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Piano Concerto

University of British Columbia

The Piano Concerto represents an experiment in form in which a set of five continuous variations are partitioned into three movements, corresponding to the listener's expectations of a traditional tripartite concerto. Through the analysis of phrase structure, pitch and motivic variation, links amongst the variations are uncovered and developmental strategies discussed in an attempt to clarify the processes of musical creation. By proceeding in analysis from the highest levels of organization downwards, structural trends emerge which lend consistency to the work— low level patterns often reflect larger structural forces. In addition, a variety of symmetrical constructs are extant in the form of consistently used pitch collections (e.g., [0 1 4 9], a triad with both M3 and m3, subset of [0 1 4 5 8]), phrase organization (as in the second variation and the second movement) and the grouping of the variations themselves. Seeded initially as a recorded improvisation by the composer (which became the Aria), the Concerto displays formal tension as areas of rigid organization (Variations 1, 3, and 5) alternate with more freely organized regions (Variations 2 and 4), a dichotomy which springs from the Theme itself. The listener is taken on a linear journey through the telescoping development of material which maintains more or less explicit connections to the Theme throughout In general, the further into the work the listener progresses, the less literal the Thematic references become until a brief recapitulation appears at the end. The aesthetic which drives this work is based on a fundamental adherence to traditional procedures, tempered with unique approaches to form. This aesthetic and certain cohabiting non-traditional aspects of the Concerto will be discussed in the analysis that follows.

Thesis/Dissertation

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2009-06-03

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http://hdl.handle.net/2429/8661

Music

University of British Columbia

UBCV

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