsiao’s Piano Concerto, second movement, mm. 12-13 ...... 66

Figure 99: Rachmaninoff’s Second Piano Concerto, second movement, mm. 117-118 ...... 66

Figure 100: Hsiao’s Piano Concerto, third movement, m. 102 ...... 67

Figure 101: Rachmaninoff’s Second Piano Concerto, first movement, mm. 113-116 ...... 68

Figure 102: Hsiao’s Piano Concerto, first movement, mm. 165-167 ...... 68

Figure 103: Rachmaninoff’s Second Piano Concerto, second movement, mm. 118-121 ...... 68

Figure 104: Hsiao’s Piano Concerto, third movement, m. 102 ...... 69

Figure 105: First movement – Lyrical writing, mm. 93-96 ...... 69

xii Figure 106: Second movement – Chromatic writing and ascending scale, mm. 115-116 ...... 70

Figure 107: Third movement – Arpeggios, mm. 394-397 ...... 70

Figure 108: Third movement – Continuous octaves, mm. 168-170 ...... 70

Figure 109: Third movement – Broken chords, mm. 455-457 ...... 71

Figure 110: Second movement – Chromatic descending scale, m. 133 ...... 71

Figure 111: Second movement – Broken chords, mm. 97-98 ...... 71

Figure 112: First movement, Arpeggios, mm. 53-55 ...... 72

Figure 113: First movement – Lyrical writing, mm. 86-87 ...... 72

Figure 114: First movement – Continuous octaves, mm. 276-278 ...... 72

Figure 115: Third movement – Ascending scale, m. 102 ...... 72

Figure 116: Rachmaninoff’s Second Piano Concerto, 3rd movement, Cadenza, m. 430 ...... 73

Figure 117: Hsiao’s Piano Concerto, 2nd movement, Cadenza, mm. 150-154 (bridge to the next section) ...... 74

Figure 118: Rachmaninoff’s Second Piano Concerto, 2nd movement, mm. 64-73 ...... 75

Figure 119: Hsiao’s Piano Concerto, 1st movement, mm. 7-9 ...... 76

Figure 120: First movement, mm. 1-7 ...... 78

Figure 121: First movement, mm. 7-9 ...... 79

Figure 122: First movement, m. 37 ...... 80

Figure 123: First movement, Cadenza, m. 107 ...... 81

Figure 124: First movement, mm. 152-154 ...... 82

Figure 125: First movement, mm. 165-167 ...... 82

Figure 126: Second movement, m. 8 ...... 83

Figure 127: Second movement, mm. 40-43 ...... 84

Figure 128: Second movement, mm. 44-47 ...... 84

Figure 129: Second movement, mm. 163-166 ...... 84

Figure 130: Second movement, mm. 172-174 ...... 85

Figure 131: Third movement, mm. 1-3 ...... 85

Figure 132: Third movement, mm. 34-36 ...... 86

xiii Figure 133: Third movement, mm. 42-49 ...... 87

Figure 134: Third movement, second cadenza, m. 102 ...... 88

Figure 135: First movement, mm. 41-43 ...... 88

Figure 136: Second movement, mm. 49-52 ...... 89

Figure 137: Second movement, mm. 85-96 ...... 90

Figure 138: Second movement, mm. 129-132 ...... 91

Figure 139: Second movement, cadenza, mm. 150-151 ...... 91

Figure 140: First movement, mm. 86-90 ...... 92

Figure 141: First movement, mm. 311-312 ...... 93

Figure 142: First movement, mm. 317-319 ...... 93

Figure 143: Second movement, mm. 136-139 ...... 94

Figure 144: Third movement, mm. 4-6 ...... 95

Figure 145: Third movement, mm. 87-89 ...... 95

Figure 146: Third movement, mm. 119 ...... 96

Figure 147: Third movement, mm. 219-229 ...... 97

xiv

INTRODUCTION

Tyzen Hsiao (1938-2015) was one of most important twentieth-century composers from

Taiwan. His compositional style was not only influenced by Frédéric Chopin, Sergei

Rachmaninoff, and Béla Bartók but also by Presbyterian hymnody; and mostly, by Taiwanese folk music. Mr. Hsiao’s main contribution was integrating Taiwanese folk music with Western music and introducing Taiwanese music to the international stage. He composed numerous and varied compositions including many genres. Tyzen Hsiao wrote three major concertos for violin, cello, and piano, which were written respectively in 1988, 1990, and 1992. His unique compositional technique used Taiwanese folk song as the core material, and adding musical ideas from the classical, romantic, impressionist, and modern styles into his works.

His name has been well known since I was a child. People also called him the “Sergei

Rachmaninoff of Taiwan”; however, I did not have the opportunity to study any of his works. I personally prefer Rachmaninoff’s music so Hsiao’s music has caught my full attention. Having recently performed one of Rachmaninoff’s piano concertos, I found myself very excited and motivated during my learning process to investigate Hsiao’s Piano Concerto. His unique style of blending Taiwanese folk song with western music intrigued me. While listening to a recording, I found similarities between Hsiao’s Piano Concerto and Rachmaninoff’s piano concerti. Based on

Hsiao’s statements about this concerto and the influence of Rachmaninoff, I began my research.

Chapter 1: A Biography and the Musical Characteristics of Tyzen Hsiao

1.1 Life and Educational Background

Taiwanese composer Tyzen Hsiao is considered one of the most important twentieth- century composers in Taiwan. He was born on January 1, 1938 into a Christian family in

Kaohsiung, Taiwan. His father was a highly regarded dentist who served as an elder at the

Presbyterian Church; his mother was a piano teacher and a church pianist. Growing up in a musical and religious environment, Hsiao was strongly influenced by his religion.1

Hsiao was talented in music. Although he started learning the piano from his mother at age five and had his first public performance at age seven, his father expected him to become a doctor. Eventually his father accepted his son’s pursuit of music as a career. Hsiao began formal training with a singer, Ya-Mei Kao, and a pianist, Chin-Hwa Kao.2 In 1959, he entered the music department at National Taiwan Normal University and majored in piano for four years. He also studied composition with Chang-Huei Hsu, who was just finished studies in Paris and introduced contemporary Western music techniques to Taiwan.3 After Hsiao graduated from National

Taiwan Normal University, he continued further study under famous composer, Fujimoto Hideo at Musashino Academia Musicae in Japan.

1 Shu-Wen Sun, Tyzen Hsiao’s Piano Works: Discussions of Background, Techniques, and Musical Styles (Taipei City: Donghe Music Publishing House, 2006), 8. 2 Ibid. 3 Laura Li and Yueh-Wen Chiu, Creative Visions: Contemporary Artists of Taiwan (Taipei, Taiwan: Council for Cultural Affairs, 2003), 21. 2 In 1967, Hsiao returned to Taiwan after completing his studies in Japan. He began to perform frequently and to teach at National Kaohsiung Normal University, Tainan Theological

College and Seminary, and Tainan University of Technology; meanwhile, he also started to write choral works, sacred music, and some small piano pieces. In 1970, Hsiao began piano and composition studies with Robert Scholz (1902-1986) while he was teaching at National Taiwan

Normal University, who was not only his teacher but his friend.4 Scholz has enriched Hsiao’s musical vision and broadened his compositional effort to include chamber and instrumental works. In 1975, Hsiao composed a work for two pianos – Fantasia Waltz, dedicated to maestro

Scholz; at the same year, his compositional concert was held at Taipei Zhongshan Hall.

