Da Jeong Choi, B.A., M.A. Dissertation Prepared for the Degree of DOCTOR OF PHILOSOPHY UNIVERSITY OF NORTH TEXAS. May 2011 APPROVED:

Transcription

1 DREAM O A THOUSAND KEYS: A CONCERTO OR IANO AND ORCHESTRA Da eong Choi, A, MA Dissertation reared or the Degree o DOCTOR O HILOSOHY UNIVERSITY O NORTH TEXAS May 011 AROVED: oseh Klein, Maor roessor and Chair o the Division o Comosition Studies Cindy McTee, Committee Memer on Nelson, Committee Memer Graham his, Committee Memer Lynn Eustis, Director o Graduate Studies in the College o Music ames C Scott, Dean o the College o Music ames D Meernik, Acting Dean o the Toulouse Graduate School

2 Choi, Da eong, Dream o a Thousand Keys : A Concerto or iano and Orchestra Doctor o hilosohy (Comosition), May 011, 111, illustrations, iliograhy, 71 titles Dream o a Thousand Keys is a concerto or iano and orchestra, hich consists o our movements resenting multile dimensional meanings as suggested y the ord key I trace the derivation o Korean traditional rhythmic cycles and numerical sequences, such as the ionacci series, that are used throughout the ork, and exlore the signiicant role o sace eteen the soloist and iano that are emhasized in a theatrical asect o the comosition The essay addresses the question o musical contrasts, similarities, and metamorhosis Lastly, I cover terms and concets o signiicant 1 st -century comositional techniques that come into lay in the analysis o this ork

3 Coyright 011 y Da eong Choi ii

4 ACKNOWLEDGEMENTS I ould like to thank the lirarians that assisted in the acquisition o research materials, scores and recordings Secial thanks go to Donna Arnold or her tireless hel In addition, I am grateul to anelle West or assistance in locating a large numer o theses, dissertations, ooks, and scores needed or the study I ould also like to thank my doctoral committee memers or their encouraging ords and suggestions I exress my deeest gratitude to my mentor and adviser, oseh Klein, or his invaluale eedack and guidance Many thanks go to on Nelson or his recommendations during the roosal rocess through the comletion o the dissertation Also many thanks go to Graham his or encouraging me to ursue a cognate ield (theory) I thank conductor Ludig Estean Carrasco Curíntzita and my UNT Orchestra riends or reading three movements o Dream o a Thousand Keys on March 10, 010 Esecially, I thank conductor and violinist Hsuan Yu Lee or reading the iece at another orchestral reading session (Novemer 9, 010), and also or sharing his thoughts and ideas regarding the string arts Moreover, many thanks go to ianists amela Mia aul, Steve Harlos, and Anastasia Markina or insiring my research On a ersonal note, many thanks go to all my riends or their suort and encouragement inally, I ould like to thank my arents or their ceaseless love and rayers throughout my career Without their suort and oseh Klein s advice, this ould not have een ossile iii

5 TALE O CONTENTS age ACKNOWLEDGMENTS iii LIST O TALES AND IGURES vi ART I: CRITICAL ESSAY 1 1 Introduction recomositional Ideas Asian Music Inluence Korean Traditional Rhythmic Cycle (Changdan) Alication o ionacci Series and Numerical Elements ionacci Theory in Dream o a Thousand Keys Multile Dimensional Meanings as Suggested y the Word Key Analysis o Dream o a Thousand Keys 15 relude Choreograhy o iano Solo in relude Tonality o relude irst Movement Second Movement (Sutitle: Interlude) Third Movement Conclusion: Synthesis, Relection, and Relevance to uture roects 7 iliograhy 9 ART II: DREAM O A THOUSAND KEYS 56 rogram Note 57 erormance Direction 57 Choreograhy in relude 58 Instrumentation 59 iv

6 Movements and Dedications 60 relude 61 Movement I 65 Movement II 85 Movement III 91 v

7 LIST O TALES AND IGURES age Tales 1 Rhythmic cycle (Changdan) igures 1 ionacci numer ormula 8 ionacci series 8 Signiicant events at the ionacci series oints in the irst movement o artók s Music or Strings, ercussion, and Celesta 10 ionacci series and itch (0=C, 1= hal ste) 1 5 ionacci telve-tone ro: Tonality in the ionacci telve-tone ro 1 7 ionacci telve-tone ro matrix 1 8 Harmonic reduction o the relude 17 9 Harmonic scheme o the relude Harmonic reduction o the relude using azz chords ionacci tetrachords 1 1 ionacci tetrachords in Theme 1 1 Alication o ionacci tetrachords 1 ionacci tetrachords in the introduction o the irst movement 15 rimary themes in the irst movement 5 16 Motive A and Motive 6 17 Comarison eteen Theme 1a and Theme 1a in the iano (mm ) 7 18 Theme1 : Retrograde o Theme 8 vi

8 19 Motive C (mm 75-78) 8 0 orm o the irst movement 8 1 itch reerences in the irst movement 1 Motives in the second movement 5 Theme I and retrograde o Theme I (mm 5-59) 6 The comlete telve-tone ro in the second movement (mm 71-76) 7 5 Signiicant recurrences o the themes and modiications 9 6 Alication o ionacci series to strings in the second movement 0 7 Examle o retrograde rhythm o ionacci series (mm 71-76) 0 8 ionacci numers in the iano art (mm 79-16) 9 Themes in the third movement 5 0 Structure o the third movement 6 vii

9 ART I CRITICAL ESSAY ON DREAM O A THOUSAND KEYS 1

10 Chater 1 Introduction Dream o a Thousand Keys is a tenty-minute concerto or iano and orchestra, hich consists o our movements resenting multile dimensional meanings as suggested y the ord key According to Wester s Ne World College Dictionary, the term key includes more than ten meanings, such as tone or itch, one o the levers that sets in motion the laying mechanism, something that aords a means o access, a means o clariying a rolem, and others Additionally, the erormance sace in Dream o a Thousand Keys creates a unique and remarkale theatrical environment during the erormance The signiicant roles o sace ith regard to the iano and the erormers are emhasized in a theatrical manner In articular, sace eteen the ianist and the iano in the relude has een choreograhed y the comoser Moreover, one o my goals is to exand the research and study o eclectic inluences, ie, the co-existence o various styles, cultural inluences, and chronological eras ithin a given ork A ide variety o musical sources, idioms, styles, and concets are clearly delineated and lended throughout the ork Hoever, there is a uniying musical actor that is used to achieve coherence: namely, the ionacci series is one o the most signiicant comositional tools used in this multiarious comosition The ionacci series determines not only the structure o the ork on a macro level ut also the orm o each movement and the sections on the micro level With regard to harmonic

