A Description and Evaluation of Piano Works by Three Taiwanese Composers of the Twentieth Century

A Description and Evaluation of Piano Works by Three Taiwanese Composers of the

Twentieth Century:

Tyzen Hsiao, Shui-Long Ma, and Gordon Shi-Wen Chin

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

Wei-Yi Sun

Graduate Program in Music

The Ohio State University

2020

D.M.A. Document Committee

Steven Glaser, advisor

Graeme Boone

Jan Radzynski

Wei-Yi Sun

2020

Abstract

Asian countries did not join the development of Classical music happening in

Europe until the twentieth century; as such, how do contemporary those contemporary

Asian composers introduce themselves to Western Classical music and build their reputation? What did they do to compose music that can appeal to Western music lovers while remaining true to their own traditions? These questions will be addressed in this document by using three Taiwanese composers as examples.

Although Taiwan is only a small island country in Asia, it is highly developed, both economically and culturally. The Taiwanese people have been educated in and enjoyed

Classical music and many fine musicians have been cultivated in this society. Among those musicians are three Taiwanese composers that will be introduced in this document:

Tyzen Hsiao(蕭泰然), Shui-Long Ma(馬水龍) and Gordon Shi-Wen Chin(金希文). Their musicianship and contributions to music in Taiwan are significant. Many of their compositions are considered masterpieces by those who know of their work; however, they need greater attention from today’s musicians.

Contemporary composers need performers who are willing to learn different repertoire by new and less well-known composers. As is the case of many contemporary composers, works by these three Taiwanese composers have often been ignored by performers outside Taiwan. Therefore, it is my hope that this research will attract more

ii opportunities for performances of wonderful pieces so they will become better known by today’s public.

This document will start with an introduction about the background of music in

Taiwan, followed by three chapters; each of them includes the composer’s biography and an analysis of this piano works. Following these three chapters, there will be a chapter comparing their works. The document concludes with an evaluation of their compositions.

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Dedication

To my dearest parents, without whose endless support and love, I could not be here

today.

Acknowledgments

First, I would like to express great gratitude to my advisor, Professor Steven Glaser.

In my four years of DMA study, he supported and guided me with his passion and intelligence. Many times, I walked into his studio for a lesson without enthusiasm but came out with a new idea in music and life. He is truly a wonderful mentor and person.

Besides my advisor, I would like to thank my committee members: Dr. Graeme Boone and

Dr. Jan Radzinsky.

I would also want to thank all my friends, wherever they are, who kept me accompanied during this tough time. Special thanks to Noah Cothern, a special friend who helped me with grammar mistakes throughout my writing.

Most importantly, I want to give thanks to my family. Although far away in Taiwan,

I can always feel their love and care. Every time I went back to Taiwan for the summer, I was always treated with their company and amazing food, which fueled me to be able to complete another year of challenges with success. Thank you to my mom and dad for getting the scores discussed in this document and scanning them for my use. Thank you to my sister-in-law, Felice Chang, for helping me find unpublished scores by contacting the composers’ organizations.

Vita

2010………………….……………………………Bachelor in Music, Tunghai University

2014…………………………………Master in Music, Indiana University at Bloomington

2016...... Doctor of Musical Arts in Piano Performance,

Graduate Teaching Associate, The Ohio State University

Fields of Study

Major Field: Music

Table of Contents

Abstract ...... ii Dedication ...... iv Acknowledgments...... v Vita ...... vi Table of Contents ...... vii List of Tables ...... ix List of Figures ...... x Chapter 1. Introduction ...... 1 1.1 Historical Background ...... 1 1.1.1 Under Dutch and Spanish Rule ...... 1 1.1.2 Under the Rule of the Ming and Qing Dynasties ...... 3 1.1.3 Under Japanese Rule ...... 4 1.1.4 After World War II ...... 5 1.1.5 Becoming Democratic and Now ...... 7 1.2 Music in Taiwan ...... 8 1.2.1 Aboriginal music ...... 8 1.2.2 Han music (Chinese music) ...... 9 1.2.3 Western music ...... 11 Chapter 2. Tyzen Hsiao...... 15 2.1 Biography ...... 15 2.2 Analysis...... 18 2.2.1 Memories of Home ...... 18 2.2.2 Farewell Etude, Op. 55 ...... 29 2.2.3 Poetic Echo, Op. 37, 38, and 40 ...... 35 2.2.4 Concerto in C Minor, Op. 53, for Piano and Orchestra ...... 40

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2.3 Conclusion ...... 64 Chapter 3. Shui-Long Ma ...... 65 3.1 Biography ...... 65 3.2 Analysis...... 68 3.2.1 A Sketch of The Rainy Harbor ...... 68 3.2.2 Taiwan Suite for Piano Solo ...... 75 3.2.3 Rhapsody in Kuan Du, for Piano and Orchestra ...... 82 3.3 Conclusion ...... 91 Chapter 4. Gordon Shi-Wen Chin ...... 92 4.1 Biography ...... 92 4.2 Analysis...... 95 4.2.1 Piano Concerto No. 1 ...... 95 4.3 Conclusion ...... 116 Chapter 5. Comparison and Conclusion ...... 117 5.1 Educational Background ...... 118 5.2 Religious Belief ...... 118 5.3 Musical Ideas ...... 120 5.3.1 Form ...... 120 5.3.2 Chromaticism and Texture ...... 121 5.3.3 Eastern Material ...... 122 5.4 Conclusion ...... 123 Bibliography ...... 124 Appendix A. Map of Taiwan ...... 128 Appendix B. List of Tyzen Hsiao’s Piano Works ...... 129 Appendix C. List of Shui-Long Ma’s Piano Works ...... 130 Appendix D. List of Gordon S. W. Chin’s Piano Works ...... 131

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List of Tables

Table 1. Structure of Rhapsody in Kuan Du, for Piano and Orchestra………………… 85 Table 2. Structural Comparison between a Villanelle and the First Movement……….. 99

List of Figures

Figure 1. Alle Vögel sind schon da with Japanese text ...... 13 Figure 2. Rhythmic pattern often used in Songjiang Battle Array ...... 19 Figure 3. Prelude, mm. 1–2 ...... 20 Figure 4. C-pentatonic scale in Prelude, mm. 11–12 ...... 20 Figure 5. Prelude, mm. 17–18 ...... 21 Figure 6. Prelude, mm. 23–24 ...... 21 Figure 7. Memory, mm. 1–6...... 22 Figure 8. The Traveler for mixed choir by Tyzen Hsiao ...... 23 Figure 9. Memory, mm. 28–29...... 24 Figure 10. Memory, mm. 43–46...... 24 Figure 11. Playground, mm. 1–4 ...... 25 Figure 12. Ancient Taiwanese Melody, mm. 1–4...... 26 Figure 13. Ancient Taiwanese Melody, mm. 37–40...... 26 Figure 14. Elegy, mm. 1–2 ...... 27 Figure 15. Frolic, mm. 1–6 ...... 27 Figure 16. Frolic, mm. 46–51 ...... 28 Figure 17. Frolic, mm. 76–81 ...... 28 Figure 18. Thirds and fourths in a pentatonic scale ...... 29 Figure 19. Etude Op. 25 No. 5 by Chopin, mm. 45–48 ...... 30 Figure 20. Farewell Etude by Hsiao, mm. 12–17 ...... 30 Figure 21. Farewell Etude, mm. 1–4 ...... 31 Figure 22. Melody of the folk song Red in Four Seasons ...... 32 Figure 23. Farewell Etude, mm. 51–52 ...... 33 Figure 24. Piano Concerto No. 2 by Rachmaninoff, mm. 21–22 ...... 33 Figure 25. Farewell Etude, mm. 58–60 ...... 34 Figure 26. Farewell Etude by Hsiao, mm. 89–94 ...... 34 Figure 27. Farewell Etude, mm. 110–116 ...... 35 Figure 28. Poetic Echo, Op. 37, No. 1, mm. 1–11 ...... 37 Figure 29. Poetic Echo, Op. 37, No. 1, mm. 54–61 ...... 37 Figure 30. Poetic Echo, Op. 37, No. 6, mm. 1–4 ...... 38 Figure 31. Poetic Echo, Op. 40, No. 4, mm. 7–9 ...... 39 Figure 32. Poetic Echo, Op. 40, No. 4, mm. 22–24 ...... 39 Figure 33. Concerto in C Minor, Op. 53, for Piano and Orchestra by Hsiao, Allegro Moderato, mm. 1–3...... 42 Figure 34. Concerto in C Minor, Op. 53, for Piano and Orchestra by Hsiao, Allegro Moderato, mm. 7–9...... 43 Figure 35. Piano Concerto No. 2 by Rachmaninoff, mm. 10–13 ...... 44 Figure 36. Concerto in C Minor, Op. 53, for Piano and Orchestra by Hsiao, Allegro Moderato, mm. 13–18...... 45 Figure 37. Piano Concerto No. 2 by Rachmaninoff, mm. 91–96 ...... 45

Figure 38. Concerto in C Minor, Op. 53, for Piano and Orchestra by Hsiao, Allegro Moderato, mm. 73–75...... 46 Figure 39. Concerto in C Minor, Op. 53, for Piano and Orchestra by Hsiao, Allegro Moderato, mm. 85–87...... 46 Figure 40. Concerto in C Minor, Op. 53, for Piano and Orchestra by Hsiao, Allegro Moderato, mm. 150–159...... 47 Figure 41. Concerto in C Minor, Op. 53, for Piano and Orchestra by Hsiao, Allegro Moderato, mm. 163–164...... 48 Figure 42. Concerto in C Minor, Op. 53, for Piano and Orchestra by Hsiao, Allegro Moderato, mm. 261...... 49 Figure 43. Concerto in C Minor, Op. 53, for Piano and Orchestra by Hsiao, Allegro Moderato, mm. 262–264...... 49 Figure 44. Concerto in C Minor, Op. 53, for Piano and Orchestra by Hsiao, Allegro Moderato, mm. 315–319...... 50 Figure 45. Piano Concerto No. 2 by Rachmaninoff, mm. 471–476 ...... 50 Figure 46. Concerto in C Minor, Op. 53, for Piano and Orchestra by Hsiao, Adagio, mm. 1–4...... 51 Figure 47. Concerto in C Minor, Op. 53, for Piano and Orchestra by Hsiao, Adagio, mm. 11–13...... 52 Figure 48. Concerto in C Minor, Op. 53, for Piano and Orchestra by Hsiao, Adagio, mm. 14–19...... 53 Figure 49. Concerto in C Minor, Op. 53, for Piano and Orchestra by Hsiao, Adagio, mm. 28–29...... 54 Figure 50. Concerto in C Minor, Op. 53, for Piano and Orchestra by Hsiao, Adagio, mm. 85–88...... 54 Figure 51. Concerto in C Minor, Op. 53, for Piano and Orchestra by Hsiao, Adagio, mm. 111–114...... 55 Figure 52. Concerto in C Minor, Op. 53, for Piano and Orchestra by Hsiao, Adagio, mm. 128–130...... 55 Figure 53. Concerto in C Minor, Op. 53, for Piano and Orchestra by Hsiao, Adagio, mm. 48...... 56 Figure 54. Concerto in C Minor, Op. 53, for Piano and Orchestra by Hsiao, Adagio, mm. 150–154...... 56 Figure 55. Concerto in C Minor, Op. 53, for Piano and Orchestra by Hsiao, Allegro con fuoco, mm. 1–4 ...... 57 Figure 56. Concerto in C Minor, Op. 53, for Piano and Orchestra by Hsiao, Allegro con fuoco, mm. 5–7 ...... 58 Figure 57. Concerto in C Minor, Op. 53, for Piano and Orchestra by Hsiao, Allegro con fuoco, mm. 18–19 ...... 59 Figure 58. Concerto in C Minor, Op. 53, for Piano and Orchestra by Hsiao, Allegro con fuoco, mm. 25–33 ...... 59 Figure 59. Concerto in C Minor, Op. 53, for Piano and Orchestra by Hsiao, Allegro con fuoco, mm. 160–163 ...... 60

Figure 60. Concerto in C Minor, Op. 53, for Piano and Orchestra by Hsiao, Allegro con fuoco, mm. 206–208 ...... 61 Figure 61. Concerto in C Minor, Op. 53, for Piano and Orchestra by Hsiao, Allegro con fuoco, mm. 144–147 ...... 62 Figure 62. Concerto in C Minor, Op. 53, for Piano and Orchestra by Hsiao, Allegro con fuoco, mm. 61–68 ...... 62 Figure 63. Concerto in C Minor, Op. 53, for Piano and Orchestra by Hsiao, Allegro con fuoco, mm. 102 ...... 63 Figure 64. Rain, mm. 1–5 ...... 69 Figure 65. Rain, mm. 18–21 ...... 70 Figure 66. Rain, mm. 22–23 ...... 70 Figure 67. Rain, mm. 26–29 ...... 71 Figure 68. Harbor Views in Rainy Nights, mm. 1–12 ...... 72 Figure 69. The Girl Who Picks Seashells, mm. 1–4 ...... 73 Figure 70. At the Temple Gate, mm. 1–4 ...... 74 Figure 71. At the Temple Gate, mm. 9–12 ...... 74 Figure 72. At the Temple Gate, mm. 17–20 ...... 75 Figure 73. The Temple, mm. 1–5 ...... 76 Figure 74. The Temple, mm. 47–54 ...... 77 Figure 75. The Temple, mm. 55–58 ...... 77 Figure 76. Religious Procession, mm. 1–4 ...... 78 Figure 77. Religious Procession, mm. 5–7 ...... 79 Figure 78. Religious Procession, mm. 20–25 ...... 79 Figure 79. Lion Dance, mm. 1–4 ...... 80 Figure 80. The Lantern Festival, mm. 1–8 ...... 81 Figure 81. The Lantern Festival, mm. 9–16 ...... 82 Figure 82. Rhapsody in Kuan Du, mm. 89–92 ...... 85 Figure 83. Rhapsody in Kuan Du, mm. 133–135 ...... 86 Figure 84. Rhapsody in Kuan Du, mm. 1–4 ...... 86 Figure 85. Rhapsody in Kuan Du, mm. 209–216 ...... 88 Figure 86. Rhapsody in Kuan Du, mm. 213–218 ...... 89 Figure 87. Rhapsody in Kuan Du, mm. 225–228 ...... 90 Figure 88. One Art by Elizabeth Bishop ...... 96 Figure 89. Piano Concerto No.1 by Chin, Villanelle, mm. 64–65 ...... 100 Figure 90. Piano Concerto No.1 by Chin, Villanelle, mm. 24–25 ...... 101 Figure 91. Piano Concerto No.1 by Chin, Villanelle, mm. 69–70 ...... 101 Figure 92. Piano Concerto No.1 by Chin, Villanelle, mm. 126–127 ...... 102 Figure 93. Haiku by Matsuo Basho ...... 103 Figure 94. Piano Concerto No.1 by Chin, Adagio, mm. 50–54 ...... 104 Figure 95. Piano Concerto No.1 by Chin, Adagio, mm. 1–5 ...... 105 Figure 96. Piano Concerto No.1 by Chin, Adagio, mm. 1-2 ...... 105 Figure 97. Piano Concerto No.1 by Chin, Adagio, mm. 1–5 ...... 107 Figure 98. The Night is Darkening Round Me by Emily Brontë ...... 108 Figure 99. Piano Concerto No.1 by Chin, Third Movement, mm. 67–71 ...... 109 xii