Hsiao arrived in the United States in 1977 and pursued his master’s degree in composition at California State University, studying under Byong Kon Kim (composition) and Milton Stern

(piano). During this time, he innovated his compositional style and became a member of the

Georgia Music Teacher’s Association and California Music Teacher’s Association.5

4 Ibid., 22. 5 Ming-Yun Cai (蔡明雲), 世界級的台灣音樂家. [Shi jie ji de tai wan yin yue jia: xiao tai ran = Taiwanese Musician in the World: Tyzen Hsiao] (Taipei City: Yu-Shan publisher, 2006), 54. 3 1.2 Three Periods of Hsiao

Early Period (in Taiwan)

Before Hsiao came to the United States, his compositions were mainly focused on religious music and children’s chorale music, moving gradually into instrumental music. Some of his representative works in this period were The Happy Farmer (light opera, 1968), Jesus Christ

(oratorio, 1970), China Symphonic Poem (1973), and Song of Taiwan (for violin and piano

1973).6

Middle Period (move to America, 1977-85)

Hsiao arranged many Taiwanese folk songs in various forms and composed art songs during this period, especially in the forms of vocal music, choral, and instrumental music. He also worked very hard on introducing Taiwanese music to American society and trained young

Taiwanese composers who were living in the United States. Important compositions included

The Vagabond (vocal, 1978), March of Democracy (1980), What a Beautiful Taiwan (1984), and

The Highlander’s Suite (piano quintet, 1985).7

Late Period (after 1985)

After Hsiao received his master’s degree in composition from California State University in

Los Angles in 1987, he started working on larger scale works such as the Formosa Symphony

6 Ibid., 57. 7 Ibid. 4 (1987), Violin Concerto in D, Op. 50 (1988), Cello Concerto in C, Op. 52 (1990), and Piano

Concerto in C minor, Op. 53 (1992).8

1.3 Characteristics and Musical Style

Hsiao composed various genres such as religious music, choral music, art songs, instrumental music, chamber music, and concerti during his lifetime. While the most of his compositions were considered romantic, he used modernist technique such as the interval of a fourth, chromatic scales, and parallel chords in some of his works.

Harmony

Hsiao not only used a diatonic major/minor system as the foundation in his music, he also created his own harmonic set which was called double fifth, also called Hsiao’s fifth.9 Hsiao overlapped the fifth in various elements such as chords (either in root position or inversion) see

Figure 2, and in melodies, or arpeggios - sometimes within in a whole tone scale or within the context of an augmented 6th chord - to create a special harmonic color (Figure 1).

Figure 1: Tyzen Hsiao, Prelude No. 1, m. 14

8 Ibid., 58. 9 Wan-Shu Huang, A Study of the Taiwanese Composer Tyzen Hsiao and the Performance Aspects of His Piano Concerto in C Minor Op. 53. Diss. (University of Miami, May, 2007), 16. 5

Figure 2: Tyzen Hsiao, Piano Concerto, mm. 120-125

Melody

Hsiao was adept at writing beautiful melodies. He was fond of using Taiwanese folkloric materials and arranging them with twentieth-century compositional technique such as the interval of a fourth, chromatic scales, and parallel chords. The pentatonic, whole-tone scales are the basis for his melody.

Figure 3: Taiwanese folk song, Ocean Song

Figure 4: Tyzen Hsiao, Piano Quintet, mm. 1-4

Rhythm

In order to create the dramatic contrast between tension and relaxation, Hsiao frequently used meter changes. For example, he switched meters several times from measure 152 to 159 in his Piano Concerto to create contrast.

Figure 5: Tyzen Hsaio, Piano Concerto, 1st movement, mm. 152-159

Genre and Form

Genres that Hsiao composed for were mostly traditional such as quartet, quintet, piano trios, concertos, suites, art songs, and character pieces. Sonata form, rondo form, binary, and ternary form were those that he mostly used.

1.3.1 Taiwanese Folk Music

There are two categories of the traditional Taiwanese folk music: the music of the aboriginal tribes and the music of the Han people (ethnically Chinese immigrants.)

The Music of the Aboriginal Tribes

Vocal music is the most common type of aboriginal music in Taiwan. Singing is not separable from tribal life and it could be associated with agriculture, hunting, fishing, and religious ceremonies.10 The musical styles include monophonic, chordal harmonic, and polyphonic; scales that commonly used are pentatonic, and diatonic, sometimes three-note, four- note, or six-note scales can also be found in various tribal music. The range of their music is between an octave and an eleventh.11

The Music of the Han People

The Han people (ethnically Chinese immigrants), the Hokkien, and the Hakka came from

Fukien Province and Kwangtung Province in the seventeenth century. Seventy percent of the population in Taiwan are Kokkien people, and for that reason, the majority of traditional folk music came from them. There are four different types of vocal folk music; folksongs, narrative songs, opera, and ritual songs with instrumental folk music including solo and group performances. The music usually reflects the joy, anger, sorrow, and delight of the Taiwanese

10 Tsang-Houei Hsu, Yu-Hsiu Lu, Chuikuan Lü, Kuo-Huang Han, and Joanna C. Lee. "Taiwan." Grove Music Online. 22 Oct. 2017. http://www.oxfordmusiconline.com.proxy.lib.ohio-state.edu/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e- 0000049502. 11 Ibid. 9 people, and the most of the texts are in the form of seven-character quatrains.12 The range of the melody is from a sixth to a twelfth. Most of the scales are pentatonic especially the Chih mode,

Sol-La-Do-Re-Mi.13

12 5. Shang-Ren Jean, Chen Kuan-Hua Taiwanese Fu-Lao Folk Song, Chinese Traditional Music, trans. Kyle Hedie (Taiwan: Council for Cutural planning and Development, Executive Yuan, 2002), 22. 13 "Taiwan." Ibid.

Chapter 2: Hsiao’s Piano Concerto Op. 53

2.1 Brief Background

“This composition, reflects an exotic charm, with strong nationalistic

overtones: the folk songs, he found for his inspiration, the refined

craftsmanship, the sensitive perception, and the ardent love for his homeland

were demonstrated. The ”lyrical” ones contain the finest essence of his

exquisite and personal style. He has developed a mood, tender and elegiac,

and his poetry used in conceiving the colors of Taiwanese folk songs were

genuinely authentic. In his MELODIES, there are crisp, vibrant, rhythmic

figures, which give them sparkle and vitality. In his HARMONIC

TREATMENT, he divined the appropriate chords, and showed preference for

chromatic progression and modulations, which he felt heightened the

emotional content of the music. The TOUCH AND TONE require immense

cantabile with sensitive touch (as a singer), perfect control of pianissimo,

controlled strength, but without brutality, with feeling, but without

sentimentality and with interpretive insight. Knowledge of body movement (as

a dancer) and a strong rhythmic pulse (as a conductor), are essential

elements for a successful performance. All rubatos in the music are treated

with elasticity, yet always controlled, and never are they capricious.