11 structure, the irst, second, and third movements are uilt on telve-tone ros derived rom the ionacci series The musical materials on the micro level are careully controlled and erormance asects are recisely seciied in each movement Otionally, each movement can e erormed as an indeendent ork There is imrovisation involved in the relude: the conductor and the solo ianist can choose to ollo one o three otions: laying the materials as ritten, imrovising on the ritten materials, or miming

12 Chater recomositional Ideas Asian Music Inluence One o my goals in Dream o a Thousand Keys as to incororate Asian elements and to integrate the sounds o the East ith estern instruments East Asian erorming ractices used in this iece include ide virato, extensive glissandi, grace notes (eore or ater the eat), lutter tongues, and microtones, the latter o hich are articularly signiicant in Korean music Isang Yun, one o the most amiliar Korean comosers, adoted these Korean instrumental aroaches in his orks as ell 1 Also, the aundance o ercussion instruments is o articular imortance, as these instruments have een used historically in traditional East Asian music to signal the eginning and ending o a ork Similarly, the irst movement o Dream o a Thousand Keys egins ith crash cymal and ends ith a lo ercussive iano chord in the irst movement; triangle and string harmonics aear in the irst measure o the second movement; timani and strings are emloyed at the very eginning o the third movement 1 Yayoi Uno Everett and rederick Lau, Music Syncretism in Isang Yun s Gasa rom Locating East Asia in Western Art Music, Middleton, Conneccticut, Wesleyan University ress, 00, 175 Iid, 180

13 Korean Traditional Rhythmic Cycle (Changdan) One o the Korean traditional rhythmic cycles, hich consists o seven rhythmic atterns, is derived rom ansori erormance ansori, one o the most reresentative erorming arts, is a unique Korean style o dramatic olk song elonging to the category o Korean vocal music that as develoed during the late eriod o the Chosôn Dynasty ( ) ansori is resented y a vocalist and a drummer The to musicians interactivity in ansori is alied to the antihonal relationshi eteen the iano solo and the orchestra ang Song Song, Korean Music: Historical and Other Asects, South Korea, imoondang ulishing Comany, 7 Iid,

14 6

15 Tale 1 Rhythmic cycle (Changdan) Alication o ionacci Series 5 and Numerical Elements Numerical concets are a avorite comositional tool or many comosers and are requently utilized in modern orks Durational and itch uses o the ionacci series and Golden mean ratio aear in such contemorary orks 5 A numer sequence in hich each susequent numer is the sum o the revious to 7

16 such as Relets dans l eau (Relection on the Water, 1905) or iano y Claude Deussy; Allegro araro or iano Solo (1911), Music or Strings, ercussion, and Celesta (196), Sonata or To ianos and ercussion (197) y éla artók; Klavierstück IX y Karlheinz Stockhausen; and usiness Music and Sixth iano Sonata y Don Walker ( ) 6 igure 1 ionacci numer ormula n O ionacci Series etc igure ionacci series The roortional inevitaility o the golden section is roduced in Deussy s 6 onathan Kramer, The ionacci Series in Tentieth-Century Music, ournal o Music Theory, Vol 17, No 1 (Sring, 197), 17 8

17 orks on a macro level or examle, Relets dans l eau (1905) or iano rovides the rincial climax in mm and the unexected modulation to E maor occurs in m 56, hich corresonds ith the ork s Golden Section Also the irst rondo rerise aears ater measures 7 Golden mean roortions are also ound in artók s Sonata or To ianos and ercussion at the macro level The entire ork is 6, eighth-note units divided into,79 eighth-note units in the irst movement and,58 eighth-note units (771+1,687) in the second and third movements artók also utilized the ionacci series as a cogent structural source in his Music or Strings, ercussion, and Celesta We may see the use o the ionacci roortions corresonding ith signiicant events in these orks One aarent anomaly is that the irst movement o Music or Strings, ercussion, and Celesta does not maintain 89 measures, ut is only 88 ars long; hoever, the ause ater the irst movement may e interreted as a inal ar o silence (thus resulting in ionacci numer 89) The movement is divided into 55 ars and ars (including the ause) y the maor climax occurring in measure 56 The irst 55 ars are sudivided into 1 ars and ars hen the exosition o the ugue ends in measure 1 The inal ars are sudivided into 1 ars and 1 ars, at hich oint the strings are unmuted and the entire statement o the theme is resented in inversion The inal 1 ars are also 7 Hoat, Roy Deussy in roortion, A Musical Analysis, Camridge University ress, Camridge, London, Ne York,, Ne Rochelle, Melourne, Sydney,

18 sudivided into 1+8, here the texture is altered y the omission o celesta areggios and string tremolos 8 Exosition o ugue Climax Omission o celesta areggio 1 1 Exosition o =1+ String =1 (omission o ugue muted celesta areggios)+8 55 Climax 89=88 ars long +1 (a inal ar o silence) igure Signiicant events at the ionacci series oints in the irst movement o artók s Music or Strings, ercussion, and Celesta In Karlheinz Stockhausen s Klavierstück IX, the ionacci series governs the length o notes, time signatures (1/8, /8, 1/8, 8/8, 1/8, etc), temo (e =60, e =10, e =160), division o sections, etc onathan Kramer claims that Stockhausen is interested in ionacci durational roortions ecause o the resultant golden mean roortions (1618) Another comoser, Don Walker, estalishes a limited ionacci itch system in his comosition, usiness Music Walker uilt his ionacci itch 8 onathan Kramer, 10 10

19 system on the asis o an ascending and descending interval o the seven digits o the ionacci series, resulting in reetition o itches Examle 1 ionacci itch system in usiness Music y Don Walker 9 ionacci Theory in Dream o a Thousand Keys Numerical concets are used in the relude and three movements o Dream o a Thousand Keys, including ermutations o the ionacci series The ionacci roortions not only determine the orm o the entire ork ut also the structure, temo, meter, duration, rhythmic atterns, hrase length, and itch collections In order to create an ordering o the telve itches derived rom the ionacci series, using each itch only once, each recurrent itch is removed rom the itch system; as seen in igure 6 elo, the reeated itches such as numer 1 (C) and numer 89 () are deleted hen creating a ionacci ro 9 onathan Kramer The ionacci Series in Tentieth-Century Music, ournal o Music Theory, Vol 17, No 1 (Sring, 197), ,

