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The Solo Piano Music of David Lang

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The Solo Piano Music of David Lang THE SOLO PIANO MUSIC OF DAVID LANG Karl Larson A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS December 2012 Committee: Laura Melton, Advisor Kenneth Thompson Marcus Zagorski Beatrice Guenther © 2012 Karl Larson All Rights Reserved iii ABSTRACT Laura Melton, Advisor Since the inception of Bang On a Can in 1987, David Lang has become one of the most successful American composers of his generation. Along with fellow Bang On a Can founders Michael Gordon and Julia Wolfe, Lang has built a strong career composing minimalist influenced music in a postminimalist world. His resultant style features music that, like early minimalist works, is highly repetitive and limited in musical means. However, Lang's work lacks an emphasis on transparency in process and compositional method, an imperative quality in early minimalist music. David Lang's compositional output has been substantial in many areas; he is particularly well known for his works for percussion, various chamber groups, and vocal works. While these compositions are often played and highly regarded, his piano works have not been given the same attention. Beginning with 1983's While Nailing at Random up until 2012's Hard Hit, Lang has published seven single movement piano works as well as Memory Pieces, a set of seven pieces completed in 1992. David Lang's solo piano oeuvre is among the most substantial in the minimalist catalogue. This study was first to explore Lang's solo piano repertoire as a whole, both comparing it to other minimalist solo piano works as well as to one another in order to better understand Lang's development as a composer. This information was gathered through an analytical study of David Lang's solo piano music, an interview with the composer, and a study of the solo piano genre within the minimalist music movement as a whole. iv Upon completing an interview with David Lang, an analysis of his works for solo piano, and an overview of minimalist solo piano music, it is clear that David Lang, while influenced by the music of earlier minimalists, has developed his own compositional voice. While Lang consistently uses process in his music, his application of process is meant to limit his access to musical material rather than place an emphasis on observable patterns. Unlike earlier minimalists who strove for transparency of process in their compositions, Lang keeps his processes hidden beneath the surface of the music. v ACKNOWLEDGMENTS Karl Larson would like to thank Laura Melton, Kenneth Thompson, Marcus Zagorski, and Beatrice Guenther for their guidance throughout this degree process. vi TABLE OF CONTENTS Page CHAPTER I: THE KEYBOARD WORKS OF YOUNG, RILEY, GLASS, REICH, AND ADAMS................................................................................................................................. 1 La Monte Young......................................................................................................... 4 Terry Riley................................................................................................................. 8 Philip Glass................................................................................................................ 12 John Adams................................................................................................................ 21 Steve Reich................................................................................................................. 24 Conclusion.................................................................................................................. 27 CHAPTER II. DAVID LANG'S BIOGRAPHY AND STYLE............................................ 28 CHAPTER III. THE SOLO PIANO COMPOSITIONS...................................................... 36 Memory Pieces........................................................................................................... 40 Cage................................................................................................................ 41 Spartan Arcs................................................................................................... 45 Wed.......................................…....................................................................... 58 Grind............................................................................................................... 64 Diet Coke........................................................................................................ 65 Cello............................................................................................................... 70 Wiggle............................................................................................................. 73 Beach.............................................................................................................. 79 Post-Memory Pieces................................................................................................... 83 Broken Door.................................................................................................... 84 vii Boy................................................................................................................. 88 Cut.................................................................................................................. 93 The Point........................................................................................................ 97 This Was Written By Hand............................................................................. 99 Hard Hit......................................................................................................... 109 Outliers....................................................................................................................... 112 While Nailing at Random............................................................................... 113 Psalms Without Words.................................................................................... 120 CHAPTER IV. CONCLUSION............................................................................................ 123 BIBLIOGRAPHY................................................................................................................... 128 APPENDIX. HSRB APPROVAL FORM............................................................................... 131 viii LIST OF FIGURES Figures Page 1 Thematic Chords in The Well-Tuned Piano............................................................... 6 2 Keyboard Study No. 1 - First Page and Instructions.................................................. 9 3 Keyboard Study No. 2 – Page 8.................................................................................. 11 4 Two Pages - Cells 1-5................................................................................................ 14 5 Music in Fifths - Cells 1-4......................................................................................... 15 6 Music in Contrary Motion - Cells 1-2........................................................................ 16 7 Mad Rush (mm. 1-4).................................................................................................. 18 8 Mad Rush (mm. 5-8)….............................................................................................. 18 9 Mad Rush (mm. 55-57).............................................................................................. 19 10 Metamorphosis 1 (mm. 6-9)....................................................................................... 20 11 Metamorphosis 2 (mm. 31-32)................................................................................... 20 12 Wichita Vortex Sutra (mm. 71-73).............................................................................. 20 13 Graphic Realization of "Gating" in China Gates........................................................ 22 14 Cage (mm. 1-6)........................................................................................................... 42 15 Spartan Arcs (mm. 1-6)............................................................................................... 45 16 Wed (mm. 1-8)............................................................................................................. 59 17 Grind (mm. 1-10)........................................................................................................ 65 18 Diet Coke (mm. 7-18)................................................................................................. 67 19 Cello (mm. 1-9).......................................................................................................... 71 20 Wiggle (mm. 1-5)........................................................................................................ 74 21 Wiggle (mm. 67-71).................................................................................................... 74 ix 22 Beach (mm. 1-4) (middle voice)................................................................................ 80 23 Beach (mm. 1-20)....................................................................................................... 82 24 Broken Door (mm. 1-4).............................................................................................. 85 25 Broken Door (mm. 1-8).............................................................................................. 86 26 Boy (mm. 14-23)........................................................................................................
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