Figure 100. Piano Concerto No.1 by Chin, Third Movement, mm. 1–3 ...... 110 Figure 101. Piano Concerto No.1 by Chin, Third Movement, mm. 81–87 ...... 111 Figure 102. Piano Concerto No.1 by Chin, Third Movement, mm. 16–20 ...... 111 Figure 103. Four patterns of the piano entrance of the third movement...... 111 Figure 104. Piano Concerto No.1 by Chin, Third Movement, mm. 203–207 ...... 112 Figure 105. Piano Concerto No.1 by Chin, Third Movement, mm. 88–95 ...... 113 Figure 106. Piano Concerto No.1 by Chin, Third Movement, mm. 235–237 ...... 114 Figure 107. Piano Concerto No.1 by Chin, Third Movement, mm. 245–246 ...... 114 Figure 108. Piano Concerto No.1 by Chin, Third Movement, mm. 164–166 ...... 115 Figure 109. Piano Concerto No.1 by Chin, Adagio, mm. 91–93 ...... 115

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Chapter 1. Introduction

1.1 Historical Background

Several empires colonized Taiwan before it regained its independence.

Consequently, Taiwanese culture embraces the various traditions (particularly, musical) of its former colonists, resulting in an inclusive country. This chapter provides a historical background for the colonization and the music brought by these countries, as well as the characters of the three most influential types of music in Taiwan.

1.1.1 Under Dutch and Spanish Rule

In the 16th century, European countries were expanding their territories. They expanded their influence through sea power, discovered unknown continents, and looked for more economic partners in the world. During this period, while the Portuguese were on their way to Japan, they located an island and named it “Formosa” (Portuguese for

“beautiful”). This island is now called Taiwan. However, the Portuguese did not colonize

Formosa; they already had Macau as their business base with China, and as such, there was no need to attach and occupy Taiwan.

In the early 17th century, before they ruled Taiwan, the Dutch occupied Penghu (at this time, still a territory of China), while engaging in commercial intercourse with

1 mainland China. However, in 1604, the Chinese challenged Dutch occupation of Penghu, attacking the Dutch army, and forcing a retreat to Taiwan. Since Taiwan was not yet part of mainland China, the Chinese government allowed the Dutch army to remain in Taiwan in 1624. This was the beginning of Dutch rule in Taiwan.

The Dutch army first fortified in Tayouan (now Tainan, located in the southwest of

Taiwan) and gradually expanded their sphere of influence. However, in 1626, the Spanish had arrived in northern Taiwan. The purpose of the Spanish occupation was twofold: first, to trade with both China and Japan; and second, to spread Catholicism within these two countries with which they had economic relationships. The Spanish presence in northern

Taiwan threatened the Dutch army in southern Taiwan and prompted the Dutch to attack the Spanish newcomers in 1642. The Dutch army successfully took Tam-Sui located in northern Taiwan from the hands of the Spanish and forced them to retreat from Taiwan.

Although brief, the Dutch presence was important because the Dutch undertook the first serious effort at developing Taiwan.1 During their 38-year occupation of Taiwan, the

Dutch established several schools to teach local children and aboriginal tribes. They also preached Catholicism to the people, and the missionaries even composed Psalms for the local churches. In addition to sacred music, there were small quantities of secular music being written by the missionaries.

1 Denny Roy, Taiwan: A Political History (New York: Cornell University Press, 2003), 15. 2

1.1.2 Under the Rule of the Ming and Qing Dynasties

In the mid-17th century, the Ming dynasty gradually lost its power over China.

Many of the courtiers of the Ming dynasty established their own empires within the southern part of China. In 1661, the son of a navy general of the Ming dynasty, Zheng

Chenggong, took over Taiwan and forced the Dutch to leave. This was the first Han regime in Taiwan. Zheng died the following year, and his son succeeded him to rule Taiwan. In

1683, the Qing dynasty (1637-1912) defeated the Zheng army and took control of Taiwan from the Zheng family.

At the beginning of its rule, the Qing dynasty acted passively with respect to

Taiwanese issues. However, because of the crucial economic location of Taiwan, the Qing began to treat Taiwan with greater importance. Taiwan was set as a province of China in

1885, and subsequently, modern infrastructures such as electricity, railways, and postal services were introduced to Taiwan.

During this period, there were more documented examples of aboriginal music in

Taiwan. Although aboriginal music focused more on singing than instrumental playing, scholarship and literature focused more on the actual construction of the instruments, rather than descriptions or transcriptions of songs and their singing.2 Documents that discuss aboriginal music relate that the aboriginal music would often be combined with dancing

2 Yu-Hsiu Lu, Taiwan Music History (Taipei: Wunan Book Inc., 2003), 57. 3 and drinking.3 In addition to singing, dancing, and drinking, one of the main descriptions in encountered documents is the bright and resonant voice of the aboriginal people.4

Due to the mass immigration of Han people from China between the 17th century and the 20th century, Chinese music and drama became more popular in Taiwan. The

Zheng regime prohibited all Western religious activities, including the sacred church music brought the Dutch, and destroyed all their churches. After the fall of the Qing dynasty and the opening of several harbors in Taiwan, Christianity was once again preached in Taiwan, now by British and Canadian travelers.

1.1.3 Under Japanese Rule

In 1894, the First Sino-Japanese War broke out. The next year, the Qing dynasty ceded Taiwan to Japan under the terms of the Treaty of Shimonoseki. At the beginning of

Japanese rule, the Taiwanese people resented this change and initiated several protests and fights, during a period known as the adjustment period. However, after the first twenty years of the adjustment period, Taiwan had a growing economy and a stable society.

During this blossoming time, stores specializing in selling instruments, scores, or even music books appeared in Taipei.

The Japanese government established a public-school system which would be the predecessor of elementary schools, and taught children Japanese and singing.5 These

3 Ibid., 58. 4 Ibid., 58. 5 Ibid., 122. 4 singing classes taught mainly Western music, which served to introduce Western music to the Taiwanese people.6 By this time, Japan was already highly westernized in order to achieve an equal status with all other Western countries. Therefore, they taught Western music instead of Japanese music to Taiwanese people.

In 1939, the Japanese started the Kominka Movement which required every

Taiwanese person to speak Japanese, change their surnames to a Japanese surname, and to respect the Japanese national flag. As a result of this movement, learning and performing all Chinese drama and music was banned. Although the Japanese government prohibited

Chinese drama and music, they were interested in the aboriginal culture of Taiwan. They did much research about the aboriginal tribes and collected aboriginal songs.

1.1.4 After World War II

The Second World War ended in 1945 when Japan surrendered and accepted the

Potsdam Agreement and the Cairo Declaration. Japan returned Taiwan to the Republic of

China. Thanks to the conclusion of the war and the ensuing peace, music in Taiwan flourished. Unfortunately, this calm did not last long.

Due to the unfair treatment of the original Taiwanese people by immigrants from mainland China, some radical Taiwanese natives organized a series of anti-government protests on February 28th of 1947, in an event now known as the February 28th incident.

This incident caused many casualties, and the government banned people from gathering.

6 Ibid., 86. 5

In addition to the February 28th incident, in 1949, the Chinese Communist Party established the People’s Republic of China in Peking and forced the government of the Republic of

China (ROC) to settle in Taiwan from Canton (south of China, near Hong Kong and

Macau).

In order to stabilize their power and to control the social chaos in Taiwan, the government of the ROC declared martial law in 1949; martial law remained in effect for

38 years. During this period, the free development of art and music was restrained because of the political tension. To further reduce the original Taiwanese natonalistic consciousness, the government supported Chinese music and drama and suppressed both native Taiwanese music and Taiwanese language.

To prevent Taiwanese folk music from disappearing during the quick tempo of change in the society, there were two collections of Taiwanese folk music instituted by the

ROC government, one in 1966 and the other in 1978. These catalogues were intended to preserve the variety of Taiwanese music, and the result became the inspiration as well as a resource for later Taiwanese composers, including the three composers under discussion in this document.

In the 1970s, the economy gradually grew, which enlarged the need for art in peoples’ lives. Because of the persecution of local Taiwanese music, Western music, which initially belonged to people from the upper class, was able to bloom in Taiwan. In this time, many music schools and performance halls were established which cultivated not only a widening audience, but more employment opportunities in the music field.

1.1.5 Becoming Democratic and Now

During the late 1970s, political tension gradually eased, and by the 1980s, Taiwan underwent significant political changes.7 In 1986, a second political party named The

Democratic Progressive Party was established. In the next year, martial law ended. During this time, due to the free flow of information, musical activities in Taiwan were developed in diverse ways. The three main types of music that were popular in Taiwan (Taiwanese aboriginal music, Han music, and Western music) began to lose their stylistic independence, resulting in an innovative blend of one another.

In the 1990s, several graduate programs in music were established, offering degrees in music performance and musicology. Within the music performance major, there were areas in Western music and Chinese (Han) traditional music. As for the musicology major, many researchers who studied abroad during martial law came back to teach in these

Taiwanese graduate schools and spread musical knowledge to the public by attending academic conferences and giving lectures.

In response to the need for the development of music and arts, the government established foundations such as the Aboriginal Music and Education Foundation and the

National Traditional Arts Center. These organizations not only preserve but furthermore promote aboriginal and traditional music and art. In order to popularize traditional music, many singers and music producers combined traditional music (such as aboriginal songs)

7 Ping-Hui Lian and David Der-Wei Wang, eds., Taiwan Under Japanese Colonial Rule, 1895–1945 (New York: Columbia University Press, 2006), 19. 7 with popular music of the time. These innovations allowed the public to accept traditional music more easily. However, the music lost its purity of style and character.

1.2 Music in Taiwan

Throughout Taiwan’s history, several different types of music have coexisted, due to its colonial past: Taiwanese aboriginal music, Han music from China, and Western music. The following sections introduce and provide basic information for each of the three most prominent music types that can be found in Taiwan.

1.2.1 Aboriginal music

The aboriginal Taiwanese people were those who already lived in Taiwan before the Han people immigrated to Taiwan. Sixteen tribes are identified by the government of

Taiwan. Amongst those sixteen tribes, there are nine major native tribes: the Pangcah

(Amis), Payuan (Paiwan), Tayal (Atayal), Bunun, Pinuyumayan (Puyuma), Drekay

(Rukai), Cou (Tsou), Saisiyat, and Tao. The Pangcah (Amis) tribe has the largest population within all tribes.

The aboriginal people are incredibly hospitable; when there are guests, they always gather around drinking, dancing and singing.8 They celebrate harvests with music and dancing. Music is an integral part of all aspects of tribal life, and it is usually associated

8 Yu-Hsiu Chen, Overview of Taiwan Music (Taipei: Taiwan Interminds Publishing Inc., 1997), 11. 8 with agriculture, hunting, fishing, and religious ceremonies.9 The main character of the aboriginal music in Taiwan is the free and irregular meters, and the atmosphere of their music is usually bright and lively. These two features are shared by all tribes in Taiwan.

Although there are similarities between the music of each tribe, there are some differences. One of the differences is caused by the different lifestyles and characters of each tribe. For example, the Tayal people live closer to each other in the tribe, but they are more independent; as such, their songs are mostly for solo singers. On the other hand, the

Bunun people live more dispersed and seperated, but care more about collectivism, as such have more songs for choir. Another factor that influences the music of each tribe is their geographic location. Two nearby tribes will easily be influenced by each other and therefore have similar characteristics, such as the Tayal with the Saisiyat, and the Pangcah with the Pinuyumayan. Unlike Western music, aboriginal music does not have the tradition of notation to pass on the music to their descendants. Instead, they inherit their music by oral transmission.

1.2.2 Han music (Chinese music)

Han music was brought to Taiwan by immigrants from mainland China during the

Ming dynasty around 1370. Since the population of the immigrants was massive, several types of Han music were introduced in Taiwan. The most popular ones were Beiguan music, Nanguan music, Taiwanese opera, and folk songs.

9 Ru-Ping Chen, “The Cello Works of Tyzen Hsiao” (D.M.A. diss., Ohio State University, 1999), 11, ProQuest ATT 9931579. 9

The “Nan” in Nanguan means “south” in Chinese, and the “Bei” in Beiguan means

“north”. Nanguan music originated from the Weinan area in China, which includes

Xiamen and Canton (both are located in the southmost part of mainland China). Beiguan originated from places north of the Weinan area. Nanguan, in general, has been described as lyrical, refreshing, soft, and sensuous, while Beiguan produces a hot and loud aura.

Nanguan is usually enjoyed by the refined scholars and professional performers of

Nanguan music. Beiguan, on the other hand, is more popular within the public and is performed more frequently. Beiguan music is closely tied to Taiwanese social life and played at weddings, funerals, and also religious processions. Both Nanguan and Beiguan are used in Taiwanese opera.