20 a Scale o ionacci series and itch The relation eteen ionacci series and itch C C (C) D E A (C) A G () (C) () () () E (C) (E) () (A) (D) (C) (C) (C) (C) (D) (C) (C) (A) igure ionacci series and itch (0=C, 1= hal ste) igure 5 shos the ionacci telve-tone ro that is used in this iece 1

21 igure 5 ionacci telve-tone ro: -0 As seen in igure 6, the irst to tetrachords are highly chromatic; the third tetrachord is more distantly related to the other to igure 6 Tonality in the ionacci telve-tone ro The matrix in igure 9 shos 8 ossile orms o telve-tone ros and the rime (, let to right), retrograde (R, right to let), inversion (I, to to ottom), and retrogradeinversion (RI, ottom to to), 1

22 =rime, R=retrograde, I=inversion, RI=retrograde and inversion igure 7 ionacci telve-tone ro matrix erorming ractices o Asian music, the use o Korean traditional rhythmic cycles, and ionacci theory, hich are incororated as signiicant musical materials, result in a unique sound in Dream o a Thousand Keys These elements are discussed urther in the olloing chater 1

23 Chater Analysis o Dream o a Thousand Keys The relationshi eteen the iano soloist and orchestra is usually hierarchical, olloing the traditional ractice o orks or solo instrument and orchestra or solo and large ensemle ritten since the mid-18 th century According to Charles Rosen, audiences tend to ait in anticiation or the soloist to egin laying and hen the soloist stos, audiences again ait in anticiation or the soloist to resume laying 10 Hoever, in Dream o a Thousand Keys, the solo iano may not emerge until the end o the introduction o the irst movement i the conductor and soloist decide not to erorm the ritten iano solo art in the relude relude The term relude generally reers to a short iece o music ith unseciied orm that tyically eatures rhythmic and melodic motives hich occur throughout 11 The initial movement o this ork, relude (Adagio), can e layed indeendently o the other movements, as as oten the ractice during the Romantic era This ractice may recall the erormance o the ourth movement (Adagietto) o the Symhony No 5 (190) y Gustav Mahler ( ), hich as resented as an indeendent ork thirty-six years eore the entire 10 Charles Rosen, The Classical Style: Haydn, Mozart, eethoven Exanded edition Ne York, London: WW Norton Comany (1997), Don Michael Randel, The Ne Harvard Dictionary o Music, Camridge: elkna Harvard, 1986, 65 15

24 symhony as remiered 1 In addition, a relude may serve as an introduction to successive movements o the ork, as is the case ith reludes in the aroque era The maority o iano concertos introduce the iano soloist at the eginning o the irst movement; hoever, or this ork, a conductor may decide hether or not to include the relude ith the soloist There is also an otion or the soloist to imrovise on the asis o the seciied chords (igure 11) These otional interretations o the relude are in oosition to the conventions o the iano concerto Choreograhy o the iano Solo in the relude In the relude, the ianist s hand gestures, motion, and touch level on the keyoard are choreograhed y the comoser These gestures should encomass the entire keyoard and include seeing gestures, all ithout sounding itches The sace eteen soloist and iano is designed as i gestures o rayer are delivered, hich recalls Stockhausen s thorough guidelines or dance, Lecture on Hu, hich serve as an introduction to the comosition Inori (197), or one or to soloists and orchestra In Dream o a Thousand Keys, the soloist may e interreted as a dancer hile the keyoard can e considered as a to-dimensional lack and hite loor 1 htt://enikiediaorg/iki/symhony_no_5_(mahler)adagietto (accessed Aug 5, 010) 16

25 Tonality o the relude relude dislays oth the areggio atterns and textural quality tyical o late Romantic iano solo orks, though it relects the tonal unctions in Western music ractice during the irst decade o the tentieth century As seen in the harmonic reduction o the relude (igure 10), relude egins ith C9 and ends ith a quintal chord on D, thus roviding a diatonic asis or the movement igure 10 reveals ho the unresolved sevenths and ninths dilute traditional unctions and stretch the harmonic rameork Audiences hear traces o a harmonic rogression that reserves traditional unctions igure 8 Harmonic reduction o the relude The chromatic voice in the ass (mm 1-9, mm -, mm -5) and the last to chords (A-11 and D) might create amiguity ith regard to key in the relude; hoever, the tonality is conirmed y a numer o moments containing a dominant and tonic relationshi in C Maor (V-I) and the return o the oening chord near the end (igure 11) 17

26 igure 9 Harmonic scheme o the relude I the soloist imrovises on the asis o the azz chords (igure 1), he/ she should e reared to create variations on the ritten material ithin the given structure rovided y the orchestra According to azz comoser and drummer Richard DeRosa, music is the reaction to sound and the communication o ideas 1 The solo ianist should e ale to exress himsel or hersel in resonse to the orchestra 1 Richard DeRosa, Concets or Imrovisation Houston ulishing Inc distriuted y Hal Leonard Cororation, 1997, 8 18

27 igure 10 Harmonic reduction o the relude using azz chords 19

28 irst Movement The tightly oven irst movement, hich at aroximately seven minutes is onethird o the total length o the ork, egins in a moderately ast temo and emloys ionacci Tetrachords Musical segments are continuously transormed throughout, hich might recall Mahler s mature orks: Music is governed y the la o eternal evolution, eternal develoment ust as the orld, even in one and the same sot, is alays changing, eternally resh and ne 1 The movement is comrised o our sections: introduction (mm 0-60) - A (mm 61-10) - cadenza (mm11-165) - A (mm ) It is roadly uilt y means o tetrachords (igure 11) derived rom the original ionacci telve-tone ro and exanded on the asis o the themes (igure 17) The use o tetrachords might recall In Memoriam Dylan Thomas (195) y Igor Stravinsky in hich the musical materials are evolved on the asis o the ive tone ro (E-E-C-C-D) rather than utilizing an entire telve-tone ro 1 Natalie auer-lechner, Recollections o Gustav Mahler, ed eter ranklin, trans Dika Nelin (London, 1980), 10 and Roert Morgan, Tentieth-Century Music: A History o Music Style in Modern Euroe and America 1st ed Ne York: WW Norton Comany, Inc, 1991, 0

29 Telve-tone ro C-C-D-E -A-A- G-E-- itch Class Set (0,1,,) (0,1,,5) (0,,,7) Interval Vector Tetrachord TX TY TZ igure 11 ionacci tetrachords itch materials in the introduction, esecially those that are nontraditional, are critical since they are derived rom the ionacci tetrachords Even though cm+gm+gm is added to the last chord (mm 17), the rogression o A-D-G in the ass line (mm 15-17) strongly suggests a suertonic-dominant-tonic relationshi (ii-v-i) in G minor This movement emhasizes exressivity and chromaticism, mainly derived rom the to tetrachords (TX and TY), and is inluenced y Germanic Romanticism such as evidenced in Wagner s musical style: exloration o emotional exression, rich 15 Allen orte, htt://solomonsmusicnet/setheoryhtm%0interval and htt://aytomlincom/music/settheory/helhtml (accessed an, 011) 1

