UC San DiegoUC San Diego Electronic Theses and Dissertations

TitleDreams of a Young Piano

Permalinkhttps://escholarship.org/uc/item/91w0m8d4

AuthorWu, Yiheng Yvonne

Publication Date2016-01-01

Supplemental Materialhttps://escholarship.org/uc/item/91w0m8d4#supplemental Peer reviewed|Thesis/dissertation

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UNIVERSITY OF CALIFORNIA, SAN DIEGO

Dreams of a Young Piano

A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy

in

Music

by

Yiheng Yvonne Wu

Committee in charge:

Professor Katharina Rosenberger, Chair Professor Anthony Burr Professor Mark Dresser Professor Rand Steiger Professor Shahrokh Yadegari

2016

Copyright

Yiheng Yvonne Wu, 2016

All rights reserved.

iii

The Dissertation of Yiheng Yvonne Wu is approved, and it is acceptable in quality and

form for publication on microfilm and electronically:

Chair

University of California, San Diego

2016

iv

TABLE OF CONTENTS

Signature Page ................................................................................................................ iii

Table of Contents ............................................................................................................ iv

List of Supplemental Sound Recordings ...........................................................................v

List of Examples ............................................................................................................. vi

Vita ................................................................................................................................. vii

Abstract of the Dissertation .......................................................................................... xiv

Introduction .......................................................................................................................1

Dreams of a Young Piano ...............................................................................................22

Performance Notes ..............................................................................................23

I ...........................................................................................................................27

II ..........................................................................................................................65

Bibliography .................................................................................................................100

v

LIST OF SUPPLEMENTAL SOUND RECORDINGS Dreams of a Young Piano, movement 1 Dreams of a Young Piano, movement 2

vi

LIST OF EXAMPLES Example 1. Arnold Schoenberg: from Sechs kleine Klavierstücke, Op. 19, III. Sehr langsame, mm.1-2. ..................................................................................3 Example 2. Maurice Ravel: from Pavane pour une infant défunte, mm.67-68. ...............5 Example 3. Last Nine Chords, Movement 1, Rehearsal P to end. Chord number and pitch content performed by piano. .......................................15

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VITA

EDUCATION

University of California, San Diego Ph.D., Music, 2016 M.A., Music, 2011 Composition studies: Katharina Rosenberger (advisor), Philippe Manoury, Chinary Ung, Lei Liang

Yale University B.A., Music, cum laude, with distinction, 2003 Composition studies: Kathryn Alexander, John Halle, Matthew Suttor

Additional Composition Studies: Richard Carrick (New York City), Steven Takasugi (San Diego), Sophia Serghi (College of William & Mary) Summer Festivals: Chaya Czernowin (Schloss Solitude, Germany), Sydney Hodkinson (Aspen Music School), Michael Czajkowski (Aspen Music School), Henry Kucharzyk (Arraymusic Young Composers Workshop), Marilyn Shrude (Interlochen Arts Camp) Masterclasses: Brian Ferneyhough, Beat Furrer, Christian Wolff Piano Studies: Cynthia Stauffer (San Diego), Anna Grinberg (Yale), Steven Buck (Yale),

Naomi Niskala (Yale), Sara Okamoto (New York City), Frank Weinstock (Aspen Music School), Stephen Perry (Interlochen Arts Camp), Christine Williams (Williamsburg, VA)

TEACHING EXPERIENCE

University of California, San Diego, Department of Music Instructor of Record Music Theory and Practice I: Species Counterpoint Fall 2015 Music Theory and Practice III: Classical Form and Analysis Spring 2014

Introduction to Composition Fall 2012

Teaching Assistant Sight-Singing and Dictation (2nd-year Aural Skills) 2011-2012, Spring 2016 Keyboard Skills Winter & Spring 2014 Species Counterpoint Fall 2013 History of Music in Western Culture I, II, and III Winter & Spring 2013, 2010-2011 Basic Musicianship (1st-year Aural Skills) 2009-2010

Self-Employment, San Diego, CA, Brooklyn, NY 2003-2015 Private Piano Instructor My Music Garden, Jersey City, NJ 2006-2009 Private Piano Instructor Family Fine Arts Academy, Chula Vista, CA 2004-2005 Private Piano Instructor