Taiwanese opera originated in Yilan (northeast of Taiwan) and is derived from southern China. The Taiwanese opera uses both Nanguan and Beiguan orchestras to accompany singers and/or actors. The texts are Taiwanese, and usually describe love stories or traditional folk legends. The music of Taiwanese opera adapted a variety of musical styles that were popular in Taiwan, including folk songs and pop songs.

The folk song is the best representative of the life experience and cultural heritage of an area.10 The Han folk songs of Taiwan were created by the early immigrants from

China while they were farming all day and expressing their joy and sadness through singing.

There are four characteristics of these Taiwanese folk songs. First, they are inherited verbally; second, they change over time; third, their composers are anonymous; and fourth,

10 Lu-Fen Yan and Mei-Ling Hsu, eds., Music of Taiwan (Taipei: Lee Teng-Hui Institute, 2006), 40. 10 although they change gradually over time, they still preserve a certain degree of similarity to their original form.11

There are two general types of folk songs, divided by the language they use. One is the Hoklo folk song, and the other is the Hakka folk song. “Hoklo” is the name of people from Fukien as referred to by the Cantonese people. Most of the immigrants in early

Taiwan were from Fukien and Canton, and their language was named Hokkien. This language transformed into the language that most Taiwanese use nowadays, and thus those

Hoklo folk songs are in Hokkien or Taiwanese. The other faction is the Hakka folk song.

Hakka people are one of the eight subgroups of Han people, and their language is Hakka.

They also immigrated to Taiwan during the Qing dynasty at the same time as the Hoklo people and developed their folk songs. The earliest record of these folk songs was from the Japanese period. After World War I, Tsang-Houei Hsu, considered the leader of the folk song collection effort in Taiwan, pioneered efforts to research, collect, and catalogue folk songs.

1.2.3 Western music

The origin of Western music in Taiwan can be traced back to the period of Dutch rule. Due to undeveloped technology, only a few documents about Western music, especially religious music, were produced in Taiwan. More records about Western music in Taiwan can be found during the Japanese protectorate. Early in this period, music lessons were used as a tool to spread knowledge of Japanese language and culture to the

11 Li-Chu Yang, Songs and Life (Taipei: Daw Shiang Publishing Co., 2003), 17. 11

Taiwanese people. Subsequently, these music lessons promoted overall musical knowledge in Taiwan. In order to teach Taiwanese people Japanese, well-known Western songs were often supplied with Japanese texts, and taught to students in these lessons.

Figure 1.1 (on the following page) shows one example: the German nursery rhyme Alle

Vögel sind schon da.

Figure 1. Alle Vögel sind schon da with Japanese text12

12 Yan and Hsu, Music of Taiwan, 118. 13

After World War II, universities started to establish music departments. In addition to basic training in music theory, students could also choose their principal instruments for study. As a result of the unstable political environment following WWII, the development of Western music was influenced in many ways; there was, for example, an increase in patriotic songs, and the suppression of traditional folk songs.13 Due to the long-term emphasis on Western music education after WWII, both students and the public have higher opinions of Western music compared to traditional Taiwanese music. This situation makes it challenging to promote traditional music in Taiwan and internationally.

13 Ibid., 125. 14

Chapter 2. Tyzen Hsiao

2.1 Biography

Tyzen Hsiao was born into a Christian family on July 1st, 1938. His father was a dentist and mother was a pianist, which was not common during this period in Taiwan.

Therefore, it was natural that his mother became his first music teacher. Although Hsiao showed musical talent early in his childhood, his father did not believe that he should pursue music as a career. His father insisted he become a doctor, like himself. Not until

Hsiao’s senior year of high school did his father give up his insistence that his son become a doctor. This change of mind came about when the principal of Hsiao’s high school told his father: “If your son becomes a doctor, he will be a normal one as his interests are not there. However, if he chooses to be a musician, his future is unpredictable”.14 Hsiao then started to prepare for an audition for a music degree in college. He was accepted by the

National Taiwan Normal University Department of Music, majoring in Piano Performance.

He was hoping that after he earned a bachelor’s degree, he could study abroad in the United

States. However, events did not proceed according to plan. Hsiao taught on a small offshore island of Taiwan for one year, after which, he was called upon for his mandatory military service in the army.

14 Ming-Yun Tsai, A World-class Taiwanese Composer – Tyzen Hsiao (Taipei: Taiwan Interminds Publishing Inc, 2006), 74. 15

After his military service, Hsiao began to transfer his enthusiasm from piano performance to composition. He took lessons with another great Taiwanese composer

Tsang-Houei Hsu (許常惠). Hsu, called the “Father of music in Taiwan”, was the leading figure of contemporary music in Taiwan, and also the collector of Taiwan’s folklore music.

Hsiao and Hsu worked closely together, and Hsiao deeply appreciated his teaching in many ways. First, Hsu did not want any money from Hsiao, and second, Hsiao learned more about composition through Hsu’s teaching than through his time in college.15 Hsiao began to compose during this period, composing mostly sacred Christian music and choral music.

A representative work from this period is his Farewell for children’s choir.

In 1963, Hsiao was offered a teaching position in the southern Taiwanese city of

Kaohsiung and got married in the same year. Although his career and his family life were both on track, he still wanted to learn more about music. He went to the Musashino

Academia Musicae in Japan for higher education in both piano and composition. He graduated in 1967 and returned to Taiwan. After coming back, he began a career with three different emphases: piano performer, teacher, and composer. Despite his intense schedule,

Hsiao still took advantage of every opportunity to expand his musical knowledge. Hsiao once related: “My personality is, no matter how busy I am, to not miss any chance to learn.”16

After several years of fruitful life, family issues forced Hsiao to immigrate to the

United States in 1977. Being homesick in the United States, he joined a Taiwanese

15 Ibid., 78. 16 Hua-Jung Yen, Romantic and Taiwanese: Tyzen Hsiao (Yilan: National Center for Traditional Arts, 2002), 36. 16

Christian group and enjoyed singing Taiwanese folk songs with the members.17 Due to these gatherings, the importance of Taiwanese folklore music was brought to the forefront of Hsiao’s mind. He began to collect Taiwanese folk songs and rearrange them for different instruments, such as Spring Breeze (traditional Chinese: 望春風) for solo violin and piano and Hometown in the Twilight (traditional Chinese: 黃昏的故鄉) for string quartet. He continued composing pieces that expressed his nostalgia beyond the first year of his immigration. In 1986, his composition March of Democracy, written in 1980, was used for a political protest. As a result, he was banned from returning to Taiwan.

Hsiao pursued further education when he was 48, entering California State

University in Los Angeles for a master’s degree in composition. His studies with composition Professor B. K. Kim opened his eyes to contemporary music. However, Hsiao decided to compose using Taiwanese elements as a base for which to add on techniques of

Western music. In 1993, he had a severe heart problem requiring surgery, but from which, he was able to recover. His compositions from this period include Piano Concerto in C

Minor (1992) and Formosa Symphony (1987).

Because the change of the political situation in Taiwan, Hsiao was able to settle back in Taiwan in 1995, living in the northern Taiwanese city of Tamsui for seven years.

When the great earthquake of September 21 struck the central Taiwanese city of Nantou in

1999, he immediately composed the Song of Scar for a fundraising concert. During these years in Taiwan, he received commissions from many friends and music foundations in

17 Tsai, A World-class Taiwanese Composer – Tyzen Hsiao, 92. 17

Taiwan. Living under such pressure had undoubtedly worsened his health condition. In

2002, he left Taiwan for the United States so his family could take better care of him. After

2002, he continued living in the States for the remainder of his life.

Hsiao died in his home in Los Angeles in 2015, at age 77. Although he spent more than twenty years out of Taiwan, his connection with Taiwan was never lost. He worried about Taiwan and composed for its people; he devoted himself to Taiwan and undeniably earned his place in Taiwanese music history.

2.2 Analysis

The following sections offer an analysis of three solo piano pieces by Tyzen Hsiao:

Memories of Home, Farewell Etude, Op. 55, and Poetic Echo and his Piano Concerto in C minor, Op.53.

2.2.1 Memories of Home

Memories of Home is a suite consisting of six pieces published in 1987. Although these six pieces were composed at different times, they have an implicit connection to one another. Hsiao dedicated this suite to his piano teacher from California State University:

Dr. Milton Stern. The titles of these six pieces, in order, are Prelude, Memory, Playground,

Ancient Taiwanese Melody, Elegy, and Frolic.

2.2.1.1 Prelude

As expected, and is typical, the first piece, Prelude, serves as an introduction to the whole suite. The first ten measures recall the opening music of Songjiang Battle Array, which is a traditional Chinese martial performance18. In Songjiang Battle Array, the opening passage consists mostly of percussion instruments, such as the drum, Cymbal, and

Gong. All instruments play together on beat one, but only the drum plays on the offbeat.

As a result, the downbeat will be more resonant and lower in the register; while the offbeat will be quieter and drier (see Figure 2, below).

Figure 2. Rhythmic pattern often used in Songjiang Battle Array

Figure 3 on the following page shows Hsiao’s application of these Songjiang Battle Array rhythmic procedure in the opening two bars of his prelude. Note that the opening chord –

C, G, and A – serves as a motif throughout the suite.

18 Pei-Chun Hsieh, “A Study of Structure and Performance Interpretation of Tyzen Hsiao’s Piano Music: Memories of Home and Selections from Piano Pieces for Children” (Master diss., Fu Jen Catholic University, 2012), 15. 19

Figure 3. Prelude, mm. 1–2

After the first ten measures, the piece continues with an eastern tonal aesthetic by using the

C-pentatonic scale, as can be seen below in Figure 4.

Figure 4. C-pentatonic scale in Prelude, mm. 11–12

Later, the piece becomes more chromatic (see Figure 5 on the following page).

Figure 5. Prelude, mm. 17–18

In measure 23, Hsiao mixes both Eastern and Western tone-colors, using a diatonic C

Major scale in the right hand and a G-flat-pentatonic scale in the left hand (Figure 6).

Figure 6. Prelude, mm. 23–24

2.2.1.2 Memory

Memory structured in ternary form. This piece has a texture similar to Chopin’s piano preludes because of the left-hand accompaniment figure and the right-hand melody

(see Figure 7 on the following page).

Figure 7. Memory, mm. 1–6

The melody in this piece is derived from a song for four-part mixed choir called The

Traveler (traditional Chinese: 出外人) that Hsiao wrote in 1978, which was his first year in the United States (Figure 8 on the following page). The text of this song is about his loneliness in a foreign country.

Figure 8. The Traveler for mixed choir by Tyzen Hsiao

Hsiao again mixes Western and Eastern elements in this piece. The Western element can be seen in the left hand, which is in C major; and the figuration resembles

Chopin’s accompaniment writing. The Eastern element of the piece is that the very beginning of the melody in right hand outlines the C-pentatonic scale. (Figure 7 on the previous page).

When the melody reappears in measure 28, Hsiao ornaments it with fast repeated notes (Figure 9 on the following page). This figuration reminds the listeners of the sound

23 of the Chinese plucked-string instrument the “Zheng,” which adds some Eastern flavor to the piece.

Figure 9. Memory, mm. 28–29

At the last three measures of this piece, the left-hand accompaniment pattern is broken arpeggio based on the C-pentatonic scale (Figure 10).

Figure 10. Memory, mm. 43–46

2.2.1.3 Playground

The third piece in this suite is Playground, and this piece is structured in ternary form. Hsiao again uses the pentatonic scale of C throughout the piece. The melody is built on a Chinese folk melody named Purple Bamboo (traditional Chinese: 紫竹調) (Figure 24

11). This melody first appears in octaves, and is marked “Playful.” One can imagine the images of children singing this melody while playing on a playground. The first three notes in the melody are also the three-note motif (C, G, A) from “Prelude.”

Figure 11. Playground, mm. 1–4

In addition to the return of the three-note motif, the first two measures of the four-bar phrase are exact inversions. The first measure consists of an ascending major 2nd and an ascending minor 3rd, while the intervals of the second measure are descending minor 3rd and descending major 2nd.

2.2.1.4 Ancient Taiwanese Melody

Ancient Taiwanese Melody is the fourth piece in this suite and it is the first piece that is not in C major, but rather F major. Hsiao heard this melody hummed by an old man during the “Tomb Sweeping Day,” and transcribed it from memory. Interestingly, it has the same texture (melody and accompaniment) that Hsiao uses in the second piece Memory.

The opening left-hand figure is also in pentatonic scale – now on F: F, G, A, C, and D (see

Figure 12 on the following page).

Figure 12. Ancient Taiwanese Melody, mm. 1–4

The ending phrase of this piece only contains the four notes that appear in the first measure: F, A, C, D, with one exception in the last measure, the G note functioning as a passing note (Figure 13).

Figure 13. Ancient Taiwanese Melody, mm. 37–40

2.2.1.5 Elegy

This piece is the only piece in a minor key: A minor, and the structure of this piece is ternary form. It is different than the other pieces in the suite as it has fewer eastern elements in it; for example, there is no pentatonic scale in this piece. The whole piece is based on Western tonal system.

The pedagogic challenge in this piece is to cross hands, with the left hand crosses over the right hand to play in the down beats of each beat (Figure 14). It is important that the right hand needs to keep quiet when left hand has the melody in treble clef.

Figure 14. Elegy, mm. 1–2

2.2.1.6 Frolic

The last piece in the suite has a contrasting character as compared to the previous piece. It is written in the toccata style. Frolic features heavy uses and emphasis in thirds, and fourths, as can be seen in several passages (Figures 15 to 17).

Figure 15. Frolic, mm. 1–6 27

Figure 16. Frolic, mm. 46–51

Figure 17. Frolic, mm. 76–81

Thirds and fourths are prominent intervals derived from the pentatonic scale, as can be seen in Figure 18 on the following page.

Figure 18. Thirds and fourths in a pentatonic scale

A great challenge for the pianists is the continuous staccato in both hands. The staccato articulation in the A section with a fast tempo requires the performer to have relaxed arms and hands. This piece also requires a steady rhythmic pulse to show the continuous sixteenth notes alternating in both hands.