Stylistically speaking, this score will assist the pianist in bringing out his/her

11 own musical personality for each movement, in order to express its substance,

content and meaning. INTERPRETATION is what we choose to convey in the

recreation of a composition.”14

After finishing his violin concerto in D (1988) and cello concerto in C (1990), Tyzen Hsiao started composing his piano concerto in early 1990, and finished this work in 1992. He was originally planning to perform this piece after its completion; however, he was unable due to his health condition.15 The world premiere of his piano concerto was in Canada in 1994 by pianist

Jonathan Tang and the Vancouver Symphony Orchestra.16 His teacher, Dr. Milton Stern, performed this piece with the Taipei Philharmonic Symphony Orchestra the following year in

Taiwan. In 1996, Dr. Milton Stern performed this piece again with the Redlands Symphony

Orchestra in Los Angeles. Later that year, Hsiao’s piano concerto was performed by pianist Yu-

Xiu Chen and the National Symphony Orchestra.17 The conductor of the Redlands Symphony

Orchestra, Jon Robertson, mistakenly believed this concerto to be Rachmaninoff’s Piano

Concerto No. 5. Conductor Clyde Mitchell believed Hsiao’s piano concerto was stylistic somewhere between Rachmaninoff’s second and third piano concerto.18

Mr. Hsiao’s music is naturally romantic and strongly nationalistic although he was born in the twentieth century. His piano concerto is pianistic and also musically expressive. There will be more detailed discussions in the next section.

14 Rita C. Kuo, Concerto: in C minor op. 53, 1990, ed. Dorothy Aaron (Los Angeles, CA: Taiwanese Composers Foundation, 1993), quotes from Forward page (may have some grammar mistakes.) 15 Sun, ibid., 126. 16 Hengzhe Lin (林衡哲), 深情的浪漫：蕭泰然音樂世界選輯 [Shen qing de lang man: Xiao Tairan yin yue shi jie xuan ji] (Taipei City: Wang Chun Feng Publisher, 2000), 117. 17 Sun, ibid. 18 Lin, ibid., 130-131. 12 2.2 Analysis of Hsiao’s Piano Concerto

2.2.1 Overview

This concerto consists of three movements: Allegro moderado, Adagio, and Allegro con

Fuoco. The orchestration includes two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, two trombones, tuba, timpani, triangle, cymbals, snare drum, bass drum, harp, and strings. Overall, there are differences in the structure and musical expression in each movement, however, I found there are four characteristics that are somewhat in common among all three movements: thematic material, texture, rhythm, and harmony.

a) Thematic Material

Hsiao uses cyclic form by repeating thematic materials among three movements. For instance, the second theme of the first movement is employed throughout the entire piece.

Figure 6: Hsiao’s Piano Concerto, Second theme of the 1st movement, m. 74

13 Figure 7: Hsiao’s Piano Concerto, 2nd movement, m. 111

Figure 8: Hsiao’s Piano Concerto, 3rd movement, m. 207

Hsiao uses the motif from the Taiwanese folk song, Grief, for the theme of the second and the third movements.

Figure 9: Taiwanese folksong, Grief

14 Figure 10: Hsiao’s Piano Concerto, 2nd movement, mm. 36-39

Figure 11: Hsiao’s Piano Concerto, 3rd movement, mm. 125-127

He also quotes one of his early songs “The Magic of Love” in his third movement.

Figure 12: Hsiao’s early song, The Magic of Love

Figure 13: Hsiao’s Piano Concerto, 3rd movement, mm.103-106

16 b) Rhythm

There are several rhythmic patterns in the piano that Hsiao used in this concerto:

1) Triplet accompaniment.

Figure 14: Hsiao’s Piano Concerto, first theme of the 1st movement, mm. 7-9

Figure 15: Hsiao’s Piano Concerto, 2nd movement, mm. 28-29

Figure 16: Hsiao’s Piano Concerto, 3rd movement, mm. 26-27

17 2) One eighth note or rest and two sixteenth notes rhythm pattern.

Figure 17: Hsiao’s Piano Concerto, 1st movement, mm. 38-40

Figure 18: Hsiao’s Piano Concerto, 3rd movement, mm. 4-6

3) Sixteenth and thirty-second note rhythm sequences for modulations.

Figure 19: Hsiao’s Piano Concerto, 1st movement, mm. 41-46

Figure 20: Hsiao’s Piano Concerto, 2nd movement, mm. 49-56

Figure 21: Hsiao’s Piano Concerto, 3rd movement, mm. 113-119

4) Three against two

Figure 22: Hsiao’s Piano Concerto, 1st movement, mm. 301-305

Figure 23: Hsiao’s Piano Concerto, 2nd movement, mm. 163-166

Figure 24: Hsiao’s Piano Concerto, 3rd movement, mm. 26-27

c) Texture

There are some common textures that occur throughout the entire piece:

1) Continuous broken chords that accompany the main melodic line on the top voice or middle voice.

Figure 25: Hsiao’s Piano Concerto, 1st movement, mm. 165-167

Figure 26: Hsiao’s Piano Concerto, 3rd movement, mm. 65-67

2) The arpeggio or broken chord usually occurs during modulation and extended parts.

Figure 27: Hsiao’s Piano Concerto, 1st movement, mm.35-36

Figure 28: Hsiao’s Piano Concerto, 2nd movement, mm. 49-52

Figure 29: Hsiao’s Piano Concerto, 3rd movement, mm. 210-211

22 3) In order to continue the melodic line, Hsiao smartly uses accompanying in triplet rhythm to fill the space.

Figure 30: Hsiao’s Piano Concerto, 1st movement, mm. 14-15

Figure 31: Hsiao’s Piano Concerto, 2nd movement, mm. 28-29

Figure 32: Hsiao’s Piano Concerto, 3rd movement, mm. 96-101

d) Harmony

Although Hsiao’s piano concerto maybe considered composed in the romantic style, there are compositional techniques and harmonies from different musical periods used in all the three movements. For example, measure 152-164 in the first movement is atonal. Hsiao uses chromatic and whole tone scales, and diminished/augmented intervals in that section.

Figure 33: Hsiao’s Piano Concerto, 1st movement, augmented chord and intervals in piano part, mm. 153-154

Figure 34: Hsiao’s Piano Concerto, 1st movement, whole tone scale in bassoon part, m. 153

Figure 35: Hsiao’s Piano Concerto, 1st movement, chromatic scale in piano part, mm. 157

There are impressionistic elements in the second movement’s cadenza, measure 150-154, using intervals of a fourth, parallel thirds, and seventh chords.

Figure 36: Hsiao’s Piano Concerto, 2nd movement, interval of a fourth and seventh chord, m.

150

Figure 37: Hsiao’s Piano Concerto, 2nd movement, parallel thirds, mm. 152-153

2.2.2 First Movement – Allegro Moderato

The first movement is a sonata form with emotional and dramatic writing. It contains plenty of melodic elements using romantic harmony and modern compositional technique. Hsiao uses a lot of octaves writing and diminished/augmented chords to enrich the sound. He also uses some elements such as chromatic scales, whole tone scales, leaps, and meter changes in this movement to create excitement. Taiwanese folk song is not used in this movement. The second theme is the primary material that Hsiao uses throughout the entire piece.