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COMMISSIONS & COMPETITIONS

5th Mivos/Kanter String Quartet Composition Prize, Mivos Quartet 2015 Utterance to be performed in fall 2016, New York, NY Rachel Beetz, flute 2015 commission, Relay/Replay for flute and tape Palimpsest, University of California, San Diego 2014 commission, premiere of Dreams of a Young Piano, first movement Ossia Composition Prize, Honorable Mention, Stills; edges.2014 Rachel Beetz, flute, and Dustin Donahue, percussion 2014 commission, Duo for Flute and Percussion La Jolla Symphony with Steven Schick, conductor, La Jolla, California 2013

Thomas Nee Commission, premiere of Transcriptions of Place Jessica Aszodi, soprano, and Bonnie Whiting, percussion 2012 commission, Four Poems of Li-Young Lee Formosa Composition Competition, Taipei, Taiwan 2005 Third Place Winner; First Place, Audience Vote; performance of “and then one day...” Arraymusic, Young Composers Workshop, Toronto, Ontario 2004 commission and one-month residency, world premiere of Edgy Quartet Timothy Dwight Chamber Orchestra, Yale University 2003

commission, premiere of “and then one day…” ACADEMIC HONORS & AWARDS

Edward Bouchet Graduate Honor Society, Inducted Member 2015 Erickson Award for Excellence in Graduate Research Exhibited though a Publishable Paper, UC San Diego, Dept. of Music 2013 University of California Institute for Research in the Arts (UCIRA) Mini-Grant 2013 Frieda Daum Urey Endowed Fellowship, UC San Diego 2012-2013 TA Excellence Award for Superior Teaching Performance, UC San Diego, Dept. of Music 2011 Yale Friends of Music grant 2003 John E. Linck III and Alanne Linck Summer Fellowship, Yale University 2002 Robert A. Welch Summer Fellowship, Yale University 2002 Abraham Beekman Cox Prize in Composition, Yale Department of Music 2002 Robert C. Byrd Virginia Scholarship 1999-2003 CONFERENCE PAPERS & TALKS

Midwest Graduate Music Consortium, Annual Meeting, University of Chicago Mar 2016 “Ligeti’s ‘Cooled Expressionism': Text, Body, and Shifting Modes of Musical Affect” Focus on Composition, UC San Diego Jan 2016 “Character-Spaces and Disjunct Transformations” Composer’s Forum, Stanford University Apr 2014 “Recent Work: Threads vs. Fragmentation”

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Focus, composers’ forum, UC San Diego Apr 2014 “Recent Work: Experiments in Notation” Ligeti Symposium & Festival, Florida State University Oct 2013

“Ligeti’s ‘Cooled Expressionism’: Watching Music from a Distance” Pre-Concert Talk with Steven Schick, Paul Dresher, and Yvonne Wu, La Jolla Symphony Mar 2013 Sommerakademie, Composition Masterclass, Schloss Solitude, Aug 2007 “A Little Too Much: Listening through Noise” Intercollegiate Taiwanese American Student Association East Coast Conference, Yale University, “Careers in the Arts,” panelist Feb 2004 GUEST LECTURES AND JURY PANELS

jury panel for Undergraduate Composition Juries, UC San Diego Jun 2015 jury panel for Undergraduate Composition Juries, UC San Diego Jun 2014 “Chaya Czernowin’s Maim and new modes of listening,” UC San Diego May 2014 “Verdi’s operas,” UC San Diego Apr 2014 “Transcriptions of Place: my approaches to orchestral writing,” UC San Diego Jun 2013 jury panel for Undergraduate Composition Juries, UC San Diego Jun 2013 “Karlheinz Stockhausen,” UC San Diego Jun 2012 “Beethoven’s 9th Symphony,” UC San Diego Mar 2011 “16th-Century Italian Madrigals,” UC San Diego Nov 2010 “Reaching Home with Music: A young emigrant’s exploration of Taiwan’s political past,” Taiwanese American Foundation of San Diego Culture & History Lecture Series May 2006 UNIVERSITY SERVICE AND CONCERT CURATION