30 chromaticism, and elaorate use o themes The irst and second tetrachords reresent an intensiication o chromaticism igure 1 ionacci tetrachords in Theme 1 Tetrachords are resented oth harmonically and melodically in each instrument, roducing successions in the irst main section (or examle, in mm 0-60 o the oodind and string amily) lutes resent a variation in rhythm in mm - l 1/Vln 1 TY-R1+ TX-R1 /TY-R-0+ TX-R-0 /TY-R1/TX-R /1T-R0 (5, 6,7,8)/ TX-R1/etc l /Vln TY-R1+ TX-R1 /TY-R-0+ TX-R-0 /TY-R1/TX-R /1T-R0 (5, 6,7,8)/TX-R1/ etc igure 1 Alication o ionacci tetrachords TY-R + TX-R (i) and TY-R-0 + TX-R-0 are heard in the oodinds (lute, ooes, clarinet) in the introduction (mm 0-61) TZ-1 (-G-D-A) is resented vertically sounding a G minor chord in m, hich is a hint o the rimary key center in the olloing sections

31 igure 1 ionacci tetrachords in the introduction o the irst movement The division o the introduction (mm 0-61) and exosition (mm 61-10), hich is articulated y D (the initial itch o TY-1 and the dominant note o G minor),

32 eventually orms the harmonic structure o the irst movement The irst eriod (mm 61-8) is used to announce the home key o G minor It is alanced and clearly deined in a structure consisting o antecedent (mm 61-69) and consequent (mm 70-78) hrases, and includes an extension o the materials that leads directly to the next hrase To rimary themes, hich are initially stated y the iano, are develoed throughout the movement iano, oodind, and string instruments exchange signiicant melodic lines o the main themes Hoever, they return ith varied and transormed igures in the recaitulation 1 Theme 1a o the irst movement in iano (mm 61-65) Theme 1 o the irst movement in iano (mm 66-69)

33 Theme x in iano (mm 8-85) Theme y in iano (mm 86-90) 5 Theme y : Retrograde o Theme y in iano (mm 99-10) igure 15 rimary themes in the irst movement The oening hrase (mm 61-69) is reeated an octave higher in mm The exosition (mm 61-10) remains in the tonic G minor throughout the movement ithout modulating; the modulation is let to the soloist in the cadenza The second eriod (mm 8-9) introduces Theme in the iano (mm 8-90) ut also reiterates Theme 1 in the oodind instruments (mm 90-95) The second theme (mm 8-90) in the iano solo is not in a relative key o G minor ( Maor or d minor) ut remains in the original key o G minor The olloing extended section (mm 95-10) continues in G minor, announces 5

34 variations o Motive in the oodinds (mm ), and emhasizes the dominant D as a edal tone (mm 115-1) The end o the second eriod (mm 1-10) is a cadential extension containing ragments o Motive A that occur earlier in ercussion (mm 79-8), in ercussion 1 (mm 1-1), and in the iano (mm 10-1) 1 Motive A in ercussion (mm 79-8) Motive in the oodinds (mm 85-90) igure 16 Motive A and Motive The irst movement (mm 0-10) includes three distinct tonal regions: G minor, A minor, G minor, A-lat minor, and G minor (i-ii-i-ii-i/g) Rather than eing in the dominant o G minor, the cadenza (mm11-165) introduces A minor It egins ith TY-1 transosed a maor second uard (mm 1-1) and echoed y the right hand o the iano, suggesting a move rom G minor to A minor The cadenza lays a role as a contrasting eature o the middle section A ritten-out solo cadenza aears at the end o the exosition, hich evokes the virtuoso cadenza in the irst movement o Samuel arer s iano Concerto, O 8 The cadenza maintains the coloristic sonority 6

35 and excitement o the movement, droing some o the thematic material, orroing materials rom the orchestra (eg, mm 19-1 rom m 85 oodind), and adding ne material or reshness The extension section (mm ) is uilt on materials rom the irst and second eriods (closing theme) The recaitulation (mm ) diers rom the exosition (mm 61-95) in that Theme 1a is resented as a segmented retrograde 16 o Theme 1a (mm 61-65), hich occurs in the let hand o the iano (mm and mm ), ass clarinet, and assoons (mm ) Theme 1a o the right hand o the iano also aears in the assoon and rass instruments (mm ) igure 17 Comarison eteen Theme 1a and Theme 1a in the iano (mm ) 16 Segmented retrograde reers to a retrograde attern on the asis o the measure rather than the hrase 7

36 Theme1, retrograde o Theme1, occurs in the iano (mm 75-80, mm 95-98, mm ) and in the oodinds (mm ) igure 18 Theme1 : Retrograde o Theme Motive C irst aears in the tromones (mm 75-78) and returns in the lutes and clarinets (mm ) igure 19 Motive C (mm 75-78) igure 0 illustrates that the irst movement comrises our main sections: introduction, exosition, cadenza, and recaitulation The develoment is relaced ith a cadenza White note heads indicate the rimary tonal centers (D-G-E-D-G) and the lack note heads indicate the secondary tonal centers igure 0 orm o the irst movement 8

37 As igure illustrates, the irst movement is uilt uon the to rimary thematic ideas, hich are ercussive and have their on distinctive characteristics The irst eriod (mm 61-8) is alanced and clearly deined in hrase structure, consisting o antecedent and consequent hrases, and includes a link that leads directly to the next hrase The second eriod (mm 8-95) constitutes eriod, G minor The last art o the exosition is a cadential extension (m ) The cadenza (mm ) is ased on materials rom the irst eriod (eg, iano in mm 66-67) and the second eriod (eg, oodinds in mm 85-89) The recaitulation (mm ) diers rom the exosition (mm 61-10) in that it does not contain the link at the end o the irst eriod, themex in the second eriod (mm 18-19), and theme 1 in the third eriod (mm 19-01) The second theme aears not only in the iano ut also in oodinds and strings in mm Additionally, the extension (0-17) in the recaitulation is shorter than the one in the exosition Due to the transosition o this material to A minor, the reetition o the exosition material in the recaitulation is more energetic and sets u the return to the tonic (G minor) urthermore, the orchestration o the recurring material is more driving, more dramatic, and more colorul in the recaitulation than in the exosition 9