Table 1: Overview of Tyzen Hsiao’s Piano Concerto in C minor op. 53, 1st movement

Section Theme Measure Key

Introduction 1-6 c minor

Exposition First theme 7-34 c minor

Bridge I (modulation) 35-70 c minor – E Major

Eb Major – G Major

Bridge II 70-74 G Major – C Major

(modulation)

Second theme 74-151 C Major

Transition 103-106

Cadenza 107

Transition 108-115

Transition 132-137

26 Development I 152-164 Chromatic writing

Changing meters

II 165-182 G Major – g minor

Bridge 183-184 V7

III 185-202 C Major – c minor

IV 203-218 F Major

V 219-238

Recapitulation First theme 239-250 c minor

Cadenza 261-279 c minor – Eb Major

Second theme 279-283 Eb Major

Transition 283-309 c minor

Coda 310-325 eb minor

The first theme appears in the oboe and clarinet parts and is followed by the flute after a six- bar introduction.

Figure 38: Hsiao’s Piano Concerto, first theme of the 1st movement, mm. 7-12

The second theme is led by four measures over a pedal point G and syncopated rhythm at measure 70 to 73 then played by oboe at measure 74 and is repeated again by the piano in measure 86 as well as measure 116 and 128. Different from the traditional key in the second theme, Hsiao employs the parallel key, C major, instead of dominant key, g minor. There is a short cadenza at measure 107 and ends using glissando to connect to the development.

Figure 39: Hsiao’s Piano Concerto, second theme of the 1st movement, mm. 70- 75

Figure 40: Hsiao’s Piano Concerto, second theme of the 1st movement, mm. 86-89

29 Hsiao uses this thematic idea in various ways to vary the harmonies and develop the rhythmic patterns and orchestration of the second theme within the first movement, as well as the second and third movements.

Figure 41: Hsiao’s Piano Concerto, 1st movement, mm. 128-133

At measure 128, the second theme is heard in the piano; however, the composer changes the rhythm at measure 131, with the melody continuing the next measure in the violins.

The development section, measure152-238, can be divided into five subsections by its different elements. The first subsection uses chromatic writing and changes of meter from measure 152 to 164.

Figure 42: Hsiao’s Piano Concerto, development, mm. 152-154 (changing meters)

Figure 43: Hsiao’s Piano Concerto, development, mm. 160-161 (chromatic writing)

The second subsection is from measure 165 to 182. Hsiao varies the palette by embellishing notes of the second theme in both the orchestra and the piano to enrich the sound and color.

Figure 44: Hsiao’s Piano Concerto, the second subsection in development, m. 165

Hsiao uses German augmented sixth chords as a transitional device in measures 183 to 184 to connect the second subsection and the third subsection. The composer mainly employs chromatic scales, arpeggios, and ascending and descending lines in this subsection.

Figure 45: Hsiao’s Piano Concerto, German augmented sixth chord, mm. 183-184

Figure 46: Hsiao’s Piano Concerto, the third subsection in development, mm. 189-190

Figure 47: Hsiao’s Piano Concerto, the third subsection in development, mm. 200-202

Subsection four is in F major. Hsiao uses the triplet rhythm in this section. The second theme is played by the flute with a triplet accompaniment in the strings.

Figure 48: Hsiao’s Piano Concerto, the fourth subsection in development, mm. 203-204

34 Hsiao retains part of the second theme with triplets in subsection five. Different than the subsection four, Hsiao adds arpeggios, sixteen notes, and syncopation to create a more intense feeling.

Figure 49: Hsiao’s Piano Concerto, the fifth subsection in development, mm. 219-220

The first theme re-appears again in the tonic echoing the opening and signaling the start of the recapitulation from measure 239 to 250. Different than the traditional cadenza, Hsiao places the cadenza right after the first theme, and is introduced by an Eb open fifth rather than the traditional I 6-4 chord from measure 261 to 272.

Figure 50: Hsiao’s Piano Concerto, Cadenza, mm. 261

The second theme fragment appears from measure 279 to 282. There is a transition in a rhythmic pattern similar to the third movement of Rachmaninoff’s Piano Concerto No. 2 that

Hsiao uses to connect to the coda.

Figure 51: Hsiao’s Piano Concerto, second theme in the recapitulation, m. 279

Figure 52: Rachmaninoff’s Second Piano Concerto, 3rd movement, m. 35

Figure 53: Hsiao’s Piano Concerto, transition, mm. 297-299.

36 The coda starts at measure 310 with exciting ascending arpeggios sequences in the piano part. The climax of this movement starts building up from measure 316. Hsiao employs double notes with ascending chords, increasing the tempo and dynamic to create excitement and finally arrives at the final three chords.

Figure 54: Hsiao’s Piano Concerto, Coda, mm. 311-312

Figure 55: Hsiao’s Piano Concerto, Coda, m. 316-325

2.2.3 Second Movement - Adagio

This movement is through composed and contains a strongly nationalistic character. Hsiao employs the theme from the Taiwanese folksong “Grief” to present his memories of home.

There are four sections in this movement, A-A’-B-A’’, and we can find different themes in each sections.

Table 2: Overview of Tyzen Hsiao’s Piano Concerto in C minor op. 53, 2nd movement

Section Theme Measure Key Materials

A a (Adagio) 1-12 a minor

b (Andante cantabile) 12-22

A’ a’ 23-27 e minor

c 28-43 Taiwanese folk song

“Grief”

a’’ 44-48 Violin cadenza

transition 48

B I (Allegro con moto) 49-84

II (Allegro moderato) 85-106 G Major

Bridge (Andante) 107-110

III 111-128 d minor From second theme of

the first movement

IV (Andante cantabile) 129-135 Transposed form theme

Transition 136-149

Cadenza 150-154

A’’ a’’’ (Adagio) 155-162 a minor

d (Andante) 163-171 From second theme of

the first movement

Recitative lento- 172-179 a minor-

Adagio A major

The opening theme is in A minor, introduced by the clarinet, followed by the violin and repeated again by the piano. Hsiao masterly uses three different layers of color in the opening phrase. The first two layers of the color simply change from woodwind to string, while in the last, the texture is thicker and the harmony is fuller, with more emotion and tension by using a diminished seventh chord to extend the phrase.

Figure 56: Hsiao’s Piano Concerto, the opening theme (a) of 2nd movement, mm. 1-10

Figure 57: Hsiao’s Piano Concerto, 2nd movement, m. 11

Hsiao uses a simple melodic line with sixteenth note accompaniment in theme b, measure

12 to 23. The melody is first played by the piano and then switched to the flute. The harmonic tendency from the leading tone to the tonic creates a feeling between sweet and sad.

Figure 58: Hsiao’s Piano Concerto, 2nd movement, theme b, mm. 12-16

The key changes to E minor in theme c. Hisiao uses material from the Taiwanese folk song,

Grief. The piano and orchestra perform a duo at measure 28. After stating the thematic idea by piano and orchestra, Hsiao employs theme a and theme c again until the cadenza section.