2.2.2 Farewell Etude, Op. 55

This etude, composed in 1993, is subtitled Farewell. In this year, Hsiao’s health was poor; that may be a possible cause as to why he wrote this piece and gave it this name.

The word “etude” is French, or “study” in English. An etude is “a composition designed to improve the technique of an instrumental performer by isolating specific difficulties and concentrating his or her efforts on their mastery” according to the Harvard Dictionary of

Music.19 Etudes from composers such as Muzio Clementi and Carl Czerny were mostly like finger exercises. However, later etudes from composers like Chopin and Debussy

19 Don Michael Randel, ed., The New Harvard Dictionary of Music (Cambridge, Massachusetts: The Belknap Press of Harvard University Press, 2003), 301. 29 include not only technical exercises but were musically and aesthetically more sophisticated.

The texture of Hsiao’s Farewell Etude is similar to the middle section of Chopin

Etude Op. 25 No. 5. (see Figures 19 and 20).

Figure 19. Etude Op. 25 No. 5 by Chopin, mm. 45–48

Figure 20. Farewell Etude by Hsiao, mm. 12–17

The textures of the two figures in the previous page are both melody in the left hand and accompaniment in the right hand. Both require the performer to “sing out” the melody line with a flowing accompaniment pattern. Both the accompaniment patterns in Chopin’s etude and in Hsiao’s are triplets. Although both etudes are in ternary form, Hsiao’s

Farewell etude includes a cadenza-like passage between section A and B, while Chopin’s does not.

The first twelve measures of the etude by Hsiao are an introduction. The theme I first heard in measure 13, and repeats in measure 23. After a transitional passage from measure 42 to 50, a quasi-cadenza appears in measure 51. Section B begins at measure 59, and the theme I returns in measure 92.

In the first four measures of the introduction, the right-hand chords are all composed of “quartal” chords (Figure 21). As mentioned before in the last piece of the suite Memories of Home, Frolic, the interval of a fourth is a common feature in Hsiao’s writing, derived from his preference for pentatonic and other 4th saturated harmonies. This is a way Hsiao adds subtle eastern elements to the piece.

Figure 21. Farewell Etude, mm. 1–4

Upon the arrival of the theme I, the left-hand takes over the role of expressing the lyrical line (Figure 20). This melody will sound familiar to every Taiwanese because it is arranged from a Taiwanese folk song called Red in Four Seasons (traditional Chinese: 四

季紅) (Figure 22). There are small changes in the melody from the original song, but it is still audible and can be easily recognized.

Figure 22. Melody of the folk song Red in Four Seasons

The cadenza before the theme II has a similar texture to the beginning phrase of the third movement of the Rachmaninoff Piano Concerto No. 2 (see Figures 23 and 24 on the following page). Both start with an ascending octave leap, continue with a sequence of fast notes played by both hands, in alternation, and feature chromaticism.

Figure 23. Farewell Etude, mm. 51–52

Figure 24. Piano Concerto No. 2 by Rachmaninoff, mm. 21–22

The theme II retains the same texture as the Theme I (Figure 25 on the following page), and is in a pentatonic scale. The expression marking here is Andante cantabile, and the tempo marking Hsiao gives here is quarter-note equals 90, which is a faster tempo than the Theme I (quarter-note equals 68).

Figure 25. Farewell Etude, mm. 58–60

Before returning to the Theme I, to lead the listener back to the first theme, the right hand has an ascending chromatic line from C to E, and the bass in measure 92 continues to an F (see Figure 26).

Figure 26. Farewell Etude by Hsiao, mm. 89–94

The last five measures are a short coda, which again highlights the interval of a 4th as in the introduction (Figure 27).

Figure 27. Farewell Etude, mm. 110–116

2.2.3 Poetic Echo, Op. 37, 38, and 40

Poetic Echo contains 13 pieces, and are categorized under three opus numbers (Op.

37, 38 and 40) by the Tyzen Hsiao Foundation. The opus numbers stand for his age when he composed each of these pieces. There are seven pieces in Op. 37, two pieces in Op. 38, and four pieces in Op. 40. Although the pieces are organized as a set, there is no evidence

35 suggesting that each piece cannot be performed independently.20 Except for Op.38, No.1,

No.2, and Op.40, No. 4, the melodies of each piece in this series come from the hymns of the Presbyterian Christian Church. The word “Echo” may imply that Hsiao conveys ideas subjectively through this music; he anticipates different interpretations from listeners. The term suggests that people could hear the echoes from distinct angles and arrive at various feelings.21

A devout Christian from an early age, Hsiao was familiar with the Bible’s stories and Christian hymns. Thus, Christianity and Christian music are a strong influence in his works. Some examples of Hsiao’s religious compositions include Christ’s Gospel Saves

Taiwan, composed for the 130th anniversary of the Tamsui Church, and Spirit of Mackay, composed for the 100th anniversary of Rev. Mackay’s death.

The thirteen pieces of Poetic Echo present different levels of musical and technical difficulty. Ya-Wen Wang’s dissertation The Solo Works of Tyzen Hsiao examines each piece and categorizes them in three levels. One representative work of each level of difficulty will be examined in the following discussion. Poetic Echo, Op. 37, No. 1 is categorized as early intermediate level in Wang’s study (see Figure 28 on the following page).22 The structure of this piece is ABA form. The middle section is marked fantasy

(see Figure 29 on the following page).

20 Ya-Wen Wang, “The Solo Piano Works of Tyzen Hsiao” (DMA diss., University of Illinois, 2014), 11. 21 Ibid., 11. 22 Ibid., 10. 36

Figure 28. Poetic Echo, Op. 37, No. 1, mm. 1–11

Figure 29. Poetic Echo, Op. 37, No. 1, mm. 54–61

According to Wang’s study, an example of an intermediate level work is Poetic

Echo, Op. 37, No. 6. From the beginning, it is clear that this piece requires a certain degree of independence between the right and left hands (Figure 30). In addition to the independence of hands, another challenge for the performer is the balance between melody and accompaniment figuration. In the first three measures of this piece, the accompaniment

(in this case, in the right hand) should not overshadow the melody line.

Figure 30. Poetic Echo, Op. 37, No. 6, mm. 1–4

The next level of difficulty mentioned in Wang’s study is the late intermediate to advanced level. One example for this level from the Poetic Echo sets is Op. 40, No. 4.

There are seven measures of introduction in this piece and the main theme enters with the

38 pickup to measure 8 (Figure 31). The difficulty in this piece is employing legato in both hands; particularly in the right hand where there are two voices playing simultaneously.

Figure 31. Poetic Echo, Op. 40, No. 4, mm. 7–9

In the Coda (mm. 23–27), there is a continuous melodic line set in octave in the right hand

(Figure 32). In this passage, it is necessary to play the line legato, despite the already difficult technique. The performer has to manage this smooth line over two measures.

Figure 32. Poetic Echo, Op. 40, No. 4, mm. 22–24

2.2.4 Concerto in C Minor, Op. 53, for Piano and Orchestra

This concerto is the last concerto of Hsiao’s three concerti. It took him two years to finish, making it the most time-demanding concerto to write of the three. It was finished in April of 1992 and premiered two years later in 1994. There are three movements in this concerto: Allegro Moderato, Adagio, and Allegro con fuoco. The performance time for the three movements is approximately thirty-six minutes. According to the foreword of the score:

The richness in color/sonority and the rhythm in melody makes the piece lively… The performer has to acquire advanced piano techniques, such as an emotional and flowing touch, perfect control of extremely soft dynamics, and a powerful but not violent approach… The dramatic effects, abundant harmonies, poem-like lyrical melodies, unusual ornamentations, and the energetic rhythm together make this piece attractive. It can be called a perfection.23

There are many similarities with respect to harmony, structure, and orchestration between this concerto and the second piano concerto of Rachmaninoff. When Hsiao wrote this piece, he was deeply influenced by the style of the Romantic period, especially

Rachmaninoff. He said,

My personality is more “Romantic,” so that can also be expressed in my works… We have aboriginal music, Chinese music and traditional Taiwanese music from Dutch and Japanese periods, but we missed three hundred years of the development of Western music. I think it is a pity since that is the most brilliant part of Western music. My idea is to write something that can connect the past and the present.24

23 Kuo, Rita C. Foreword. Tyzen Hsiao: Piano Concerto in C minor, Op. 53. (California: Taiwan Composers Foundation, 1993). 24 Yuan-Yen Chen, “Everything Has Its Destiny and God Leads Me Back to Music (彷彿冥冥中自有安排，神讓我再回到音樂的路上),” Independence Evening Post (May 24th, 1999). 40

In the preview of the premiere concert, the conductor of the orchestra, Clyde Mitchell, said,

“although some people will call this concerto the fifth Rachmaninoff piano concerto, I think the style of it is between his second and third piano concerto.”25

2.2.4.1 Allegro Moderato

As is typical for concerti, the form of the first movement is sonata form. The first movement starts with the timpani playing eight quarter-notes in perfect fifths in a crescendo from mezzopiano to forte. It opens the piece with great gravitas and solemnity. However, after the timpani’s final subito piano perfect fifth, the lower strings join with passion and welcome the solo piano and winds (Figure 33 on the following page). The piano enters with a series of ascending triplets.

25 Heng-Zhe Lin, The Glory of Music in Taiwan – A Musical Journal by Heng-Zhe Lin, (Taipei: Vista Publishing Inc., 2016), 130–131. 41

Figure 33. Concerto in C Minor, Op. 53, for Piano and Orchestra by Hsiao, Allegro Moderato, mm. 1–3

In measure 7, the orchestra takes the lead in playing the first theme while the piano serves an accompaniment role (see Figure 34 on the following page). This structure is reminiscent of the beginning of the first movement of the second piano concerto of

Rachmaninoff where the piano also accompanies the orchestra (see Figure 35 on the following page). 42

Figure 34. Concerto in C Minor, Op. 53, for Piano and Orchestra by Hsiao, Allegro Moderato, mm. 7–9

Figure 35. Piano Concerto No. 2 by Rachmaninoff, mm. 10–13

The piano takes over the melody in measure 14, continuing the first theme (see

Figure 36 on the following page). The writing of the piano melody is a combination of melody with harmony in the right hand and broken chords in the left hand, and is very similar to what Rachmaninoff writes for his second concerto in measure 91–96 of the first movement (Figure 37 on the following page).

Figure 36. Concerto in C Minor, Op. 53, for Piano and Orchestra by Hsiao, Allegro Moderato, mm. 13–18

Figure 37. Piano Concerto No. 2 by Rachmaninoff, mm. 91–96

The second theme first presented by the oboe in measure 74, is restated by the piano in

measure 86 (see Figures 38 and 39 on the following page). The second theme also appears

in the second and third movement of this piece, thereby unifying all three movements.

Figure 38. Concerto in C Minor, Op. 53, for Piano and Orchestra by Hsiao, Allegro Moderato, mm. 73–75

Figure 39. Concerto in C Minor, Op. 53, for Piano and Orchestra by Hsiao, Allegro Moderato, mm. 85–87

The development section starts in measure 152. In it, Hsiao uses more contemporary methods to develop his themes. For example, from measure 152 to 159, the meter continuously changes, and the tonal center is obscured with heavy chromatic and whole-tone writing (see Figure 40 on the following page).

Figure 40. Concerto in C Minor, Op. 53, for Piano and Orchestra by Hsiao, Allegro Moderato, mm. 150–159

In measures 163 and 164, the piano imitates the sound of percussion instruments (Figure

41).

Figure 41. Concerto in C Minor, Op. 53, for Piano and Orchestra by Hsiao, Allegro Moderato, mm. 163–164

The recapitulation starts in measure 239 with the first theme, with a cadenza from measures 261 to 272. The first half of the cadenza (measure 261) is more improvisatory and atonal (see Figure 42 on the following page). In the middle of this unmetered measure, the arpeggiated figure alternating between two hands is in E-flat minor pentatonic scale (E- flat, F, G-flat, B-flat, and C-flat).

Figure 42. Concerto in C Minor, Op. 53, for Piano and Orchestra by Hsiao, Allegro Moderato, mm. 261

While the second half is cast in a romantic style, utilizing a typical melody-and-

accompaniment texture (Figures 43).

Figure 43. Concerto in C Minor, Op. 53, for Piano and Orchestra by Hsiao, Allegro Moderato, mm. 262–264

From measure 315 to the end, the rhythm and orchestration also remind the listeners of the second piano concerto by Rachmaninoff (see Figures 44 and 45). The two passages are nearly identical, rhythmically and gesturally, with the primary difference being between the simple meter sixteenth-notes of Hsiao’s concerto, as opposed to the eighth-note triplets of Rachmaninoff’s.

Figure 44. Concerto in C Minor, Op. 53, for Piano and Orchestra by Hsiao, Allegro Moderato, mm. 315–319

Figure 45. Piano Concerto No. 2 by Rachmaninoff, mm. 471–476

2.2.4.2 Adagio

Hsiao has previously related that the second movement is written in a Ballade form.26 The Harvard Dictionary of Music explains that a ballade is a “narrative poem or song in German or an instrumental work associated with a narrative poem,” further explaining that these works usually are related to literature.27 The characters of this genre are most likely to be narrative style; the suggestion of a refrain; and archaism.28 In this case, this piece is in a loose ABA form. This movement is in A minor.

Interestingly, the movement starts with a clarinet solo, stating the theme I for four measures (Figure 46). This clarinet solo captures the nostalgia and loneliness in Hsiao’s life.

Figure 46. Concerto in C Minor, Op. 53, for Piano and Orchestra by Hsiao, Adagio, mm. 1–4

26 Lan-Fang Lin, “The Study of Hsiao Tyzen’s Piano Music with An Analysis of Piano Concerto in C Minor, Op. 53” (MM Diss., National Sun Yat-sen University, 2003), 92. 27 Randel, The New Harvard Dictionary of Music, 2003, 74. 28 Ibid, 75. 51

The theme I is presented again, with harmonic accompaniment from the string section, and

stated a third time by the piano. A new theme II, appears in measure 12, played by the

piano (Figure 47).

Figure 47. Concerto in C Minor, Op. 53, for Piano and Orchestra by Hsiao, Adagio, mm. 11–13

The winds imitate the texture of the theme played by the piano in measures 15–19 (see

Figure 48 on the following page). This imitation of the piano texture in the wind section

lasts for another five measures until measure 21.