Focus on Composition Committee, UC San Diego, Department of Music 2011-2012 Elected committee member

First Monday Concert Series, UC San Diego, Department of Music 2011-2012 Curator

Graduate Student Association, UC San Diego 2010 Representative for Department of Music

Yale College Composers Group, Yale University 2000-2003 Co-Founder, Co-Director, Events Organizer SERVICE AND LEADERSHIP POSITIONS

Department of Music Graduate Student Advocacy 2014 Co-Leader

Lincoln High School Arts Project, San Diego, CA 2010-2011 Co-Leader UCSD Graduate Student Campus Climate Coalition 2010 Member

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StandUp for Kids, San Diego, CA 2004-2006 Director of Development, Leadership Committee WYSE (Women & Youth Supporting Each Other), New Haven, CT 2002 Mentor ALPHA, New Haven, CT 1999-2000 Tutor, Mentor Strong Elementary School, New Haven, CT 1999-2000 Classroom tutor Yale Taiwanese American Society 2000 Leadership Committee Member DISCOGRAPHY

New Music from San Diego, Carrier Records 2009 Utterance for string quartet, performed by Ensemble SurPlus PRESS

review of Relay/Replay: Paul Muller, “WasteLAnd Concert in Los Angeles – Study for Eurydice,” www.sequenza21.com, November 8, 2015.

profile article: James Chute, “For Wu, Music is Challenge of a Lifetime,” San Diego

Tribune, March 8, 2013.

on Utterance: Jonathan Gill, “New Music from San Diego, Holland Times, April 2011.

on Utterance: Robert Gable, “aworks ordered list :: what i’m really listening to #1,” blog: http://rgable.typepad.com/aworks/aworks-what-im-really-listening-to/, November 15, 2009.

Ariana Falk, “Rhapsody, Symphony, Originality in Blue,” Yale Herald, November 3, 2000.

profile article: Kari Richardson, “Student Leader Will Lead Christmas Parade,” Daily Press, December 5, 1998

PROFESSIONAL MEMBERSHIPS

Society of Music Theory

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WORK LIST & PERFORMANCES for ORCHESTRA & CHAMBER ORCHESTRA

Dreams of a Young Piano 2014/2016 for solo piano, two percussionists, and ensemble, 20’ May 2016: premiere of complete work (two movements) Nov 2014: first movement, commission and premiere of by Palimpsest University of California, San Diego, Conrad Prebys Concert Hall

Transcriptions of Place 2012 for orchestra, 10’ Mar 2013: Thomas Nee Commission from La Jolla Symphony; Steven Schick, conductor, La Jolla, California

“and then one day…”, 2003 for two string quartets, double bass, winds, and narrator, 18’ Mar 2005: 2004 Formosa Composition Competition, Finalists Concert Taipei, Taiwan Apr 2003: commissioned and premiered by Timothy Dwight Chamber Players, Mark Seto, conductor, Yale University

Flux for string orchestra, 3’ 1999 Aug 1999: reading at Aspen Music Festival for CHAMBER ENSEMBLE

Duo for Flute and Percussion 2014 for flute and percussion, 16’ May 2014: performed in Flux Aeterna – Inaugural Gala I, San Diego, CA Mar 2014: commissioned & premiered by Rachel Beetz, flute, and Dustin Donahue, percussion, UC San Diego, Conrad Prebys Music Center, Experimental Theater

Four Poems of Li-Young Lee 2012 for soprano and speaking percussionist, 14’ Jan 2013: commissioned & premiered by Jessica Aszodi, soprano, and Bonnie Whiting, percussion UC San Diego, Conrad Prebys Music Center, Recital Hall

Stills; edges. Five small pieces and some number of interludes and moments 2010/rev.2011 for flute/alto fl, clarinet in Bb/bass cl, violin, viola, cello, piano, and percussion, 16’ Dec 2011: performed at UC San Diego Conrad Prebys Concert Hall

To unnamed things 2009 for soprano, double bass and percussion, 9’ Dec 2009: premiered by Tiffany DuMouchelle, soprano, Bonnie Whiting, percussion, and Scott Worthington, double bass, UC San Diego, Conrad Prebys Concert Hall