38 Introduction mm 0-61 (+9+8)+1 Cm/G 17 Exosition eriod 1 mm 61-8 Theme 1 Antecedent mm (a5+) Gm Consequent mm (a5+ ) Gm/D Link mm 79-8 () eriod Theme mm 8-90 (x+y5) Gm Theme 1 mm (+ ) Gm9/ Theme 1 mm ( +y 5)+ Gm Extension mm ( ) Gm Cadenza mm Modulation M u rom m1-165 in iano Am Recaitulation mm eriod 1 mm Theme 1 (a+) Antecedent mm (a 5+ ) Gm Theme 1 a mm = Theme a mm Theme mm = Theme mm Consequent mm (a 5+ ) Gm/D 17 azz chords 0

39 Theme 1a mm = Theme 1a mm 70-7 (iano and assoon) = (iano) eriod Theme 1 mm = Theme 1 mm (assoon : LH) =(iano) Theme y mm = Theme y mm86-90 (oodind, strings and iano) = iano Theme 1 ++ mm = mm Ski mm Theme y mm = mm99-10 Am Extension mm = mm (a minor) igure 1 itch reerences in the irst movement mm 0-17 = mm Gm 1

40 Second Movement a Inluences The second movement, inluenced y Anton Weern and Olivier Messiaen, relects the stylistic traits o Weern s telve-tone music ith a relatively simle surace rhythm and transarent texture It is clearly divided into three arts (AA ) and characterized y itch sets derived rom a telve-tone ro, all o hich recall the Second Viennese School comosers orks, articularly those o Weern As as reviously discussed, the original telve-tone ro is constructed on the asis o the ionacci series Hoever, the rime orm o the ro is not exclusively exloited, since segments derived rom the ros such as trichords, tetrachords, and hexachords are oten used In contrast ith Schoenerg s concetion o the ro in thematic terms, here the tone ro is roken u into smaller segments; as Anton Weern states the telve-note ro is, as a rule, not a theme the ro ensures unity 18 Every gesture is ased on one note, airs o notes, trichords, tetrachords, and hexachords derived rom the ionacci telve-tone series, artitioned eteen the soloist and the orchestra These segments o the ro are oten searated rom each other y rests or y dierences in instrumentation, dynamics, rhythm, and articulation Similar to Weern s earlier orks, a ointillistic aroach to texture is alied to the irst section o the movement Unlike the traditional Second Viennese (Schoenergian) telve-tone method, hoever, here the original ro is used in a 18 Roert Morgan, Tentieth-Century Music: A History o Music Style in Modern Euroe and America 1st ed Ne York: WW Norton, 1991, 06

41 reer and less systematic manner The second movement resents various colorul eects y assigning a certain ro or a tetrachord to instruments o similar color, giving clarity to the direction o color chords orm and Themes The second movement is tightly structured and egins in a slo temo creating a sense o timelessness through long stretches o silence, esecially in the eginning o the movement Most o its content is ased on to rimary themes and our asic motives derived rom the ionacci telve-tone matrix that occurs throughout The irst section (mm 18-1) o the movement resents the irst ragment o Motive I (igure ) in the har (m 1) Motive I consists o entachords (--D-E in oodinds and C in strings) in mm - and Motive II, hich immediately ollos in the ooe, introduces chromaticism (E-E-D) The notes o Motive III all symmetrically in rhythm The recurrences o the our-note alling motive (Motive I- x:erect 5th+y:dimished 7th) are heard in lute 1 in mm -6, and echoed at the original itch level y the lute amily and clarinets, mm9- One o the rincial motives, Motive I, occurs a erect ourth loer ith slight intervallic alterations in violin I and viola (mm 9-1), and rhythmic augmentation o Motive III in nonretrogradale rhythm occurs in ooe (mm 66-69) Some materials, derived rom the canonic igure o Theme, aear ith various melodic and rhythmic modiications in iano and orchestra (mm 8-65)

42 a Theme 1 in lute (mm 8-) Theme in xylohone (mm 8-9) c Motive I d Motive II

43 e Motive III Motive IV g Motive V h Motive VI (Variation o Motive III) igure Motives in the second movement Theme I, hich consists o Motive III lus Motive IV (to hexachords), egins in the oodinds (m 8) The irst hexachord (a) o Motive III is 5

44 canonically imitated y ooes and assoon 1 in mm 6-9 and is resented in retrograde y the oodind instruments (iccolo, lute, clarinet) at the original itch level in non-retrogradale rhythm in mm 5-59 The second section (mm -6) introduces the irst note o Motive V in the iano (m ) and Theme in the xylohone (m 8) A to-voiced canon ith Motive III is distriuted in the oodind instruments, violin II, and viola (mm 8-), olloed y Motive IV (lute in mm 0-) Motive III and Motive IV are reeated in non-retrogradale rhythm and retrograde o the motives in mm 5-59 (igure ) igure Theme I and retrograde o Theme I (mm 5-59) The closing section (mm 6-76) egins ith a rhythmic variation o Motive V in the iano The note C, as the irst itch o the telve-tone ro, serves as the itch center 6

45 in the doule ass (mm 18-75) The retrograde orm o the comlete original telve-tone ro aears at the end o the movement: R1 (0-11) o Theme I, hich is modiied in lute 1, lute, clarinet 1, clarinet (R1-0-10), and iano (R1-11) This grou o itches contains all telve itches o the ro (igure 6) igure The comlete telve-tone ro in the second movement (mm 71-76) igure 5 clearly indicates the segments and a articular collection o sonorities in the entire second movement Each ox contains the signiicant recurrences o rimary themes, the our motives, modiications, and ragments resented linearly in each instrument 7

46 mm 18-7 Motive I: R-11 (1-) in lute1 and ass clarinet R-11 (1-) in iccolo, Cl1 R-11 (-) in l R-11 (1-) in Har Motive II:I-9 (0-) in O, sn 1-0 (1-) Timani R-11 (0) Strings -0 (-5) in iano R-0 (-7) in Virahone, Crotales, Har, iano -11 (0-1) in Trumet mm 8- Motive III: R-1 (1-6) in iccolo, lute1, Ooe1, Cl1 Motive IV: R-0 (7-1) in lute1, Ooe R-11 (11-1) in Trumet R-11 (10) in Har Motive V: -0 (-7) in iano Motive VI: R-10 (0-5) in Violin R-10 (0-) in Violin1 mm -9 Retrograde o Motive I: -8 (8-11) Motive III:R-1(1-6) in Ooe1, assoon1 R-7 (= -R-0) in assoon -0 (-7) in iano R-0 (5-8) in iano and Har mm (-7) in lute1, Clarinet1, assoon, Trumet1, Tua, iano -0 (1-6): Retrograde o Theme I in lute and Ooe in mm 6-0 (-6) R-0 (8-11) -0 (-6) in Xylohone and Marima -0 (-) in Trumet R-0 (-7) in assoon, Trumet1, Tua mm 5-61 Motive III: R-1 (1-6) in lute1, Ooe -1 (6-11) in iccolo, lute1, Ooe1, Clarinet1 R-11 (1-) in Crotales, Violin, Viola R-11 (1-) in Virahone, Crotales, Har -0 (-6) in ass Clarinet, assoon1, iano, Trumet1-0 (-6) in Tromone1-, Tua 8