Figure 48. Concerto in C Minor, Op. 53, for Piano and Orchestra by Hsiao, Adagio, mm. 14–19

The piano presents theme III in measure 28. This theme is a Taiwanese folk tune,

Bitterness (traditional Chinese: 心酸酸) (see Figure 49 on the following page). Similar to

the situation that Rachmaninoff represents the aspirations of Russian émigrés, Hsiao

represents the spirits of oversea Taiwanese people.29

29 Jui-Wen Chen, “Selected Contemporary Taiwanese Composers and Their Piano Works” (PhD. diss., Northwestern University, 1995), ProQuest ATT 10060323. 53

Figure 49. Concerto in C Minor, Op. 53, for Piano and Orchestra by Hsiao, Adagio, mm. 28–29

The faster B section starts in measure 85. The tempo is Allegro Moderato, and the

meter has changed from 4/4 to 3/4 (Figure 50).

Figure 50. Concerto in C Minor, Op. 53, for Piano and Orchestra by Hsiao, Adagio, mm. 85–88

The overall atmosphere is more lively compared to the A section, which indicates a sense

of bitterness through the folk song. This B section implies Hsiao’s memories of his rural

life and children playing.30 In measure 111, the second theme from the first movement re-

appears (see Figure 51 on the following page).

30 Chen, The Study of Hsiao Tyzen’s Piano Music with An Analysis of Piano Concerto in C Minor, Op. 53, 93. 54

Figure 51. Concerto in C Minor, Op. 53, for Piano and Orchestra by Hsiao, Adagio, mm. 111–114

The A section returns in measure 129 with the Theme II in the subdominant key, D minor

(Figure 52).

Figure 52. Concerto in C Minor, Op. 53, for Piano and Orchestra by Hsiao, Adagio, mm. 128–130

There are two cadenzas in this movement. The first one is for solo violin in measure

48 before the B section (see Figure 53 on the following page). It is unusual to include a

violin cadenza in a piano concerto. However, Hsiao did this to express his nostalgia

through the timbre of the violin.31

31 Ibid., 98. 55

Figure 53. Concerto in C Minor, Op. 53, for Piano and Orchestra by Hsiao, Adagio, mm. 48

The piano cadenza starts in measure 150 before the return of the Theme I (Figure 54).

Figure 54. Concerto in C Minor, Op. 53, for Piano and Orchestra by Hsiao, Adagio, mm. 150–154

2.2.4.3 Allegro con fuoco

The form of the third movement can also be identified as a loose ABA form. The

Bitterness theme (theme III in the second movement) returns, serving as theme I of the third movement. In the opening of the third movement, there is a short cadenza for piano after two measures of rhythmic pattern by the timpani (Figure 55).

Figure 55. Concerto in C Minor, Op. 53, for Piano and Orchestra by Hsiao, Allegro con fuoco, mm. 1–4

The Theme I of this movement enters immediately after the cadenza (Figure 56). However, the Bitterness theme is no longer bitter. It is now more muscular and victorious than its original presentation in the second movement.

Figure 56. Concerto in C Minor, Op. 53, for Piano and Orchestra by Hsiao, Allegro con fuoco, mm. 5–7

Hsiao uses some elements from previous movements in the third movement. For example, the triplet figuration from the introduction of the first movement appears in measures 18–19, 26–33 and 160–163 (see Figures 57–59 on the following pages).

Figure 57. Concerto in C Minor, Op. 53, for Piano and Orchestra by Hsiao,

Allegro con fuoco, mm. 18–19

Figur e 58. Concerto in C Minor, Op. 53, for Piano and Orchestra by Hsiao, Allegro con fuoco, mm. 25–33

Figure 59. Concerto in C Minor, Op. 53, for Piano and Orchestra by Hsiao, Allegro con fuoco, mm. 160–163

Another element borrowed from the first movement is the second theme, and it is used in

the orchestra part of measures 207–209 (Figure 60 on the following page).

Figure 60. Concerto in C Minor, Op. 53, for Piano and Orchestra by Hsiao, Allegro con fuoco, mm. 206–208

Additionally, the Theme I from the second movement returns in measures 145–149 (see

Figure 61 on the following page).

Figure 61. Concerto in C Minor, Op. 53, for Piano and Orchestra by Hsiao, Allegro con fuoco, mm. 144–147

The B section of the third movement utilizes a theme from Hsiao’s previous

composition The Magic of Love, which was composed in 1977 for a solo singer (Figure

62).

Figure 62. Concerto in C Minor, Op. 53, for Piano and Orchestra by Hsiao, Allegro con fuoco, mm. 61–68

The text of this song was originally written by the poet Helen Steiner Rice. Hsiao had

intended to compose a song based on this poem; however, he had to give up the idea

because of copyright issues.32 This melody is breath-taking and has a sublime quality. It

is called “The tear of an angel” by Hsiao himself.33

There are three cadenzas in this movement. Part of the second cadenza was

composed by Dr. Milton Stern, Hsiao’s piano teacher from California State University.

In this cadenza, Dr. Stern uses mostly the first half of “The tear of an angel” theme

(Figure 63). The texture and the harmony that he uses are similar to the style of

Rachmaninoff.

Figure 63. Concerto in C Minor, Op. 53, for Piano and Orchestra by Hsiao, Allegro con fuoco, mm. 102

32 Chen, The Cello Works of Tyzen Hsiao, 85. 33 Lin, The Study of Hsiao Tyzen’s Piano Music with An Analysis of Piano Concerto in C Minor, Op. 53, 65. 63

2.3 Conclusion

Hsiao uses both eastern elements and western elements in his compositions. The eastern elements include pentatonic scales, the imitation of the sounds of Chinese instruments, and the use of Chinese folk songs; while the western elements include Western forms, such as ternary form, and Western textures, such as melody-and-accompaniment.

By using both elements, Hsiao enables the listeners to experience sonorities different from those typical in Western piano music.

Hsiao’s compositions mostly follow tonal harmonic progressions. However, there are some uses of Romantic chromaticism. Overall, the melody plays the dominant role in the pieces, and the harmony is more supportive. In Hsiao’s music, there are always beautiful melodies, and the harmonies are typically in the Romantic style. However, there are still some uses of contemporary compositional techniques, such as the mixed use of meters and imitation of percussion instruments in his piano writing.

Being deeply influenced by Rachmaninoff, Hsiao’s music is easily and widely accepted by audiences in Taiwan. It is easy to see the influence of Rachmaninoff in his piano music, especially similarities to Rachmaninoff’s Piano Concerto No. 2. Although imitation is the sincerest form of flattery, it is necessary for composers to have a unique musical identity. Further research about Hsiao’s unique musical contributions to the canon as well his overall musical identity would be a welcome musicological study.

Chapter 3. Shui-Long Ma

3.1 Biography

Sui-Long Ma was born in 1939 in Keelong, an essential harbor of northern Taiwan.

His family had to flee their hometown and hide on the mountain of Jiufen in 1944 because of the Second World War. Jiufen is a small town in northern Taiwan famous for its gold mine; it is on top of a small mountain and faces the ocean. During the war, Ma stayed there and enjoyed both mountain and ocean views. In addition to the stunning view in this small town, Ma also enjoyed the traditional Taiwanese music he encountered in his childhood.

The experience of hearing Peikuan opera triggered his interest in the traditional music of

Taiwan.

In 1947, he entered elementary school and started music lessons in the fourth grade.

He was accepted by the predecessor of National Taiwan University of Arts in 1959, majoring in composition and minoring in piano and cello performance. During college life, he developed a firm basis for composing music. After he graduated in 1964, he started his teaching career. Several years later, in 1967, Ma and his classmates decided to organize a group of composers in Taiwan. The goal of this “Sunflower” group was to improve the level of Taiwanese music and to encourage Taiwanese composers to develop more new pieces. Ma explained the origin of the name of “Sunflower”:

The long and stable branch with big leaves, huge flowers, bright yellow color, flowers always facing toward the sunshine…are all the characteristics of enormous energy, vivid life, and confidence that would impress people with its passion, lasting hope and openness.34

During the Sunflower period (1967–1971), Ma was very productive. His Taiwan

Suite (1966, premiered in 1968) and Sketch at a Rainy Harbor (1969) were two famous pieces from this period. Unfortunately, the Sunflower group did not last for long, due to political persecution. The members of Sunflower and Ma did not realize that the sunflower also happened to be the national flower of Mainland China. During that period, Taiwan had an intense and nervous relationship with Mainland China; as such, this group was banned in 1971.

The following year, Ma was accepted by the Regensburg Conservatory in Germany, which was established by Franz Liszt in 1874. This was the first time that Ma experienced a different culture and country. In his one year of study there, he attended various concerts including opera performances. He was able to make comparisons between Western operas and Taiwanese musical storytelling, coming to the conclusion that:

Western opera is focused on singing skills rather than acting/choreography, so usually, there are lots of singers on the stage without much dramatic roles. On the other hand, in traditional Taiwanese musical story-telling, there are usually not as many singers involved as in Western operas. However, the limited numbers of singers and the rich body of expressive vocabulary made performances vigorous, with a great deal of emotion. This is closer to what I felt inside my heart, but, by saying this, I do not mean at all that Western opera is not good.35

34 Han-Jin Chen, A Walking-Alone Musician–Ma Shui-Long (Taipei: Shi-Bao, 2001), 98. 35 Ibid., 122. 66

Listening to Western operas confirmed Ma’s ideas to write Taiwanese drama. He learned how to use Western tonal systems, digest them, and create a new language in which he could present and express his native culture through the outlet of Western devices.36

Not long after returning to Taiwan in 1975 with his degree from Regensburg

Conservatory, Ma was offered a teaching position at Tainan College. After building his reputation in music education in different schools for several years, he was invited to be on the committee overseeing the building of a new art school in Kuando: the National Taipei

University of Arts. When construction was completed in 1982, Ma was asked to be the dean of the department of music, and he accepted. During Ma’s time as dean, he devoted his time to educational and administrative works, and therefore rarely had time to compose.

In 1986, he received a high honor: an invitation from the Fulbright Scholar Program to visit Columbia University and the University of Pennsylvania. Ma is not only the first

Taiwanese Fulbright scholar, but also the first Taiwanese composer to present a full concert at Carnegie Hall. This concert was well received and highly praised by music critics in

New York, including Bernard Holland. On March 23rd, 1987, Bernard Holland gave a review of this concert in the New York Times, saying “his instruments speak in European voice but with an Asian mind.”37

After Ma retired from the National Taipei University of Arts in 1991, he returned to composing music. In his retirement, he composed many large-scale compositions,

36 Jennifer Ku, “Shui-Long Ma Kuando Capriccio for Piaon and Orchestra” (DMA diss., University of Kentucky, 2008), 7, ProQuest AAT 3459724. 37 Bernard Holland, “Concert: 6 Compositions by Ma Shui-Long,” New York Times (Mar. 23rd, 1987): 16, https://www.nytimes.com/1987/03/23/arts/concert-6-compositions-by- ma-shui-long.html. 67 such as the opera Ba Wang Yu Ji (1997) and Rhapsody in Kuan Du for piano and orchestra (2000). Ma died in 2015. His contribution to musical society in Taiwan was tremendous, especially in the area of music education. Although he had achieved great success, Ma remained a humble artist. As he said, “Yesterday’s invention has become today’s tradition; today’s invention will become tomorrow’s tradition,” showing that he believes in one’s diligence and hard work.38

3.2 Analysis

3.2.1 A Sketch of The Rainy Harbor

The suite A Sketch of The Rainy Harbor was composed in 1969. Ma was inspired by his hometown, Keelong, which is one of the biggest harbors in northern Taiwan.

Keelong is also famous for its rain, as it rains almost all year round, resulting in Keelong’s nickname of the “Rainy Harbor.” Ma was very fond of the rain, ever since his childhood.

This suite was originally named Four Piano Pieces but later changed to the more descriptive title, A Sketch of The Rainy Harbor.39 This suite is significantly influenced by

French Impressionism. According to the Harvard Music Dictionary, the characteristics of

Impressionism are “finely graded instrumental colors; static, nonclimactic melodies; harmony conceived as a largely coloristic element; complex textures consisting of elaborate surface figurations, often suffusing whatever melodic material they contain;

38 Ku, Shui-Long Ma Kuando Capriccio for Piano and Orchestra, 2008, 12. 39 Pi-Lin Ni, “The Significance of Shui-Long Ma’s Composition in the Evolution of Taiwanese Piano Music” (DMA diss., The Florida State University, 2006), 21. 68 continuously evolving forms without sharp sectional divisions.” 40 Many of these characteristics can be found in this suite, which the following analyses will demonstrate.

There are four pieces in this suite, titled respectively: “Rain,” “Harbor Views in

Rainy Nights,” “The Girl Who Picks Seashells,” and “At the Temple Gate.”

3.2.1.1 Rain

At the beginning of this piece, Ma uses the combination of an ostinato of fifths in the left hand, the pianissimo dynamic level, and the una corda pedal to create a gloomy mood. After three measures of introduction, the theme I comes in with syncopated rhythm of a sixteenth-note followed by a dotted eighth-note (see Figure 64). This theme represents the raindrops, and it is recognized not only by its melodic line, but also by its rhythmic motif.

Figure 64. Rain, mm. 1–5

40 Randel, The New Harvard Dictionary of Music, 2003, 405. 69

The rain gets heavier beginning with theme II, as the dynamic gets louder and the rhythm changes from sixteenth-notes to quintuplets, and then to sextuplets (Figure 65 and 66).

Figure 65. Rain, mm. 18–21

Figure 66. Rain, mm. 22–23

Finally, the rain slows down from sextuplets to triplets, eighth-notes, quarter notes, and a whole note (Figure 67). After the whole note, the Theme I returns and closes the piece.

Figure 67. Rain, mm. 26–29

3.2.1.2 Harbor Views in Rainy Nights

The second piece of the suite describes the peaceful harbor views in the night. The dynamic range is not extreme, as the loudest dynamic marking is only forte. Although the dynamic range is small, the register range is wide; specifically, six octaves. The right-hand figuration recalls the traditional plucked string instrument “Zheng” because of its free running notes (Figure 68 on the following page). There are no clear divisions between sections in this piece, which is yet another example of the influence of Impressionist music on this suite.