Figure 59: Hsiao’s Piano Concerto, Taiwanese folk song, Grief

41 Figure 60: Hsiao’s Piano Concerto, 2nd movement, theme c, mm. 28-29

A violin cadenza at measure 48 serves as a transition that connects to the B section. Hsiao uses a descending scale and suspends half-diminished seventh chord.

Figure 61: Hsiao’s Piano Concerto, 2nd movement, Violin Cadenza, m. 48

The B section can be divided into four subsections by different tempo markings. The meter changes frequently over these sections. The character undergoes a change at the beginning of the

B section where the first subsection begins. Hsiao employs ascending groups of seven-note, sixteenth notes, and triplets from measure 49 to 84.

Figure 62: Hsiao’s Piano Concerto, 2nd movement, the first subsection in B section, mm. 49-52

Figure 63: Hsiao’s Piano Concerto, 2nd movement, the first subsection in B section, mm. 77-79

Hsiao keeps the sixteen note rhythmic patterns but uses double-note writing in the subsection two. In addition, he employs six-note group and broken chords in this section.

Figure 64: Hsiao’s Piano Concerto, 2nd movement, the second subsection in B section, mm. 85-

The second theme of the first movement is applied in the subsection three from measure

111 to 129. The composer brings the theme b back to the subsection four from measure 129 to

136. The transition starts at measure 136 and leads to a piano cadenza at measure 150.

Figure 65: Hsiao’s Piano Concerto, the third subsection in B section, mm. 111-114

Figure 66: Hsiao’s Piano Concerto, the fourth subsection in B section, mm. 129-130

Figure 67: Hsiao’s Piano Concerto, B section, transition leads to the cadenza, mm. 147-150

45 After theme a plays again at measure 155, the theme d, the second theme of the first movement finally appears from measure 163 to 171.

Figure 68: Hsiao’s Piano Concerto, Theme d in 2nd movement, mm. 163-166

Hsiao employs the diminished descending fifth in the coda section at measure 172 and suspend on a ninth chord at measure 178. The music gradually disappears by the arpeggios and ends at tonic with pp.

Figure 69: Hsiao’s Piano Concerto, Coda in 2nd movement, mm. 169-179

2.2.4 Third Movement – Allegro con Fuoco

Hsiao places a piano cadenza at the beginning of the piece that leads to the A section. This movement is an ABA’ form (see the table below.) It starts in A minor rather than the expected key, C minor. The entire movement requires an advanced technique. Hsiao uses thematic ideas from the previous two movements and also quotes from one of his early works, The Magic of

Love.

Table 3: Overview of Tyzen Hsiao’s Piano Concerto in C minor op. 53, 3rd movement

Section Theme Measure Key

Introduction Cadenza 1-3 a minor (V)

A a 4-11

a’ 12-34

Transition 34-41 c minor

Closing theme 42-54

54-55 Eb Major

B b 56-71 Eb Major

b’ 72-102

cadenza (theme b) 102

folksong 103-113

113-119

cadenza 119

47 Transition I 120-144 c minor

Transition II 145-159 G-C Major

A’ 164-185 a minor

Transition 186-193 c minor

Coda I 193-218 c minor

II 219-222

III 223-229

The lyric of The Magic of Love is the poem that was written by an American poet Helen

Steiner. Hsiao wrote the music for the poem in cello and piano setting in 1978.19 Aside from the new thematic material that he employs in this movement – his early work The Magic of Love; he also uses the thematic materials from the first and second movement. That is to say, the entire concerto is a cyclic form.

19 Tyzen Hsiao, Psalms of the Taiwanese (Chicago: North America Taiwanese professors Association, 1987), 38. 48

Section A, measure 4, starts after an introduction by the piano cadenza. The first theme, employing the motif from Grief, is played by the orchestra from measure 4 - 20. This thematic idea derives from the second theme of the second movement. Hsiao uses sixteenth notes with huge leaps in the left hand to create more intensity.

Figure 70: Hsiao’s Piano Concerto, Cadenza in 3rd movement, mm. 1-3

Figure 71: Hsiao’s Piano Concerto, First theme in 3rd movement, mm. 4-6

The transition is from measure 34 to 41. Hsiao contrasts the texture to chordal writing in this section. Starting from measure 42, Hsiao employs the lyrical writing to close the A section.

Figure 72: Hsiao’s Piano Concerto, Transition in 3rd movement, mm. 34-36

Hsiao also applies the rhythmic motif from the introduction of the first movement (measure 52 to

55.)

Figure 73: Hsiao’s Piano Concerto, motif from the introduction of the first movement, mm. 52-

Theme b, from The Magic of Love, can be divided into two sections: mm. 56-64 are played by first oboe, the melody from 64-71 is played by the piano.

Figure 74: Hsiao’s Piano Concerto, The first half of theme b, mm. 56-59

Figure 75: Hsiao’s Piano Concerto, the second half of theme b, mm. 64-67

There is similar thematic material used from The Magic of Love, however, instead of the original melodic patterns, Hsiao uses a chromatic descending motion to create a darker sound from measure 72 to 77.

Figure 76: Hsiao’s Piano Concerto, theme b, mm. 72-77

There is a second cadenza for piano at measure 102 utilizing rhythmic patterns such as triplets in descending motion, sixteenth notes arpeggios, double notes, descending and ascending scale, a polyrhythm of triplets against duplets.

Figure 77: Hsiao’s Piano Concerto, part of the second cadenza, m. 102

53 During the transition part, measure 120 to 144, Hsiao continues development of the Grief theme between the orchestra and piano. The first theme of the second movement appears at measure 145.

Figure 78: Hsiao’s Piano Concerto, 3rd movement, mm. 144-147

The introduction from the first movement at measure 160 is used to recall the A section.

Figure 79: Hsiao’s Piano Concerto, four measure bridge from introduction of 1st movement, mm.

160-163

There are three subsections in the last coda. One hears the melodic idea from Grief and the second theme of the first movement in the orchestra. The first section is from measure 193 to 218. 54

Figure 80: Hsiao’s Piano Concerto, Coda in 3rd movement, mm. 193-218

The second section is from measure 219 to 222 based on chordal writing and continuous octave ascending/descending motion in the piano. The third section, measure 223 to 229, closes the movement with them tempo accelerating. The concerto concludes with a huge climax in both orchestra and piano.

Figure 81: Hsiao’s Piano Concerto, Coda, mm. 219-222

Figure 82: Hsiao’s Piano Concerto, Coda, mm 223-229

Chapter 3: A Comparison of Hsiao’s Piano Concerto Op. 53 and

Rachmaninoff’s Piano Concerto No. 2

3.1 A Brief Introduction of Rachmaninoff’s Piano Concerto No. 2

Rachmaninoff successfully composed his second piano concerto in 1900. Due to depression brought on by the unsuccessful performance of his first symphony in March 1897, Rachmaninoff was unable to bring himself to compose anything of importance. After meeting with Dr. Nikolai

Dahl, therapy helped to lift Rachmaninoff from his depression and restored confidence in composition.20

This concerto contains three movements – Moderato, Adagio sostenuto, and Allegro scherzando and is scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, bass drum, cymbals, solo piano, and strings. The music includes virtuosic techniques and lyrical melodies between piano and orchestra.