47 -0 (-7) R-0 (5-8) in Xylohone R-0 (7-8) in Trumet, Tromone1-0 (-6) R-0(8-11) -0 (-6) in Trumets1- mm 6-70 R-0 (5-8) l 1, Oo, asscl R-0 (-7) icc, O1, Cl1, sn1, iano -0 (0-), R-0 (5-8) l 1, Retrograde o Motive III: -0 (-6)+-1 (6-11) O -11 (9-11) iano R-10 (0-) rom Motive IV iccolo, Har mm R-1 (0-11): Theme I (modiied) l1, Cl1+iano R-1 (0-1) iano igure 5 Signiicant recurrences o the themes and modiications c ionacci Numer roortions in the Second Movement The sectional divisions are articulated y the retrograde o the ionacci series: The second movement is eats in duration (58 measures o /), hich is 55+ ars, the same duration as the irst itch o the ionacci telvetone ro C in the doule ass (mm 18-76) The strings duration is ased on the ionacci series 19 or examle, the irst violin is eats long in mm 18-6 and viola 55 eats long in mm 18-1, etc (igure 6) 19 All eat units discussed in this section ill e in quarter note values 9

48 Quarter-note eats Measure eats (measure) Violin (1-7) 1 (51-5) 1 (58-61) Violin (1-7) 1 (-6) Viola (-6) Cello 1 1 (to)+ (ottom)=55 (18-)+(-61) (6-71) Cello Doule ass +1 (to)=55 (ottom= retrograde o ) (18-61)+(6-76) (18-61) igure 6 Alication o ionacci series to strings in the second movement A rhythm ased on the ionacci series in retrograde is alied to izzicato strings in mm 6-76 (igure 7) igure 7 Examle o retrograde rhythm o ionacci series (mm 71-76) 0

49 Third Movement The introduction o the third movement is an exloration o minimalist music 0 here the ionacci series is alied to the numer o itches in the solo iano art (igure 0) The unolding o time in this movement dislays dramatic intent, a develomental goal, and a clear direction, hich is more closely related to ohn Adams aroach to minimalism than to Steve Reich s hase comosition or attern accumulation 1 The rondo sections (mm 7-1) o the third movement are clearly inluenced y iano concertos y éla artók ( ), Igor Stravinsky ( ), and Henry Coell ( ) that exloit various characteristics o the iano as a ercussion instrument, emhasizes ercussion in the orchestra, and ends ith high energy and vigorous excitement articularly, the three iano concertos (196, 19, 195) y artók inluence this third movement, as evidenced y the use o driving rhythm, dissonance, and olk elements (as one o the Korean Traditional Rhythmic Cycles, Chinyango is utilized in the second section, mm 7-5) 0 htt://enikiediaorg/iki/minimalist_music (accessed Novemer 11, 010) 1 Roert Morgan, 5 1

50

51 igure 8 ionacci numers in the iano art (mm 79-16) a Thematic and Motivic Ideas Whereas musical segments oten recur and are invarialy transormed through the rocess o variation that revails in the irst and second movements, each section has its on individual theme or motive in the third movement: sections are articulated ith distinctive thematic materials that are not modiied throughout the movement The irst entrance o a continuous linear statement egins on C, hich serves as a edal oint until is introduced in the strings (m 90) igure 1 shos the oening measures o each theme: Theme 1 and Theme dislay a high level o lyricism Theme (mm 7-) is derived rom

52 one o the Korean Traditional Rhythmic Cycles, Chinyango, and occurs to more times in the iano (mm -5) Theme, hich is derived rom Motive D in ercussion (mm 79-8) in the irst movement, has a motoric rhythmic quality Theme 5 is more sel-contained and has a deinite cadential goal 1 Theme 1 in cello (mm 97-07) Theme derived rom Chinyango rhythmic cycle in the iano (mm 7-) Theme in oodinds (mm 59-68) Theme in ooes (mm 7-7)

53 5 Theme 5 in lute (mm 77-79) igure 9 Themes in the third movement orm: Rondo The third movement is in rondo orm, giving the concerto a more dramatic eeling y alternating the main theme ith ne themes and recalling the earlier use o this orm in the Classical era Hoever, the rondo orm in this movement (A--A-C-D-E-A-E) is an altered version o the traditional model (A--A-C-A-D- A) In addition, the coda (mm 99-01) might recall the ritornello, hich as the aroque redecessor to the rondo, since Theme 5 is layed y the entire orchestra in unison (tutti) Moreover, Korean traditional olk material (Chinyango Rhythmic Cycle) is included here, hich is consistent ith the act that many classical rondos eature music o a olk character c itch Structure The oening remains in the tonic (G minor) throughout until the second theme occurs in the second eriod (mm 7-7) The very irst chord, a C Don Michael Randel, The Ne Harvard Dictioanry o Music, 717 5

54 maor 9 th chord, might dilute the sense o a key center ut as the leading tone to G (m 8) suggests a clear tonality eriod illustrates signiicant characteristics o the ne key, A lat minor, hich is a key ar removed rom the original key o G minor The modulation is let to the iano soloist, ho resents the second theme ith the Chinyango Rhythmic Cycle in the second section rom G minor to A lat minor ithout any rearation, ut y chromatic modulation in mm 7-68 G minor returns in the third eriod (mm 8-68) and is sustained throughout the rest o the movement The climax is unctuated y the tutti section toard the end o the iece Introduction mm 77-9 gm eriod 1 mm 9- gm Theme 1 mm (VC) Link mm -6 eriod mm 7-7 Am Modulation m u rom mm7-7 Theme mm 7- () Chinyango Rhythmic Cycle Theme 1 (Var) mm 6-7 (Vln) Am eriod mm 8-68 gm Theme mm (oodinds) Theme 1 mm (Tn) eriod mm Theme mm 7-7 (, O) rom irst Movt Theme 5 mm (l,o) Theme 1 mm (l1, l, Strings) gm Coda mm 99-1 gm Theme 5 mm 99-1 igure 0 Structure o the third movement 6