Figure 68. Harbor Views in Rainy Nights, mm. 1–12

3.2.1.3 The Girl Who Picks Seashells

In the third piece, The Girl Who Picks Seashells, Ma creates the image of the sea and the waves along the beach by the steady left hand ostinato (Figure 69 on the following page), which captures not only the sound but also the motion of the waves. The ascending motion visualizes how the wave gently washes the shore, and the repeating motif of an eighth-note and a dotted quarter note makes it sound like the waves that never stop. The right hand represents the girl walking alone on the beach alone and picking up the seashells that she likes.

Figure 69. The Girl Who Picks Seashells, mm. 1–4

3.2.1.4 At The Temple Gate

In Taiwan, it is usually crowded and noisy around the temple gates. Crowds of people talking and yelling, vendors peddling, firecrackers being set off, and traditional musical performances such as Beiguan all happen at the temple gate. Ma depicts this bustling image by running sixteenth-notes (see Figure 70 on the following page). The accents from measure 10 to 17 represent the sound of firecrackers (see Figure 71 on the following page). At measure 18, the sonority suddenly changes to a more chordal texture

(see Figure 72 on the following page). The homophonic texture and harmony in this section recalls the traditional Taiwanese Beiguan music.

Figure 70. At the Temple Gate, mm. 1–4

Figure 71. At the Temple Gate, mm. 9–12

Figure 72. At the Temple Gate, mm. 17–20

3.2.2 Taiwan Suite for Piano Solo

The Taiwan Suite was finished in Keelong in 1966 and premiered in the first annual concert of the Sunflower group. This suite contains four pieces, and they all take their names from Taiwanese’s folk culture. Their names are “The Temple,” “Religious

Procession,” “Lion Dance,” and “The Lantern Festival.” These folk customs are important social events for the Taiwanese. People celebrate these events and gather together around the temple, chatting, laughing, watching the Beiguan performance, and enjoying the bustling atmosphere. Ma derives the Taiwanese elements from these traditions of Taiwan and applies them to develop his musical language.

3.2.2.1 The Temple

When Taiwanese people step into a temple in Taiwan, they often will hear the

Buddhist monks recite scriptures while knocking the Chinese wood blocks. The Chinese wood block is a percussion instrument consisting of a partially hollowed rectangular block of wood that is struck with Modena drumsticks or other beaters 41. At the beginning of this piece, Ma depicts the sublime and ethereality of the temple by imitating the sound of the

Chinese wood blocks and the bells42. The staccato quarter notes, played without the pedal, indicate the Chinese wood blocks, while the higher register whole-note chords played with the pedal, implies the bells (Figure 73).

Figure 73. The Temple, mm. 1–5

After the introduction, the chant-like melody comes in at measure 47, representing the monks’ chanting (see Figure 74 on the following page). This melody begins simply but gets more elaborate a few measures later (see Figure 75 on the following page). At the end

41 Randel, The New Harvard Dictionary of Music, 2003, 167. 42 Shui-Long Ma, Taiwan Suite for Piano (Taiwan: Ma Che, 2015), 26. 76 of this piece, the Chinese wood blocks and the bells return; but this time, these two instruments slow down and diminuendo to pianissimo.

Figure 74. The Temple, mm. 47–54

Figure 75. The Temple, mm. 55–58

3.2.2.2 Religious Procession

The religious procession in Taiwan is a folk festival that people believe can welcome the gods and bring good luck. During this procession, there are usually gongs

77 and drums, and people follow the statues of gods to the temple. It is a lively and noisy event, and the street is packed with people. Ma opens the piece with arpeggiated chords that evoke the sound of gongs used in the procession (Figure 76).

Figure 76. Religious Procession, mm. 1–4

The first four measures are the introduction to the piece and also set up the right mood for the religious procession. The texture of this piece is the most complex in the whole suite, consisting three voices most of the time, and sometimes four voices. The right hand has to play both the melody and accompaniment lines (see Figure 77 on the following page).

Figure 77. Religious Procession, mm. 5–7

Ma uses this complex texture to depict the crowdedness of this event. This complex texture also requires the performer’s control. In measures 20 through 27, the right hand has to play a long trill in the inner voice, and at the same time adds an off-beat echo to the left-hand melody (Figure 78).

Figure 78. Religious Procession, mm. 20–25

3.2.2.3 Lion Dance

The lion dance is a traditional performance in East Asia, common in Taiwan,

Mainland China, Singapore, Malaysia, and Vietnam. This tradition can be traced back to the Northern Zhou Dynasty (557 – 581 AC). In the performance, there are two performers dressed in a lion costume mimicking the movement of a lion. It is often accompanied by

Chinese percussion instruments like Gong, Chinese cymbals, and drums. It is believed that this dance can bring good luck and fortune. Therefore, it is performed on important occasions such as the Chinese New Year or wedding ceremonies.

Ma’s Lion Dance is rhythmic, and percussive aesthetic is evident. The rhythm that

Ma uses throughout the piece is commonly used in the percussion ensembles of traditional music performances (Figure 79). The atmosphere of this piece is entertaining and bustling.

Figure 79. Lion Dance, mm. 1–4

3.2.2.4 The Lantern Festival

The lantern festival is an important holiday in Chinese society. It occurs at the first full moon after the lunar new year, and it marks the beginning of Spring. In this holiday, people usually eat tangyuan (sweet rice balls) and enjoy the colorful lanterns being displayed everywhere.

Ma depicts this joyful and cheerful holiday by using the fastest tempo in the suite:

Allegro (quarter-note equals 120). The left-hand starts the piece, playing staccato fourth intervals. The right-hand joins in measure three with an A proceeded by a grace note A one octave higher. Two measures later, the right hand continues with an E with a higher

G grace-note (Figure 80).

Figure 80. The Lantern Festival, mm. 1–8

The metrical attack of these right-hand gesture accelerates, from their initial separation of two measures to one beat apart in measure 7 and 8 (refer to Figure 80 on the previous page).

The three notes from these two fragments (A, G, and E) form the theme in measure 15

(Figure 81).

There are many uses of grace notes, trills, syncopations, and glissando in this last piece of the suite. By using these elements, Ma creates a colorful picture of the lantern festival.

Figure 81. The Lantern Festival, mm. 9–16

3.2.3 Rhapsody in Kuan Du, for Piano and Orchestra

Although the Rhapsody in Kuan Du does not have the title of “Concerto,” it is clear that this twenty-minute piece is essentially equivalent to a piano concerto. There are two cadenzas in the piece that enhance the solo role of the piano. According to Ma, this composition was inspired by the gorgeous scenery of his hometown Kuan Du. 82

The original title of the piece, before it had been published, was Kuando Fantasia for piano and orchestra. The title “Fantasia” indicates the sense of freedom in form and style of this composition. Fantasia is described as an “ingenious and imaginative instrumental composition, often characterized by distortion, exaggeration, and elusiveness resulting from its departure from current stylistic and structural norms; and it has often been used for pieces that attempt to capture the character of improvisation.”43 The title, since it was published in 2014, is Rhapsody in Kuan Du. According to the Harvard

Dictionary of Music “Rhapsody” is a title chiefly for instrumental pieces, and implies no particular form, content, or compositional method. After Liszt’s Hungarian Rhapsodies and Dvorak’s Slavonic Rhapsodies, the title “Rhapsody” also suggests a folk-like style.

The freedom in structure and harmonies suggested by the two titles enable Ma to better express his admiration for his residence Kuan Du.

This piece is in a single movement, in which there are several sections separated by fermatas. The fermata in between two sections provides the listeners a pause to digest the previous section and refresh their ear for the following section. This idea is also found in the Chinese Opera. In Chinese Opera, there will be moments when the actors/singers all leave the stage, and there will be only the music playing. The structure of this piece consists of short sections and has an irregular prose-like quality because Ma did not write evenly-metered phrasing.44 The overall structure is shown below in Table 1.

43 Randel, The New Harvard Dictionary of Music, 2003, 148. 44 Ku, Shui-Long Ma Kuando Capriccio for Piaon and Orchestra, 2008, 44. 83

SECTION MEASURES

INTRODUCTION mm. 1–13

A mm. 14–32

B mm. 33–88

C mm. 89–132

CADENZA mm. 133–147

INTRODUCTION’ mm. 148–160

A’ mm. 161–177

B’ mm. 178–240

C’ mm. 241–260

A’’ mm. 261–332

CADENZA mm. 333–358

CLOSING mm. 359–377

Table 1. Structure of Rhapsody in Kuan Du, for Piano and Orchestra

In this work, Ma uses Chinese elements such as Chinese instruments and traditional art. The Chinese instruments include Chinese wood blocks and the Qin, which is the general name for Chinese string instruments. The Chinese wood blocks, as they are frequently used in the temple, can be considered as symbols of a serious and solemn atmosphere. However, in this piece, Ma chooses to show the different side of the wood

blocks. In measures 89 to 92, the wood blocks and the timpani are having a lively

conversation with the piano (Figure 82).

Timp.

W. Blo.

Piano

Figure 82. Rhapsody in Kuan Du, mm. 89–92

Qin is the name for plucked string instruments, and they usually play the role of

soloist. Because of the lack of a bridge, the Qin has less resonance and a softer sound.

Therefore, to create a crescendo or sustain a longer melodic line, Qin music is characterized

by the frequent appearance of arpeggios. The imitation of Qin can be found in measures

133 through 135 where chords are followed by arpeggios, which is a typical figuration for

the Qin (see Figure 83 on the following page).

Figure 83. Rhapsody in Kuan Du, mm. 133–135

The element of Chinese traditional arts in this work is the influence of ink wash painting, also called splash-ink painting. This influence shows from the very beginning of the piece, where the bassoon and clarinet first play the rhythmic motif. The motif is composed of three elements: a chromatic line in quintuplets, a trill, and a broken-chord in triplets (Figure 84). The mix of these different rhythmic fragments creates a sense of spontaneity, and that is the spirit of splash-ink painting. After the first appearance of these fragments, they show up in different registers, notes, instruments, and dynamic levels. This effect creates an image of painting with different densities of ink.

Figure 84. Rhapsody in Kuan Du, mm. 1–4

Some Western elements in this work are also noteworthy. Firstly, this piece does not have a tonal center. Ma studied in Germany in the 1970s when avant-garde music was in vogue. Ma once said, “My compositional goal never changes–to keep the spirit of

Chinese culture and convey those characteristics through a new way in Western music.”45

In this composition, Ma chooses to express his music through a post-tonal idiom, rather than using traditional tonal references (such as keys or modes).

Another Western music element is the fugato. The “fugato” is a fugue like (and thus contrapuntal and imitative) passage in a more substantial work or movement that is not itself a fugue.46 The fugue theme is presented in measure 211 to 214, played by flutes and piccolo. The theme consists of two parts. The first part is the first two measures of the theme (measure 211 to 212) where it is more percussive and has more leaps. The second part is the last two measures of the theme (measure 213 to 214) where it is more lyrical and has fewer leaps (see Figure 85 on the following page).

45 Jao-Jeng Chong, Documentary Film of the Prize Winner of National Culture and Arts in 1999–Ma Shui-Long, DVD, (Taipei: National Taiwan Foundation of Culture and Arts, 1999). 46 Randel, The New Harvard Dictionary of Music, 2003, 335. 87

Figure 85. Rhapsody in Kuan Du, mm. 209–216

The piano follows the flute to restate the second part of the theme while the violins play the first part of the theme in measure 215 and 216. After measure 216, the violins continue their fugue with the second part of the theme, and the lower string section joins with the first part of the theme (see Figure 86 on the following page).

Figure 86. Rhapsody in Kuan Du, mm. 213–218

Later on, from measure 225, the wind instruments take their turn to develop the fugue

(Figure 87).

Figure 87. Rhapsody in Kuan Du, mm. 225–228

3.3 Conclusion

As were demonstrated in the analyses above, Ma’s A Sketch of the Rainy Harbor,

Taiwan Suite, and Rhapsody in Kuan Du were heavily influenced by western French

Impressionism. Ma intended to depict some poetic images through the music, and focused more on conveying imagery than melodic development. During his study in Germany, his compositions still follow the traditional western technique in terms of structure and tonal language. After returning to Taiwan and the environment being more liberal, Ma becomes bolder and less conservative in his musical style.47

Not only a successful composer, Ma is also seen as a great figure of music education.

He believes that the ideal education of music profession was not only supported by the curriculum of western conservatories, but also by the traditional music and all the experiences originating from literature, philosophy, esthetics, and the arts of dance, painting, and architecture.48 He emphasizes equally on both Western music culture and traditional Chinese and Taiwanese music.

47 Chung-Kun Hung, “The Musical Art of Ma, Shui-Long: Thoughts, Techniques and Expression”, in The Sound of Formosa: Papers and Proceedings of Conference on Ma, Shui-Long’s Compositions, ed. Neng-Ting Zeng and Ying-Lai Peng. (Taichung: National Taiwan Symphony Orchestra, 2008), 189. 48 Lu-Fen Yen, “Viewpoints of Culture and Practice of Music Education Ideas of Ma, Shui-Long”, in The Sound of Formosa: Papers and Proceedings of Conference on Ma, Shui-Long’s Compositions, ed. Neng-Ting Zeng and Ying-Lai Peng. (Taichung: National Taiwan Symphony Orchestra, 2008), 51. 91

Chapter 4. Gordon Shi-Wen Chin

4.1 Biography

Gordon Shi-Wen Chin was born in 1957 in Yunlin, central Taiwan. His father was a music teacher and taught him piano when he was five. Being surrounded by music, Chin loved to improvise short songs and hum them on his way back home from elementary school.49 When he was twelve, his family immigrated to Japan, where Chin had a hard time because of the language and cultural differences. Chin said in an interview with Shi-

Chen Guo, “I have ears that cannot understand conversations and a mouth that cannot talk;

I then realized that I am just a lonely individual.”50

Chin started to take piano lessons with a music professor from Musashino

University in Tokyo. He often stayed after his lessons in practice rooms to play his improvisational compositions. In an interview with Guo, Chin related that this might be the starting point of my composition career.51

49 TingChi Huang, “Gordon Chin’s Compositional Style and Religious Perspectives: An Analytical Investigation of the First Movement of His Violin Concerto No. 3 (2003)” (DMA diss., Boston University, 2010), 6, ProQuest AAT 3411739. 50 Shi-Chen Kuo, “Music is Not Only a Creation, But Also Religion,” Music Browser 106 (Apr. 2008): 20, http://163.29.7.32/Magazine/Music_Browser_No- 106_April_2008/no.106_output/web/flipviewerxpress.html. 51 Ibid., 21. 92

Although Chin had a gift in music, he tried to be realistic about his future career.