There are three different major textures that Rachmaninoff uses in each movement of the second piano concerto. In the first movement, he uses eight measures of bell-like chords in the piano part to open the movement that lead to the first theme in clarinet, violin and viola parts. In the second movement, the piano arpeggios are employed manipulatively throughout the entire movement. Rachmaninoff employs rhythmic figures in both piano and orchestra parts in the third movement. This piano concerto is absolutely a remarkable masterpiece.21

20 Jay Alan Hershberger, Rachmaninoff on Rachmaninoff: an interpretive analysis of his piano/orchestra recordings. Diss. (Arizona State University, May, 1995), 78. 21 Geoffrey Norris, Rachmaninoff, (Oxford: Oxford University Press, 2001), 106-121. 57

3.2 Similarities

3.2.1 Orchestration and Structure

The orchestration between the two concertos is alike except some slight differences in the brass and percussion parts. Please see the table below:

Table 4: First movement

Rachmaninoff’s Piano Concerto No. 2 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4

French horns, 2 trumpets, 3 trombone,

tuba, timpani, strings.

Hsiao’s Piano Concerto, Op. 53 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4

French horns, 2 trumpets, 2 trombones,

tuba, timpani, triangle, cymbals, snare

drum, bass drum, harp, strings.

Table 5: Second movement

Rachmaninoff’s Piano Concerto No. 2 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4

French horns, 2 trumpets, 3 trombones,

tuba, timpani, strings.

Hsiao’s Piano Concerto, Op. 53 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4

French horns, 2 trumpets, 2 trombones,

tuba, timpani, triangle, harp, strings.

58 Table 6: Third movement

Rachmaninoff’s Piano Concerto No. 2 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4

French horns, 2 trumpets, 3 trombones,

tuba, timpani, bass drum, cymbal, strings.

Hsiao’s Piano Concerto, Op. 53 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4

French horns, 2 trumpets, 2 trombones,

tuba, harp, timpani, triangle, cymbal,

snare drum, strings.

Rachmaninoff and Hsiao like to use sectional structure. For instance, they use the double bar and tempo marking to separate the different characters. Those characters could be a change in articulation, rhythmic pattern, meter change, or texture; and the mood changes immediately after the double bar.

Figure 83: Rachmaninoff’s Second Piano Concerto, first movement, mm. 257-267

59 Rachmaninoff uses double bar and tempo marking to separate the different characters. Measure

257 to measure 260 contains writing that changes from chordal to lyrical immediately after a double bar.

Figure 84: Hsiao’s Piano Concerto, second movement, mm. 129-139

The tempo marking is Andante cantabile at measure 129 and the writing is lyrical from measure

129 to measure 135. The texture and the mood change immediately after the double bar from measure 136.

60 3.2.2 Rhythm and Technique

Both Rachmaninoff and Hsiao have written virtuosic, technically demanding concertos requiring a pianist capable of playing full chords, rapid octaves, rapid arpeggios, and sophisticated melodic voicing, yet one could say that the writing remains pianistic. Similar rhythmic patterns can be heard in both Rachmaninoff and Hsiao’s piano concertos such as a six- note group, three against two, right and left hands alternation, and syncopation.

Six-note Group

Figure 85: Rachmaninoff’s Second Piano Concerto, second movement, mm. 102-103

Figure 86: Hsiao’s Piano Concerto, first movement, mm. 138-140

Three Against Two

Figure 87: Rachmaninoff’s Second Piano Concerto, first movement, mm. 369-374

Figure 88: Hsiao’s Piano Concerto, third movement, mm. 185-186

Right Hand and Left Hand Alternation

Figure 89: Rachmaninoff’s Second Piano Concerto, first movement, mm. 237-240

Figure 90: Hsiao’s Piano Concerto, third movement, mm. 82-83

Syncopation

Figure 91: Rachmaninoff’s Second Piano Concerto, first movement, mm. 106-108

Figure 92: Hsiao’s Piano Concerto, first movement, mm. 7-8

63 There are three obvious techniques that appear in both composers’ concertos. The first is the full chord. This is used for projection and power over the orchestra. The second is the leap. In both concertos, we see huge leaps that increase the difficulty, especially in the left hand. The third technique is finger-legato. There are many long lines that appear in both the right and left hands that require a finger-legato touch.

Full Chords to Enrich the Sound

Figure 93: Rachmaninoff’s Second Piano Concerto, first movement, mm. 219-224

Figure 94: Hsiao’s Piano Concerto, third movement, mm. 34-36

Huge Leaps to Increase the Difficulties

Figure 95: Rachmaninoff’s Second Piano Concerto, third movement, mm. 344-347

Figure 96: Hsiao’s Piano Concerto, second movement, mm. 136-139

Finger-Legato to Create Dreamy Sound

Figure 97: Rachmaninoff’s Second Piano Concerto, second movement, mm. 106-107

Figure 98: Hsiao’s Piano Concerto, second movement, mm. 12-13

3.2.3 Phrasing and Articulation

The most interesting thing for me while studying these two concertos is that both composers are proficient in using different articulations within one long phrase. The best examples are in their cadenzas. We can find several small phrases with different articulations within a long phrase.

Figure 99: Rachmaninoff’s Second Piano Concerto, second movement, mm. 117-118

Figure 100: Hsiao’s Piano Concerto, third movement, m. 102

3.2.4 Voicing and Dynamic

We could see that both composers tend to use several layers of melodic material in their music. Perhaps, it would not be accurate to call them sub-melody or counterpoint but rather a secondary melodic line, which might use some counterpoint techniques. For instance, in measure

113 of Rachmaninoff’s second piano concerto, the primary melody presented in quarter notes in right hand; the secondary melody (in the left hand) joins in measure 115 and might be seen as a counterpoint to the primary one; in measure 165 of Hsiao’s piano concerto, the main melody is on each beat of the right hand and there is a counterpoint line on the left hand.

Figure 101: Rachmaninoff’s Second Piano Concerto, first movement, mm. 113-116

Figure 102: Hsiao’s Piano Concerto, first movement, mm. 165-167

Dynamics are marked with great specificity.

Figure 103: Rachmaninoff’s Second Piano Concerto, second movement, mm. 118-121

68 Figure 104: Hsiao’s Piano Concerto, third movement, m. 102

3.2.5 Harmony and Texture

There are certain similar textures and the harmony that we can find in their concertos. Both composers use a great deal of chromatic linear writing in these two pieces. Chordal writing, lyrical writing, arpeggios, ascending/descending scales, broken chords, continuous octaves are the preferred textures.

Rachmaninoff:

Figure 105: First movement – Lyrical writing, mm. 93-96

69 Figure 106: Second movement – Chromatic writing and ascending scale, mm. 115-116

Figure 107: Third movement – Arpeggios, mm. 394-397

Figure 108: Third movement – Continuous octaves, mm. 168-170

70 Figure 109: Third movement – Broken chords, mm. 455-457

Hsiao:

Figure 110: Second movement – Chromatic descending scale, m. 133

Figure 111: Second movement – Broken chords, mm. 97-98

71 Figure 112: First movement, Arpeggios, mm. 53-55

Figure 113: First movement – Lyrical writing, mm. 86-87

Figure 114: First movement – Continuous octaves, mm. 276-278

Figure 115: Third movement – Ascending scale, m. 102

72 3.3 Differences

3.3.1 The Function of the Cadenza

Cadenzas can serve various functions in a concerto. Cadenzas in late romantic concerti tend to have a different function than in classical concerti. They may serve as a bridge or transition between sections or may be a harmonic extension of the dominant chord. In Rachmaninoff’s

Second Piano Concerto, the cadenza in the third movement is a harmonic extension of the dominant chord. See Figure 16.