55 Chater Conclusion: Synthesis, Relection, and Relevance to uture roects In Dream o a Thousand Keys, I have endeavored to lierate mysel rom traditional Western music y orroing rom a variety o sources The concerto is a mixture o disarate musical styles, including reerences to my on Korean heritage The structural use o ionacci series, characteristic rhythmic cycles o Korean traditional music, azz inluences, and otional interretations on the art o the conductor and ianist all contriute to the distinctive identity o the ork As may e evident in the theatrical comonent o the relude to Dream o a Thousand Keys, I have a continuing interest in other ields outside o music, such as theatre, dance, and multimedia, as ell as ilm, art, and comuter technology These are areas o interest to me or uture collaorative roects In the near uture, I lan to create several transcritions o the original score to Dream o a Thousand Keys, including versions or ind ensemle, or azz and, and or string ensemle This ill not only allo me to urther exlore the relationshi eteen the iano and varied ensemle tyes, ut ill rovide a greater numer o erormance oortunities or the ork As a comoser ho is interested in comining music ith theatrical comonents and technology, I elieve that my continued research ill lead me in ne directions, alloing me to urther exand my comositional language and to exlore a diversity o musical orms and aroaches in my uture orks I elieve 7

56 it is imortant as an artist to challenge onesel ith such roects in ursuit o develoing a distinctive musical voice 8

57 iliograhy Coell, Henry Ne Musical Resources, the ress Syndicate o the University o Camridge, Ne York, Australia Coyright Alred A Kno, Inc, 190 DeRosa, Richard Concets or Imrovisation Houston ulishing Inc distriuted y Hal Leonard Cororation, 1997 Everett, Yayoi Uno and Lau, rederick, Music Syncretism in Isang Yun s Gasa rom Locating East Asia in Western Art Music, Middleton, Connecticut, Wesleyan University ress, 00, 175 Kramer, onathan The ionacci Series in Tentieth-Century Music, ournal o Music Theory, Vol 17, No 1 (Sring, 197), , 197 Morgan, Roert Tentieth-Century Music: A History o Music Style in Modern Euroe and America 1st ed Ne York: WW Norton Comany, Inc 1991 Morgan, Roert Anthology o Tentieth-Century Music: 1st ed Ne York: WW Norton Comany, Inc 199 Randel, Don Michael The Ne Harvard Dictionary o Music, Camridge: elkna Harvard, 1986 Rosen, Charles The Classical Style: Haydn, Mozart, eethoven, Exanded edition Ne York, London: WW Norton Comany, 1997 Sennett, Rochelle Arican American Comosers and the iano Concerto, University o Illinois at Urana-Chamaign, Urana, Illinois, 008 Stein, Leon Structure ad Style: The Study and Analysis o Musical orms, Evanston, Illinois, Summy-irchard Comany, 196 Song, ang Song Korean Music: Historical and other Asects, Seoul, South Korea, imoondang ulishing Comany, 000 Veinus, Araham The Concerto, Ne York, Dover ulications, Inc, 196 9

58 Reerences Antokoletz, Elliott Tentieth-Century Music, Engleood Clis, Ne ersey, rentice Hall Inc, A Simon Schuster Comany, 199 rindle, Reginald Smith The Ne Music, The Avant-garde since 195, Second Edition, Oxord Ne York, Oxord University ress, 1987 Cheng, Ruy Rachmanino the comoser-ianist: Asects o ianism in His iano Concerto No in D minor, Thesis (DMA), University o Caliornia, Los Angeles, 18 ages, 009 Childs, arney Schartz, Elliott Contemorary Comosers on Contemorary Music, ulished in Canada y Holt, Rinehart and Winston o Canada, 1967 Chung, Mia The Contemorary iano Concerto: A lend o Old and Ne Treatments as Seen in Works y eter Lieerson, oan Toer, and Ellen Zilich : DMA, erormance, uilliard School, 1991 Coe, H David Ne Direction in Music, Miami University, Oxord, Ohio, Duuque, Ioa, WM C ron Comany ulishers, 1976 Dallin, Leon Techniques o Tentieth-Century Comosition, Second edition, urman, alo E An analysis o Alerto Ginastera's iano Concerto No 1 (1961); Dialogues: or to ercussion soloists and orchestra, WM C ron Comany ulishers, 1987 Garst, Marilyn M The Early Tentieth-Century iano Concerto as ormulated y Stravinsky and Schoenerg hd, Musicology, Michigan State University, 57, 197 Grau, Irene Rosenerg Comositional Techniques Emloyed in the irst Movement o Elliott Carter's iano Concerto, Imrint 197 hd, Musicology, University o Kentucky, 1985 Kiry, E Music or iano, oreord y Maurice Hinson ortland, OR: Amadeus ress, 1995 Hinson, Maurice Guide to the ianist's Reertoire: loomington, IN: Indiana University ress, 000 Hinson, Maurice Music or iano and Orchestra: an annotated guide, loomington, Indiana University ress, 199 Hinson, Maurice The ianist's Dictionary: loomington, IN: Indiana University ress, 00 50

59 Hinson, Maurice The ianist's Reerence Guide: Los Angeles, CA: Alred u Co,1987 Loanova, Marina Musical Style and Genre: History and Modernity, Australia, Canada, rance, Germany, India, aan, Luxemourg, Malaysia, The Netherlands, Russia, Singaore, Sitzerland, Translated y Kater Cook, Harood Academic ulishers, 000 Machlis, oseh Introduction to Contemorary Music, Ne York: WW Norton Comany, Inc 1961 Meyer, ohn Arthur The Solo iano Concerto in the Tentieth Century hd, Music, University o Western Australia, 5, 197 Nog, Lok Modern Chinese iano Comosition and Its Role in Western Classical Music [electronic resource]: A study o Huang An-Lun's iano Concerto No in C minor, O 57, 006 Norris, eremy The Russian iano Concerto, loomington, Indiana University ress, 199 Schartz, Elliott Godrey, Daniel Music since 195: Issues, Materials, and Literature, Schirmer ooks, An Imrint o Macmillan ulishing Comany, 199 Stone, Kurt Music Notation in the Tentieth Century Ne York: W W Norton Comany, 1980 Yang, Christine An Analytical Study o Karamanov s iano Concerto No, Ave Maria, University North Texas,