Since his father worked diligently as a music teacher but could not give the family a comfortable life, he initially decided not to pursue music as his career. Instead, Chin chose to become an architect, and entered the Department of Math in Biola University in La

Mirada, CA. In the first two years of college, he felt a lack of fulfillment in his life and studies in the math department. Being unsure about what to do, Chin decided to transfer to the Biola Conservatory of Music after praying in a small chapel. Although he loved composing when young, he did not start taking composition lessons until his last year in college. He earned his bachelor’s degree in piano performance and composition in 1982.

Chin earned both his master’s degree in 1984 and his doctoral degree in 1988 from the Eastman School of Music in Rochester, New York. During this time in Rochester, he accepted commissions from Taiwan and Japan, and his works were performed worldwide.

Returning to Taiwan at the end of 1988, Chin devoted his time to teaching, conducting, and composing. He started teaching in Tunghai University and Soochow University, and is currently a composition professor at National Taiwan Normal University. He has also been serving as conductor of the YinQi Chorus in Taipei since 1991.

Although Chin’s works were famous amongst Taiwanese in the States, some

Taiwanese audiences suggested that his works might not be “Taiwanese” at all. This suggestion reminded Chin about his cultural roots in Taiwan, whereupon he endeavored to compose in a more Taiwanese way, such as composing songs with text in Taiwanese language, using Taiwan-related titles, and using Taiwanese folk melodies and aboriginal tribe music in his works. Beginning in roughly the 1990’s, he gradually added more

Taiwanese elements to his compositions. Some pieces that can represent this period are his Symphony for Large Chamber Orchestra No. 3 – The Remembrance of Taiwan (1996),

On Mountain Da-Tun for two pianos (1999), and Formosa Seasons – Concerto for Violin and Strings (2000).

A large-scale work worth mentioning is his opera Mackay – The Black Bearded

Bible Man (2008). As an earnest Christian, Chin was deeply inspired by the story of a

Canadian Christian missionary, Rev. George Leslie Mackay (1844-1901). Rev. Mackay was considered a respectable figure in Taiwan as an educator and doctor. This opera premiered in 2005 and is sung in both English and Taiwanese. Mackay – The Black

Bearded Bible Man is the first western style opera to be sung in Taiwanese throughout the music history of Taiwan.

Chin’s compositions encompass a wide range of forms, including instrumental solos, chamber music, concertos, symphonies, cantatas, operas, and a significant number of choral pieces. He specializes in combining voice with a large orchestra and using percussion to create exuberant sonorities.52 Chin was inspired by poems from America,

Britain, and Japan when composing his Piano Concerto No. 1. Not only does he deploy poems from other countries, but he also deploys Taiwanese aboriginal tunes in his music for the chorus and orchestra in the Song Without Words (2000).

Having been exposed to and influenced by three different cultures (Taiwan, Japan, and America), Chin states there are three compositional periods in his life. In the first

52 Rong-Shun Wu, Introduction to Taiwanese Composers (Taiwan: National Center for Traditional Arts, 2017), 18: 17. 94 period, “Seeking for myself”, from 1982 to 1988, he tried various kinds of Western compositional methods. The second period, “Embrace and Departure,” is from 1989 to

1995, and the last period “Returning to the core of composition,” is from 1996 to the present day.53 Chin relates,

These three places are all important processes of my life, and they all make me feel like home. Therefore, I have always been in the mood of nostalgia. However, it is good for a composer since that mood creates a unique emotional inspiration when composing.54

4.2 Analysis

4.2.1 Piano Concerto No. 1

Piano Concerto No. 1 was finished in 2009 and premiered in 2011 by a Taiwanese pianist Chia-Hui Lu with the National Symphony Orchestra in Taiwan. This piece is significant, in that it is one of the few piano concerti that have been composed by a

Taiwanese composer in recent years. There are three movements in this concerto, and they are inspired by three different literary works. Being fond of reading, many of Chin’s works are literature-based, such as his chamber work Uncertain Skies from 2006 and Symphony

No. 3 “Taiwan” from 1996. Chin goes so far as to describe his works as follows: “If one doesn’t have the root of listening to Classical music, he/she will easily find this music hard

53 Shi-Wen Chin, Towards a Broader Vision of Composition: From Compositional Experience to Compositional Goals (尋求更寬廣的創作視野:從創作體驗到創作理念), (Department of Music, National Taiwan Normal University, 2005). 54 Kuo-Chen Lin, “An Inquiry into the Recreating of Aboriginal Music in Contemporary manner: Illustrated with Gordon S. W. Chin’s Composition Song of the Youth,” Formosan Journal of Music Research 6 (April 2008), 67–68. 95 to understand, just like it’s impossible to understand Shakespeare or Tolstoy if one never read in that style before.”55

4.2.1.1 Movement I – Villanelle

This movement is inspired by a poem by the American poet Elizabeth Bishop

(1911-1979). The poem One Art is in the form of a Villanelle. While Chin was reading this poem, he felt that the form could also be used in music. Therefore, he adopted the form for the first movement and titled it with the name Villanelle.56 The form Villanelle consists five three-line stanzas and followed by a quatrain with the first and last line of the first stanza repeatedly occur and alternate in the following stanzas. Bishop’s One Art is shown in Figure 88 below, and Table 2 on page 98 and 99 provides a structured comparison between the poem and Chin’s first movement.

One Art

The art of losing isn't hard to master; [A1] so many things seem filled with the intent [b] to be lost that their loss is no disaster. [A2]

Continued

Figure 88. One Art by Elizabeth Bishop

55 Good TV, “Hear – Shi-Wen Chin,” August 23, 2008, accessed November 15, 2019, https://www.youtube.com/watch?v=Nfy5JEPJiZQ. 56 Gordon Chin, Piano Concerto No.1, foreword by the composer (Taipei, Taiwan: YinQi, 2009). 96

Figure 88 continued Lose something every day. Accept the fluster [a] of lost door keys, the hour badly spent. [b] The art of losing isn't hard to master. [A1]

Then practice losing farther, losing faster: [a] places, and names, and where it was you meant [b] to travel. None of these will bring disaster. [A2]

I lost my mother's watch. And look! my last, or [a] next-to-last, of three loved houses went. [b] The art of losing isn't hard to master. [A1]

I lost two cities, lovely ones. And, vaster, [a] some realms I owned, two rivers, a continent. [b] I miss them, but it wasn't a disaster. [A2]

—Even losing you (the joking voice, a gesture [a] I love) I shan't have lied. It's evident [b] the art of losing's not too hard to master [A1] though it may look like (Write it!) like disaster.14 [A2]57

57 Alice Helen Methfessel, Elizabeth Bishop: The Complete Poems (New York: The New Yorker Magazine, 1983), 178. 97

Continued

Table 2. Structural Comparison between a Villanelle and the First Movement58

58 Li-An Chen, “Study of Taiwanese Composer Gordon Chin’s Piano Concerto No. 1” (DMA diss., Indiana University, 2014), 14–15. 98

Table 2 continued

As shown in the table by Li-An Chen in her dissertation Study of Taiwanese

Composer Gordon Chin’s Piano Concerto No. 1, the structure of the first movement corresponds to the structure of the poem. This structure provides both unity and variety in both the literary and musical works. Each stanza is represented by one labeled section in the score and every one of the stanzas contains 10 measures. As for the five breaks in the poem, Chin uses a small percussion ensemble without piano to create a sense of pause for the piece. Each of the breaks is one unmetered measure, and Chin indicates how long the percussion instrument needs to play by indicating the total time, in seconds. His choice of percussion instruments is also interesting in that he chose less common instruments like the ocean drum, sand blocks, lion’s roar, temple blocks, seashell windchime, and even stones (Figure 89).

Figure 89. Piano Concerto No.1 by Chin, Villanelle, mm. 64–65 100

Chin explores the full range of the piano in this piece, which requires a high level of virtuosity. For example, the thirty-second-note runs in right hand and broken leaping chords in the left hand in measure 24 require both accuracy and speed (Figure 90).

Figure 90. Piano Concerto No.1 by Chin, Villanelle, mm. 24–25

In measure 69 and 70, the run spans almost six octaves within five beats (Figure 91).

Figure 91. Piano Concerto No.1 by Chin, Villanelle, mm. 69–70

The piece also requires the pianist to maintain a steady pulse, because not only the rhythms are complex, but there are also strong rhythmical interactions between orchestra and piano.

Figure 92 on the following page is an example of the interchange of rhythmic patterns between the orchestra and the piano.

101

Figure 92. Piano Concerto No.1 by Chin, Villanelle, mm. 126–127

4.2.1.2 Movement II – Adagio

The second movement is inspired by a Haiku written by Japanese poet Matsuo

Basho (1644–1694). Haiku is a modern term for an independent verse form; a three-line poem of Japanese origin with a 5-7-5 syllabic rhythm.59 A Haiku usually contains a kigo

(which means “season word”) that indicates the season in the poem. Because there are so few words in a Haiku, it gives an opportunity for the readers to explore their imagination and become a co-creator of the poem. This specific Haiku is the last one Matsuo wrote in his life. Figure 93 on the following page reproduces Matsuo’s Haiku in the original

Japanese and in English translation.

59 David Landis Barnhill, Basho’s Haiku: Selected Poems by Matsuo Basho (Albany: State University of New York Press, 2004), 280. 102

Original Poem in Japanese: 旅に病んで夢は枯野をかけ迴る60

English Translation: Sick on a journey

my dreams wander

the withered fields.61

Figure 93. Haiku by Matsuo Basho

Unlike the first movement, this movement does not synchronize the structure of the poem and the music. Instead, Chin illustrates the emotion of the poem in this movement by using four musical elements.62

The first element is “Sick”, which is the first word of the poem. The motive contains four falling chromatic notes. The dynamic for this motive is usually soft, implying a sad and gloomy atmosphere. It first appears in measure 51 (see Figure 94 on the following page).

60 Matsuo Basho, Basho: The Complete Haiku, trans., annot. and with an intro. Jane Reichhold (Tokyo & New York: Kodansha International, 2008), 394. 61 Robert Hass, ed., The Essential Haiku: Versions of Basho, Buson, and Issa (Hopewell, NJ: Ecco Press, 1994), 54. 62 Chen, Study of Taiwanese Composer Gordon Chin’s Piano Concerto No. 1, 32. 103

Figure 94. Piano Concerto No.1 by Chin, Adagio, mm. 50–54

The second element is “Dream”. Chin uses the sliding notes and soft glissandi to create this motive. It is also the very first motive the listener hears in the movement. It happens in the first measure and continues for 12 measures. It creates a dreamy and mysterious mood from the beginning (see Figure 95 on the following page).

104

Figure 95. Piano Concerto No.1 by Chin, Adagio, mm. 1–5

The third element is “Wander”. This motive consists of ascending and descending fifths. It mostly appears in woodwinds and vibraphone. It can be heard from the first measure on, and throughout the entire movement (Figure 96).

Figure 96. Piano Concerto No.1 by Chin, Adagio, mm. 1-2

The fourth element is “Withered Fields”, shown in Figure 97 on page 107. This element is not represented by a particular motive, but it is reflected in the overall texture

105 of the movement. As early as the first measure, the texture of the orchestral material is not thick, but rather sparse, evoking the image of the “withered fields.”

This movement functions like a piece of program music for those who know the poem well. Although there is no title for this movement (beyond the “Adagio” tempo indication), it is clear that it is more imaginative for listeners than the first movement.

106

Figure 97. Piano Concerto No.1 by Chin, Adagio, mm. 1–5

107

4.2.1.3 Third Movement

The third movement is inspired by “The Night is Darkening Round Me”, written by Emily Brontë in 1837. Emily Brontë is most well-known for her only novel

“Wuthering Heights”. Her poems typically incorporate themes of wild imagination, longing for freedom, and the depiction of life, death, and nature.63

The Night is Darkening Round Me

The night is darkening round me, The wild winds coldly blow; But a tyrant spell has bound me And I cannot, cannot go.

The giant trees are bending Their bare boughs weighed with snow, And the storm is fast descending And yet I cannot go.

Clouds beyond clouds above me, Wastes beyond wastes below; But nothing drear can move me; I will not, cannot go.

Figure 98. The Night is Darkening Round Me by Emily Brontë

63 Steven G. Kellman, “Emily Brontë - Emily Brontë World Literature Analysis” Masterpieces of World Literature, Critical Edition, eNotes.com, Inc, 2009, accessed December 4, 2019, http://www.enotes.com/topics/emily-bronte/critical-essays/analysis-1. 108

In the poem, although nature seems harsh (as reflected in “the night is darkening,”

“the wild winds coldly blow,” “giant trees,” “snow,” and “storm,” etc.), the narrator does not care about these conditions and insists on not leaving. Her will grows stronger through the poem, from “I cannot, cannot go” to “I will not, cannot go.” In the foreword to his concerto, Chin wrote,

There are the nights, the wild winds, the storm, and even clouds beyond clouds, and wastes beyond wastes, but we must not turn away from it. One must have enough life’ in him that his vision, his courage, his persistence will not allow him to go away, and his will is so strong that he cannot go.64

Chin was inspired by this stubbornness and illustrates that in the third movement by using numerous instances of musical repetition. An initial obvious example of repetition is heard in the fact that he doubled the melody for both hands (Figure 99).

