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A Study of the Piano's 12 Sides by Carter Pann

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A Study of the Piano's 12 Sides by Carter Pann University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Student Research, Creative Activity, and Music, School of Performance - School of Music 3-2019 FROM IMPROVISATION TO ARTISTRY: A STUDY OF THE PIANO’S 12 SIDES BY CARTER PANN Louis Claussen University of Nebraska - Lincoln, [email protected] Follow this and additional works at: https://digitalcommons.unl.edu/musicstudent Part of the Composition Commons, Fine Arts Commons, Musicology Commons, and the Music Performance Commons Claussen, Louis, "FROM IMPROVISATION TO ARTISTRY: A STUDY OF THE PIANO’S 12 SIDES BY CARTER PANN" (2019). Student Research, Creative Activity, and Performance - School of Music. 125. https://digitalcommons.unl.edu/musicstudent/125 This Article is brought to you for free and open access by the Music, School of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Student Research, Creative Activity, and Performance - School of Music by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. FROM IMPROVISATION TO ARTISTRY: A STUDY OF THE PIANO’S 12 SIDES BY CARTER PANN by Louis M. Claussen A DOCTORAL DOCUMENT Presented to the Faculty of The Graduate College at the University of Nebraska In Partial Fulfillment of Requirements For the Degree of Doctor of Musical Arts Major: Music Under the Supervision of Professor Mark K. Clinton Lincoln, Nebraska March, 2019 FROM IMPROVISATION TO ARTISTRY: A STUDY OF THE PIANO’S 12 SIDES BY CARTER PANN Louis M. Claussen, DMA University of Nebraska, 2019 Advisor: Mark K. Clinton, DMA Intended as a resource for pianists who may analyze or perform Carter Pann’s The Piano’s 12 Sides, this study provides biographical information on the composer and explores his professional relationship with the pianist for whom it was composed, Joel Hastings. Each piece from The Piano’s 12 Sides is discussed in terms of form, melody, harmony, texture and Pann’s approach to the pianistic compositional idiom. The composition is also examined with regard to extra-musical details and programmatic elements as well as inspiration and dedications that influenced Pann’s compositional process. Correspondence and interviews with the composer reveal the motivation and inspiration behind The Piano’s 12 Sides as well as several other piano, chamber, and large ensemble compositions. This study sheds light on Pann’s solo piano compositions and suggests the importance of considering them as viable additions to the contemporary repertoire for serious pianists. iii DEDICATION To my piano teachers: Mark Clinton, DMA, Wei-Han Su, DMA, and Marilyn Lowe, MM for imparting wisdom and exhibiting professionalism as they have helped me grow both musically and personally throughout my career as a student. To my wife, for her steadfast, unconditional love and companionship. To my parents, for their constant love, encouragement, and sacrifice that brought me to this point. To my sister, for her lifelong friendship and for proofreading countless papers throughout my education. iv ACKNOWLEDGEMENTS The following individuals have provided support in the completion of this study for which I am extremely grateful: Carter Pann, DMA My teacher, mentor, and friend, Mark Clinton, DMA My supervisory committee: Brenda Wristen, PhD, Pamela Starr, PhD, and Daniel Ciobanu, PhD My friends and colleagues at the Glenn Korff School of Music: In Our Grit, Our Glory. v TABLE OF CONTENTS CHAPTER 1: INTRODUCTION ................................................................................. 1 Biography ........................................................................................................................3 Compositional Style ........................................................................................................8 Joel Hastings ................................................................................................................. 13 CHAPTER 2: OVERVIEW OF COMPOSITIONS................................................... 17 Solo Piano ..................................................................................................................... 17 The Cheese Grater: A Mean Piano Two-Step ............................................................. 17 Two Lullabies ............................................................................................................ 19 The Bills .................................................................................................................... 19 Six Strokes ................................................................................................................. 22 Fantasy-Inventions .................................................................................................... 23 Upstate: A Slow Drag ................................................................................................ 24 Five Serious Pieces .................................................................................................... 25 Chamber Music ............................................................................................................. 29 Antares ...................................................................................................................... 29 Circumnavigator ........................................................................................................ 30 Differences ................................................................................................................ 32 Melodies for Robert ................................................................................................... 33 Choral Music and Songs ................................................................................................ 35 Poems for Jason ........................................................................................................ 35 Orchestra (with piano) ................................................................................................... 36 Piano Concerto No. 1 ................................................................................................ 36 Wind Symphony (with piano) ........................................................................................ 38 Concerto Logic (Piano Concerto No. 2) ..................................................................... 38 CHAPTER 3: THE PIANO’S 12 SIDES .................................................................... 40 I. “Silhouette” ................................................................................................................ 42 II. “Figurines” ............................................................................................................... 46 III. “Legend” ................................................................................................................. 48 IV. “White Moon Over Water” ...................................................................................... 51 V. “Le Branle”............................................................................................................... 55 vi VI. “Classic Rock” ........................................................................................................ 57 VII. “She Steals Me” ..................................................................................................... 60 VIII. “Soirée Macabre” .................................................................................................. 64 IX. “Orion”.................................................................................................................... 67 X. “Cradle Song” ........................................................................................................... 69 XI. “Grand Etude-Fantasy” ............................................................................................ 71 XII. “An Irish Tune” ...................................................................................................... 75 CHAPTER 4: FINAL THOUGHTS ........................................................................... 80 BIBLIOGRAPHY........................................................................................................ 83 APPENDIX A .............................................................................................................. 86 Interview Transcript ...................................................................................................... 86 APPENDIX B ............................................................................................................ 108 List of Compositions ................................................................................................... 108 APPENDIX C ............................................................................................................ 111 Notes from Carter Pann ............................................................................................... 111 1 CHAPTER 1: Introduction The literature for solo piano is ever expanding as composers around the world continue to generate new works. It is safe to say that more music has been written for the piano than for any other instrument, especially if one considers the vast amount of chamber and other collaborative works that include piano. Therefore, it is nearly impossible for one individual to have a comprehensive knowledge of the repertoire. Further, virtually unknown music exists, but is worthy of the attention of serious performers and patrons of classical piano music. Within this
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