Figure 116: Rachmaninoff’s Second Piano Concerto, 3rd movement, Cadenza, m. 430

73 However, the function of Hsiao’s cadenza is more like a bridge that connects two sections similar to the cadenza in the Rachmaninoff Concerto No.2, second movement (See Figure 99).

Figure 117: Hsiao’s Piano Concerto, 2nd movement, Cadenza, mm. 150-154 (bridge to the next section)

3.3.2 The Interaction between Solo Piano and Orchestra

The interaction between solo piano and orchestra in Hsiao’s piano concerto and

Rachmaninoff’s second piano concerto is different. Rachmaninoff clearly identifies the solo and accompaniment parts between piano and orchestra. However, Hsiao uses many dialogue-like phrases between orchestra and piano. The harmony and the texture of the piano writing is thick and integrate together with the orchestra making the entire piece more like a chamber work.

Figure 118: Rachmaninoff’s Second Piano Concerto, 2nd movement, mm. 64-73

Figure 119: Hsiao’s Piano Concerto, 1st movement, mm. 7-9

Chapter 4: Practical Aspects in Performing Hsiao’s Piano Concerto in C minor Op. 53

Tyzen Hsiao’s Piano Concerto is a masterpiece that requires virtuoso skills and a great deal of energy throughout the entire piece. The challenges are not only technical but also musical and emotional. I will point out some performance issues including phrasing and voicing issues; articulation, sound, and color issues; technical and pedaling issues. In addition, I will also provide some possible solutions.

4.1 Phrasing and Voicing Issues

First Movement

There are ascending triplet patterns from measure 3 to measure 6 in the piano part while the strings are creating motion to measure 7 in the orchestra part. In order to build up the motion together with the orchestra, the pianist should endeavor to keep the triplet patterns in one phrase.

Figure 120: First movement, mm. 1-7

From measure 7 to measure 12, the melody is heard in the orchestra. The function of the piano here is to maintain the pulse; therefore, I would suggest the pianist bring out only the top voice and bass line that has syncopation rhythm, instead of focusing on all triplets. We also want to continue the melodic line between orchestra and piano in measure 9 by accentuating out the top voice.

Figure 121: First movement, mm. 7-9

From measure 37 to 40, Hsiao uses chordal writing with staccato articulation. Although there is an accent on the first chord of each group, one should maintain the melodic line which doubles with the orchestra. I would suggest the pianist bring out the top line and to delineate the direction moving from A to G, G to F, as the strings instead of thinking there are three individual chords. 79

Figure 122: First movement, m. 37

Another phrasing issue occurs at measure 107 at the entrance of the piano cadenza.

Although the composer writes accents on each beat, I would suggest that the pianist interpret these more as tenutos than accents. It might be better to consider the big picture; and divide this section, measure 107, into two phrases.

Figure 123: First movement, Cadenza, m. 107

Hsiao creates a completely different character in the development at measure 152. He alters the texture by changing meters and dynamics. Hsiao also uses a lot of staccati here, not only changing the texture but also creating tension. In order to create a sparkling and crispy sound, I would suggest voicing the top line of the right hand and playing the bass line with a plucking sound.

Figure 124: First movement, mm. 152-154

At measure 165, there is a cantabile melodic line in the flute. There is another line in the right hand of the piano that doubles with the flute. In addition, there is counterpoint occurring in the left hand of the piano. To express all these lines together, the pianist should focus on the thumbs of both hands and endeavor to keep the sixteenth notes quiet and dreamy.

Figure 125: First movement, mm. 165-167

Second Movement

The second movement begins with a conversation between clarinet, violin, and piano, and the melodic lines should be well connected between these three instruments. We may consider that it is a three-layer phrase in three different instruments.

Figure 126: Second movement, m. 8

From measure 40 to measure 47 there are two phrases. The first phrase is from measure 40 to measure 43, and the second phrase is from measure 44 to measure 47. As there are two similar phrases. I would suggest playing the first phrase with a deeper sound since it is in the lower register. The second phrase could be considered as an echo because it is in the higher register and also the end of the section.

83 Figure 127: Second movement, mm. 40-43

Figure 128: Second movement, mm. 44-47

There are two small sections from measure 163 to the end. The first section is from measure

163 to measure 172 and the second section is from measure 172 to measure 179. Since it is in

Andante tempo and also the end of the movement, a calm atmosphere is desired. It is important that the pianist plays smoothly in the left hand without accents when changing fingering in the first section. As in the previous section, the right hand should be well connected maintaining the atmosphere until the end.

Figure 129: Second movement, mm. 163-166

Figure 130: Second movement, mm. 172-174

Third Movement

The third movement begins with a piano cadenza in chromatic harmony. At measure 3, I suggest the pianist play a long phrase without accents on the beat when changing the registration.

Figure 131: Third movement, mm. 1-3

85 There are texture changes from measure 34 to measure 41with dialogue between orchestra and piano. The pianist plays full chords against the brass lines. To avoid losing energy and sound,

I would suggest that the piano project the full chord rather than voicing only the top voice.

Figure 132: Third movement, mm. 34-36

The Andante section starts at measure 42. There are four sequences in the piano part from measure 42 to measure 49 and each should be played differently based on its harmony. Besides right hand melody there is a supportive line in the middle voice. Therefore, I think the pianist should not only bring out the right hand melody and left hand bass line, but also bring out the middle voice in the left hand.

Figure 133: Third movement, mm. 42-49

There are many ways to interpret the virtuosic cadenza at measure 102. From my point of view, since the beginning of the cadenza is in the high register, I would emphasize the first few triplets and increase the tempo until the arpeggios. The polyrhythm of triplets against duplets appears after the descending scale played in sixths. Because the tempo is already slowed down by the triplets, I would not take liberties but play more in time. I would endeavor to keep the tension of these rhythmic patterns until the ascending scale later in this measure.

87 Figure 134: Third movement, second cadenza, m. 102

4.2 Articulation, Sound, and Color Issues

First Movement

In contrast with the previous passage, the mood changes immediately at measure 41 of the first movement. In order to create different color and sound, the pianist should well connect the sixteenth notes in the right hand. Since we still want to hear the left hand clearly, I would suggest using a sparse pedal relying more on finger-legato.

Figure 135: First movement, mm. 41-43

Second Movement

The tempo changes from Andante cantabile to Allegro moto at measure 49, where Hsiao radically changes the character and the articulation. Starting from measure 49, Hsiao uses a variety of rhythmic patterns; for instance, there are seven-note groups in the beginning of this section. In order to present a good interpretation of this pattern, I would recommend the pianist approach the keys with a light touch to provide the seven-note groups with a bright sound.