Figure 99. Piano Concerto No.1 by Chin, Third Movement, mm. 67–71

A further example of Chin utilizing obvious or direct repetition can be found in the repetition of continuous 16th notes. This perpetual motion is heard from the beginning of the piece, with the orchestra tutti, and continues throughout the whole movement (see

Figure 100 on the following page).

64 Gordon Chin, Piano Concerto No.1, foreword by the composer (Taipei, Taiwan: YinQi, 2009). 109

Figure 100. Piano Concerto No.1 by Chin, Third Movement, mm. 1– 3

In measure 83, the melody is a variation from a previous passage (see Figure 101 on the following page) but the rhythm has been elaborated. In this example, both hands are playing the melody in octaves, and three measures later, Chin adds more notes to make a denser texture. Interestingly, the first four beats of this chord passage (starting from measure 85) are mostly repeated F diminished triads, after which the harmony changes to various half-diminished chords. 110

Figure 101. Piano Concerto No.1 by Chin, Third Movement, mm. 81–87

Figure 102 (below) shows the first entrance of piano solo.

Figure 102. Piano Concerto No.1 by Chin, Third Movement, mm. 16–20

There are four short patterns in these four measures, shown below in Figure 103.

1) 2) 3) 4)

Figure 103. Four patterns of the piano entrance of the third movement

111

Larger scales of repetition can be seen in the piano part of measures 204 to 207, where there is a stretto entrance in both hands (Figure 104). The orchestral tutti passage of measure 88 to 95 features similar polyphonic melodic repetition across different instruments (see Figure 105 on the following page).

Figure 104. Piano Concerto No.1 by Chin, Third Movement, mm. 203–207

112

Figure 105. Piano Concerto No.1 by Chin, Third Movement, mm. 88–95

113

In this movement, Chin quotes melodies from the first two movements. These quotations can be seen as another example of repetition between movements. Two examples can be found in the piano part in measure 236-237 (Figure 106) and measure

245-246 (Figure 107). In both examples, the piano part copies the pattern of the first two measures of the whole concerto.

Figure 106. Piano Concerto No.1 by Chin, Third Movement, mm. 235–237

Figure 107. Piano Concerto No.1 by Chin, Third Movement, mm. 245–246

Another example of quotation can be found in measures 165-166 in the strings (see

Figure 108 on the following page). This section quotes the passage in the second movement where the string instruments use sliding notes to create the “dreamy” element

(see Figure 109 on the following page).

114

Figure 108. Piano Concerto No.1 by Chin, Third Movement, mm. 164–166

Figure 109. Piano Concerto No.1 by Chin, Adagio, mm. 91–93

115

4.3 Conclusion

The compositional style of Chin is more innovative than Hsiao and Ma in terms of musical form, the use of instruments, and chromaticism. He creatively combines poetry with music by using non-traditional musical structures to match the poems upon which his works are based. Chin also uses his instruments differently to create certain moods. For pianists, his Piano Concerto No. 1 is a great physical challenge to successfully present the music to the audience. In addition to the difficult technical passages, the emotional aspect of the concerto is also demanding. Overall, Chin has composed piano music in a new and creative way.

In his essay Towards a Broader Vision of Composition: From Compositional

Experience to Compositional Goals, he talks about the Taiwanese music identity, his compositional development, his philosophy of music, and the influence of his religion. In the section of Taiwanese musical identity, he doubts that the authentical Taiwanese musical identity does not exist.65 This raises an essential question for future research by music scholars: what is the musical identity of Taiwan?

65 Chin, Towards a Broader Vision of Composition: From Compositional Experience to Compositional Goals, 2005, 6. 116

Chapter 5. Comparison and Conclusion

In the short period of western music history in Taiwan, there were many contributing efforts made by both Taiwanese and foreigners. Tyzen Hsiao, Shui-Long Ma, and Gordon Shi-Wen Chin are three Taiwanese composers that composed great music.

Their compositions are for various kinds of ensembles or solo instruments, but their piano pieces are particularly worth studying. Some are character pieces such as A Sketch of the

Rainy Harbor by Ma and Memories of Home by Hsiao, some are inspired by Christianity such as Poetic Echo by Hsiao, and some of them are extremely virtuosic pieces like the

Piano Concerto No. 1 by Chin. However, all represent the different and unique styles from the three composers in this document.

The national identity of Taiwan and by extension the identity of these three composers are important issues for future research. Discussions on Taiwan’s national identity can be found in Music and National Identity: A Study of Cello Works by

Taiwanese Composers by Yu-Ting Wu and Changing Tendency of Western Music

Tradition in Taiwan by Hui-Shan Chen. An awareness of local culture and customs has become stronger, and a fundamental transformation of the Western music tradition – shifting toward a more cross-cultural and cross-field orientation – has emerged.66

66 Hui-Shan Chen, “Changing Tendency of Western Music Tradition in Taiwan,” Fontes Artis Musicae 56, no. 3 (2009): 294–95. 117

5.1 Educational Background

All three Taiwanese composers mentioned in this document also received education in a country other than Taiwan. Ma received his first foreign musical education in Germany, where he learned about Western opera. Hsiao and Chin had their first foreign musical education in Japan. Although they were both educated in Japan, Chin seems to be more influenced by Japanese culture than Hsiao, likely since Chin spent most of his teenage years in Japan while Hsiao had only been in Japan for four years for a musical degree after he got married. As an example of the greater influence of Japanese culture on Chin with respect to Hsiao, Chin was inspired by a Japanese poem in his piano concerto, but in

Hsiao’s compositions usually reflect Taiwanese culture.

Interestingly, all three composers experienced living in the United States. Ma stayed in the States for the shortest time, while Hsiao and Chin resided for a longer period.

Hsiao’s time in the States influenced him a lot; he was homesick, and as such composed several pieces to express his nostalgia for Taiwan.

5.2 Religious Belief

Taiwan is a country that provides its people the freedom of religious belief. Most

Taiwanese people believe in or practice Taoism and Buddhism, while only about five

118 percent of citizens believe in Christianity.67 Although Christians represent only a small group in Taiwan, both Hsiao and Chin were fervent Christians. Their faith has had an effect on their compositions as well; both composers were touched by their god, and created music to worship and praise him.

Most pieces from the Poetic Echo by Hsiao have melodies taken from Christian hymns. Hsiao once said,

Jesus Christ is my inspiration and the strength that I have to recover from disease. I become closer and closer to God and more thankful every day. Half of my compositions were composed to praise and thank God.68

Some of his other religious works include the oratorio Jesus Christ in 1971, Psalm 150 in

2000 (premiered at the Église de la Sainte-Trinité in Paris, France), and Psalm 100 in 2002.

As for Chin, some important religious works are his opera Mackey – The Black

Bearded Bible Man and several vocal works, including Psalm 37 for soprano and orchestra.

Seeing himself as a "musical prophet," he expects his music to carry evangelical messages to the Taiwanese society, creating opportunities for listeners to reflect upon Christian values and elevate their spiritual lives.69

67 American Institute in Taiwan, “Taiwan 2018 International Religious Freedom Report,” Jun 2019, accessed January 18, 2020, https://www.ait.org.tw/zhtw/taiwan-2018- international-religious-freedom-report-zh/.

68 Chinese Christian Tribune, “Tyzen Hsiao thanks the God to let him compose, and the Silent Prayer concert was held in memory of this master (蕭泰然感謝主恩讓他創作《默禱》音樂會紀念大師典範),” May 01, 2015, accessed December 20, 2019, https://www.ct.org.tw/1252092.

69 Tingchi, Huang, Gordon Chin’s Compositional Style and Religious Perspectives: An Analytical Investigation of the First Movement of His Violin Concerto No. 3, 2003, 72. 119

5.3 Musical Ideas

5.3.1 Form

Being called the “Sergei Rachmaninoff of Taiwan”, Hsiao uses mostly traditional

Western musical forms in his compositions. In his Concerto in C Minor, Op. 53, he uses sonata form in the first movement and ternary form for the last two movements. In the

Memories of Home suite, he also uses ternary form for most of the pieces.

Ma, on the other hand, uses the musical form that enables him to freely express the admiration for his hometown in his Rhapsody in Kuan Du. In this composition, there are many sections divided by fermatas to create a sense of pulse and give the audience some time to ponder the previous passage.

The most creative one of these three composers with respect to musical structure is

Chin. His piano concerto not only is inspired by poetry, but he also makes the poems and music structurally connected, using the form of the poem to create the music and sync both arts together.

Overall, both Hsiao and Ma are conservative in their approach to musical form, while Chin tries to step outside the comfort zone of traditional structures and be creative.

This difference brings to his music a different kind of artistry, and allows the audience a fresh vision into the world of music and poetry.

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5.3.2 Chromaticism and Texture

Hsiao’s piano works often consist of clear tonalities and harmonies which usually follow the traditional Western chord progressions and major/minor modality of the

Romantic period. There is often chromaticism in his work, but this chromaticism is not too exaggerated, and the dissonances usually resolve. Listeners will find his pieces easier to listen to in terms of the overall sonorities. There are usually beautiful melodies in his pieces and the textures mostly melody-and-accompaniment. This is also why he is called the “Sergei Rachmaninoff of Taiwan”.

Ma, on the other hand, writes works more reminiscent of Impressionism than

Romanticism. His piano works emphasize atmosphere more, and he sometimes writes not for the purpose of developing melodies, but for depicting a certain scene. He also uses the piano to mimic different instruments, especially percussion instruments. The descriptive titles that he gives to his pieces allow the audience to be imaginative and enjoy his music.

As for Chin, he really creates a different genre than the previous two composers.

His music is more abstract and complicated but not totally inaccessible. His piano concerto particularly requires a more acquired taste in music than the concertos of Ma and Hsiao.

There is much more chromaticism in his piece, and the orchestral instruments are used to create the mood he wants to present from the poems. The orchestra is also used more programmatically, to tell the story of the poem his work is based on. With some basic knowledge of music and poetry, his music is also enjoyable and delightful.

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5.3.3 Eastern Material

Hsiao’s main contribution was integrating Taiwanese folk music with Western music and introducing Taiwanese music to the international stage. 70 He uses eastern elements like pentatonic scales, imitation of Chinese music instruments, and Taiwan folk melodies. The Chinese instruments he imitates are usually melodic instruments, such as

Zheng. Ma also uses eastern elements in his music, but the instruments he imitates in his music tend to be percussion instruments, as opposed to Hsiao’s melodic ones. In addition to the melody instrument Zheng, some percussion instruments include Chinese wood blocks, bells, and gongs.

Chin is the most Westernized composer in this group of Taiwanese composers.

Although he also wrote pieces inspired by Taiwanese history (like the story of Canadian

Christian missionary Mackay in Taiwan), his piano concerto does not have many eastern elements. The second movement is inspired by a Japanese poem but there are no obvious eastern materials. Because of that, the listener might not be able to recognize any eastern influences.

All three composers discussed in this document were influenced by eastern culture, but they use various methods to bring out the eastern style in their compositions. Hisao and Ma use apparent and recognizable eastern materials, while Chin chooses to communicate this idea in a more subtle way.

70 Lin-Ming Chang, “A Study of Tyzen Hsiao’s Piano Concerto, Op. 53: A Comparison with Rachmaninoff’s Piano Concerto No. 2” (DMA document, The Ohio State University, 2018), 1. 122

5.4 Conclusion

Taiwanese composers are usually less known by musicians outside of the country; therefore, the purpose of this document is hopefully to introduce these three Taiwanese composers and their piano music to the world. Their music contains both eastern and western elements, but they have their own approach to applying these two elements in their compositions. Hsiao follows the traditional romantic style of western music most in comparison of the other two composers. Chin, on the other hand, has more inventive ideas about music and creates works that are considered more contemporary. In between the style of Hsiao and Chin, Ma is not as modern as Chin, but still tries to be innovative in his music.

Nowadays, musicians, especially pianists, are used to playing the same repertoire repeatedly. Although there are numerous masterpieces from the past great composers that we can learn and perform, it is also important for us to investigate some newer pieces and stimulate interest in the musical community and public.

As a Taiwanese pianist taking western education in the States, I feel it is my duty to introduce Taiwanese composers to Western culture. These three composers all have their ideas to express in the music through voices both different and similar to western composers. I would urge all pianists – Taiwanese and non-Taiwanese – to investigate works by these and other Taiwanese composers to increase and vary their concert and teaching repertoires. They might find, as I have, works of great musical and pianistic value by world class composers.

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Appendix A. Map of Taiwan

Nations Online, “Map of Taiwan,” Accessed March 4, 2020. https://www.nationsonline.org/oneworld/map/taiwan-map.htm. 128

Appendix B. List of Tyzen Hsiao’s Piano Works

Piano Solo

1979 Prelude in C

1979 Amazing Grace

1989 Memories of Home Suite

1993 Farewell Etude

1995 Toccata

1996 Piano Pieces for Children

Four-Hand Piano and Duets

1974 Fantasy Waltz for two pianos

1988 Festival for four-hand piano

Piano Concerto

1991 Piano Concerto in C Minor, Op. 53

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Appendix C. List of Shui-Long Ma’s Piano Works

Piano Solo

1962 Two Fugues for Piano (dedicated to Professor Hsiao Erh-Hua)

1962 Classical Suite for Piano (dedicated to Professor Hsiao Erh-Hua)

1963 Rondo for Piano

1966 Taiwan Suite for Piano

1969 A Sketch of the Rainny Harbor for Piano

1973 Sonata for Piano

1974 Variations for Piano

2001 A Sketch of the Kuan Du

Piano Concerto

2001 Rhapsody in Kuan Du for Piano and Orchestra

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Appendix D. List of Gordon S. W. Chin’s Piano Works

Piano Solo

1980 The Butterfly in Love with Flowers for Piano

1980 An Autumn Day in my Hometown for Piano

1983 Shue-Bien Suite for Piano

1989 The Fields without Scent of Soil for Piano

1992 Residual Images for Piano

2010 Song of February for Piano

Piano Concerto

1980 Piano Concerto

1991 Piano Concerto No. 1 (Traditional Chinese: 鋼琴協奏曲第一號)

2009 Piano Concerto No. 1 (Traditional Chinese: 第一號鋼琴協奏曲)

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