60 Online Resources Colgrass, Michael htt://michaelcolgrasscom/music_reviesh (accessed Novemer 11, 010) Davies, eter Maxell htt://chesternovellocom/deaultasxtaid=1state_905= comoserid_905=100 ( 1) Eclecticism, htt://enikiediaorg/iki/eclecticism_in_art (accessed une 1, 010) orte, Allen htt://solomonsmusicnet/setheoryhtm%0interval and htt://aytomlincom/music/settheory/helhtml (accessed Novemer 11, 010) Minimalist Music, htt://enikiediaorg/iki/minimalist_music (accessed Novemer 11, 010) iano Concerto, htt://enikiediaorg/iki/iano_concerto_no_1_(tchaikovsky) (accessed Novemer 11, 010) Rondo, htt://enikiediaorg/iki/rondo (accessed anuary 1, 011) Symhony No 5 y Mahler, htt://enikiediaorg/iki/symhony_no_5_(mahler)adagietto (accessed Aug 5, 010) 5

61 Music Scores Adams, ohn Century Rolls or iano and Orchestra (1997): Hendon Muisc, oosey Hakes distriuted y Hal Leonard Cororation 7777 W luemound Rd Oox 1819 Milaukee, WI 51 ooseycom and halleonardcom, 1997 Alcalay, Luna Touches or iano and Orchestra (198): Edition HH Ltd 68 West End Launton Oxon ox6 5DG England admin@editionnhhcouk, 006 artók, éla Erstes Konzert ür Klavier und Orchester (196): Universal Edition, Coyright reneed 195 y oosey Hakes, Inc, Ne York Universal Edition, 197 ritten, enamin iano Concerto in D O 1 No 1: Winthro Rogers Edition oosey Hakes London, Ne York, Sydney, Toronto, aris, Cae Ton, 195 Cage, ohn Concerto or reared iano and Chamer Orchestra: Henmar ress Inc C eters Cororation, Ne York London rankurt, 1960 Carter, Elliott iano Concerto 1965: Associated Music ulishers, Inc/ Ne York, 1965 (T)cherenin, Alexander iano Concerto No 6 O 99: M elaie, oosey Hakes London, aris, onn, ohannesurg, Sydney, Toronto, Ne York rinted in Germany, 1965 Corigliano, ohn Concerto or iano and Orchestra: G Shirmer, Inc Ne York, NY, 1971 innissy, Michael iano Concerto No 1 (1975 rev 198): Edition Modern E 1780 München, 1976 Gershin, George Rhasody in lue: Warner ros ulications Inc Commemorative acsimile Edition, 1987 Grieg, Edvard Concerto, iano, orchestra, o 16, A minor (1868) : Edin Kalmus Co, INC ulishers o music oca Raton, lorida, 1957 Griiths, aul Modern Music: The avant garde since 195, London, Toronto, Melourne, MDent Sons Ltd, 1981 Hindemith, aul Klaviermusik mit Orchester o (19): Mainz London Madrid Ne York aris rag Tokyo Toronto 00 Schott Music International GmH Co KG, Mainz tinted in Germany 5

62 schott-musiccom, 00 Hoat, Roy Deussy in roortion, A Musical Analysis, Camridge University ress, Camridge, London, Ne York,, Ne Rochelle, Melourne, Sydney, 198 Honegger, Arthur Concertino (19): y Editions Salaert, aris Ne York (rinted in aris),196 Khachaturian, Aram iano Concerto in D-lat (196): Leeds Music Cororation, Radio City and Ne York, 197 Lachenmann, Helmut Ausklang, Concerto or iano ith Orchestra: artitur- iliothek 5168, 1986 Ligeti, György iano Concerto (1988): Scott, Mainz London Ne York aris Tokyo Schott s Söhne, Mainz, 1986 rinted in Germany, 1986 Messiaen, Olivier Oiseaux Exotiques or iano solo and Orchestra: Universal Edition (London) Ltd, London Universal Edition UE 1 15, 1959 Messiaen, Olivier Réveil des Oiseaux or iano solo and Orchestra: Durand C, Editeurus-aris lace de la Madeleine, United Music ulisher Ltd, Londres Elkan-Vogel Co, hiladelhia, A(USA), 1966 Messiaen, Olivier Set Haïkaï or iano solo and Orchestra: Alhonse Leduc-aris 175, rue Saint-Honoré rinted in rance, 1966 Milhaud, Darius Le Carnaval D aix antaisie our iano et Orchstre: Heugel Au Menestrel, Rue Vivienne, aris, Heugel, 195 oulenc, rancis Concerto or iano and orchestra: Rouart Lerolle Vente exclusive: Editions Salaert Rue Chaucat, aris Tous droits reseves our tous ays, 191 rokoiev, Sergey iano Concerto, G minor, O 16: reitko Hartel (A Gutheil), Coyright assigned 197 to oosey Hakes Inc Ne York, USA rinted in England,195 rokoiev, Sergey iano Concerto No, in C Maor, O 6: oosey Hakes London Ne York erlin Sydney,1990 Rachmanino, Sergei Concertos, iano, orchestra, No 1, O 1, minor: Dover ulications, Inc, Ne York, 1990 Stravinsky, Igor Movements or iano and Orchestra: oosey Hakes, 5

63 Music ulisher Limited London aris onn ohannesurg Sydney Toronto Ne York,1960 Wuorinen, Charles Concerto or iano and orchestra, No : C eters Cororation, Ne York London rankurt,198 55

64 ART II DREAM O A THOUSAND KEYS 56

65 Dream o a Thousand Keys (A Concerto or iano and Orchestra) Duration: ca 0 min Comletion Date: eruary 10, 011 rogram Note Dream o a Thousand Keys is a tenty-minute concerto or iano and orchestra, hich consists o a relude and our movements resenting multile dimensional meanings as suggested y the ord Key According to Wester s Ne World College Dictionary, the term Key includes more than ten meanings such as tone or itch, one o the levers that sets in motion the laying mechanism, something that aords a means o access, a means o clariying a rolem, and others The ionacci series determines not only the structure o the ork on a macro level ut also the orm o each movement and the sections on the micro level With regard to harmonic structure, the our movements are uilt on the modes rom telve-tone ros derived rom the ionacci series erormance Direction in the relude A conductor may decide hether he or she includes the relude ith soloist or orchestra only When a conductor and a solo ianist lay the relude ith the iano solo, the conductor may also decide hether the soloist lays the ritten art, or chooses to imrovise on the asis o the given chords in the solo art I a conductor reers using orchestra only, the ianist does not sound any notes, ut may mime the ritten notes at the iano or may ait until the end o the introduction o the irst movement When the soloist mimes or the solo art is not involved, the relude 57