Figure 136: Second movement, mm. 49-52

The composer uses various textures from measure 85 to measure 106 such as double notes, six-note groups, and broken chords. There are a few ways to interpret this section. We could use the dynamic changes and follow the articulations as the composer marks, and we could also use pedal appropriately to help differentiate these different textures. The composer uses f for those double notes, mp for the six-note groups, and mf for the broken chords. I suggest playing without pedal from measure 85 to measure 88 while employing a light pedal with finger-legato from measure 89 to measure 93. For the broken chords passage, I suggest emphasizing the top voice and playing the staccato clearly in the bass line without pedal.

Figure 137: Second movement, mm. 85-96

The main feature of this movement is that several themes appear repeatedly throughout the movement but in different keys. The pianist should interpret each differently to create the varieties. For example, the b theme, measure 12, appears again on measure 129. To provide the differences with these repeated themes, I suggest focusing only on the right hand melody in the piano while playing the left hand accompaniment quietly the first time. In contrast to the first time, the pianist could bring out the melodic line in the right hand as well as shape the sixteenth notes in the left hand second time.

Figure 138: Second movement, mm. 129-132

The cadenza of the second movement is only a short phrase from measure 150 to measure

154. I recommend using different tone qualities and a variety of color for this section. For example, I would play with a deeper sound for the first few notes and use a plucking touch for the sixteenth notes after the fermata on the F major chord. In the next passage with thirty-second notes, the most important line would be the top; even though the dynamic marking is mezzo forte,

I would try to keep the thirty-second notes quieter which will allow more room for the top voice.

For the last triplet, I would suggest a bell-like sound.

Figure 139: Second movement, cadenza, mm. 150-151

4.3 Technical and Pedaling Issues

First Movement

There is a piano solo passage from measure 86 to measure 97. The piano takes over the melodic line at measure 86 from the orchestra. To create a different color and vary the sound, the pianist could use soft pedal in an appropriate way. For example, I would use soft pedal from measure 86 to 89 and release the pedal from measure 90. Another technical difficulty from measure 86 to 89 is in the left hand when supporting the melodic line in the right hand. One needs to connect the triplets and avoid accents.

Figure 140: First movement, mm. 86-90

The coda, from measure 310 to the end, is the most exciting section in this movement.

Hsiao writes a lot of rapid notes and the tempo increases until the end. The challenges are right and left hand alternation, and repeated chords in the right hand. Because the tempo is fast, I suggest that the pianist practice those thirty-second notes as cluster chords first securing the notes and location. The tempo increases from measure 316. In my opinion, one should slowly practice block chords in the left hand and play only one chord in the right hand. Eventually, the pianist should focus more on the accent of the left hand and relax the wrist of the right hand.

Figure 141: First movement, mm. 311-312

Figure 142: First movement, mm. 317-319

Second Movement

Hsiao marks Allegro più animato and immediately changes the character at measure 136 to measure 149. This is a long phrase and builds to a climax in measure 147. The challenge in this section is the jumps in the left hand. The pianist should practice the last note of the previous bar with the top note of the octave, and also practice jumping to the bottom of the octave. Once used to the distance between two notes, add the bottom note and practice the last note of the previous bar with the octave of the next bar. By practicing this way, we may eventually be able to play these jumps without hesitation.

Figure 143: Second movement, mm. 136-139

Third Movement

From measure 4 to measure 11, the flutes have the melodic line. The role of the piano maintains the energy and enriches the harmony. The pianist should think the big picture from measure 4 to measure 11. The main technical issue in this passage would be the leaps. I suggest first practicing only the jumps to secure the distance and then adding more notes.

Figure 144: Third movement, mm. 4-6

From measure 72 to 95, Hsiao varies the texture to increase the variety. For example, Hsiao immediately changes the character in measures 86 to 95 where the orchestration is thinner than in measures 78 to 85. In order to create different sound qualities between the two parts, I recommend using thicker pedaling in measures 78 to 85 to better project over the orchestra, and employ shallow pedaling with finger-legato in measures 86 to 95.

Figure 145: Third movement, mm. 87-89

Although the third cadenza, measure 119, in this movement seems easier than the second cadenza, there are certain technical issues in this cadenza. The function of this cadenza is a bridge that connects the previous section to the next section. To better interpret this cadenza, I

95 would suggest using finger-legato to focus on the expressive mood while employing a slight pedal to keep the sound warmer. We also want to make sure that there are no accents occurring.

Figure 146: Third movement, mm. 119

The conclusion of the piece is always a big challenge, not only physically but emotionally.

From measure 219 to the end, Hsiao uses not only full chords but also continuous ascending and descending octaves. One should plan the phrase and dynamic smartly to play this passage effortlessly and effectively. I would suggest that the pianist bring direction to the highest octave and play the descending scale in one motion on measure 219. From the presto section, measure

223, start softer and lead the ascending scale with the left hand as well to save the energy for the right hand in the last few octaves and bring the entire section to a climax.

Figure 147: Third movement, mm. 219-229

Conclusion

Tyzen Hsiao has been called the “Sergei Rachmaninoff of Taiwan” due to the significant influence of musical ideas from Sergei Rachmaninoff. The Piano Concerto Op. 53 is a masterpiece completed in 1992. Hsiao uses several different approaches to harmony, texture, rhythm, and orchestration from Romantic, Impressionist, and Modern periods as well as borrows several musical ideas from Rachmaninoff. The most important features in this composition are the use and variance of the Taiwanese folksong Griff as well as Hsiao’s early song The Magic of

Love.

There are numerous similarities in the orchestration, structure, rhythm, technique, phrasing, articulation, voicing, dynamic, harmony, and texture between Hsiao’s Piano Concerto Op. 53 and Rachmaninoff’s Second Piano Concerto. Similarities such as thick chords, large leaps, octaves, arpeggios, finger legato, virtuosic scales, chromatic writing, moments of floating tonality or atonality seem to be indicative of many other piano concerti and also seem to indicate late romantic and twentieth century compositional style. There are also some similarities such as melodic contours, textures, and rhythmic patterns that really solidify the connection between

Hsiao and Rachmaninoff’s concerti.

Hsiao uses cadenza in several places but not in the way that we would expect of a cadenza.

Cadenzas usually begin as a harmonic extension of the dominant chord with the composer employing fragments of musical ideas that exist earlier in the piece. In Hsiao’s cadenza, the function of the cadenzas functions more like as a bridge – in virtuosic fashion – connecting two sections.

98 In addition, there is a difference in the interaction between piano and orchestra in Hsiao’s

Piano Concerto and in Rachmaninoff’s Second Piano Concerto. The two concerti approach collaboration between solo piano and the orchestra differently. While both use thick texture and the orchestra as harmonic support for the solo part, Rachmaninoff’s Second Piano Concerto represents a clear definition between solo and accompaniment parts. Hsiao, on the other hand, uses many dialogue-like phrases between the orchestra and the piano that represent a more collaborative way of interacting between parts much like chamber music writing.

The approach that Hsiao employs – such as sectional structure, technical difficulties, inner voice melodies, harmonic thickness, dynamic markings, and rhythmic patterns – these are obvious examples of Rachmaninoff’s considerable influence on Hsiao’s Piano Concerto.

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