Agua remota 2008 for clarinet in Bb, viola, and double bass, 10’

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Utterance for string quartet, 15’ 2006/07 Fall 2016: to be performed by MIVOS Quartet, New York City, NY 2009: released by Carrier Records on New Music from San Diego Aug 2007: premiered by Ensemble SurPlus, Schloss Solitude, Stuttgart, Germany

Edgy Quartet 2004 for clarinet, trumpet, double bass, percussion, 10’ May 2004: commissioned and premiered by Arraymusic, Toronto Canada

Undulations 2002 for flute/picc, English horn, bassoon, trombone, harp, viola, two percussionists, 20’

"I alone am expressionless," 2000 for string quartet, 8’

Duo for Cello and Clarinet, 10’ 1999 Dec 1999: premiered by Yves Dharamraj, cello, and Daniel Friberg, clarinet New Music Marathon Concert, Yale University

Duet in Magenta 1999 for tenor saxophone and piano, 4’ May 2016: performed by Samuel Dunscombe, bass clarinet, and Todd Moellenberg, piano, UC San Diego Feb 1999: premiered by Niels Bijl, saxophone, and Hans-Erik Dijkstra, piano, College of William & Mary

A Stack of Five Translucent Colored Stencils 1999 for flute, clarinet, violin, cello, and piano, 11’ Aug 1999: premiered at Aspen Music Festival Apr 1999: reading by Continuum, Joel Sachs, conducting College of William & Mary for SOLO INSTRUMENTS

Untitled for solo harpsichord (in progress) 2017 commission by Justin Murphy-Mancini

Relay/Replay for solo flute 2015 commission by Rachel Beetz Nov 2015: performed at UC San Diego, Conrad Prebys Concert Hall Oct 2015: performed at wasteLAnd Concert Series, ArtShare, Los Angeles, CA Oct 2015: premiered at betalevel, Los Angeles, CA

Carvings, solo for flute and voice 13’ 2010/Rev.2011 May 2016: performed by Michael Matsuno, UC San Diego Mar 2016: performed by Michael Matsuno, University at Buffalo Feb 2011: commissioned & premiered by Carla Rees UC San Diego, Conrad Prebys Experimental Theater

Étude for Cello: bow as breath, 7’ 2010 Jan 2011: recorded by Katinka Kleijn of International Contemporary Ensemble (ICE)

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Piano Suite for Joanna 2001 for the young musician, 10’ May 2002: premiered by Joanna Wu New Music Marathon Concert 2002, Yale University, Silliman College

Solo for Oboe, 9’ 1999 Dec 1999: premiered by Gary West New Music Marathon Concert 1999, Yale University

Solo for Cello, 4’ 1999 Jul 1999: premiered by Tomoko Fujita, Aspen Music Festival

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ABSTRACT OF THE DISSERTATION

Dreams of a Young Piano

by

Yiheng Yvonne Wu

Doctor of Philosophy in Music

University of California, San Diego, 2016

Professor Katharina Rosenberger, Chair

Scored for solo piano along with two percussionists and a nine-piece, mixed

ensemble, Dreams of a Young Piano is a playful exploration of the piano’s identity. If

an anthropomorphized piano had youthful ambitions, they might be to transcend its

limitations and to imagine itself with the powers and properties of various other

instruments. The work entertains this pipe dream, enacting a metaphorical extension of

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the piano in two primary ways: mechanically—shedding its confines as a percussive

instrument with fixed tuning—and acoustically—acquiring a larger instrumental body

that extends across the entire stage by enlisting the forces of the surrounding ensemble.

The first movement introduces the fantasy instrument, while the second continues to

explore its sonic possibilities. Formally, the work demonstrates “disjunct

transformation,” where a linear process (e.g. the transformation of the piano into the

meta-piano) is segmented and those segments, re-ordered, abbreviated, and amplified.

In the first movement, disruptions to the implied linear transformation seem to

themselves exercise influence over the disrupted content.

INTRODUCTION

The first movement of Dreams of a Young Piano was written when Aleck Karis

invited me to compose a “piano concerto” for Palimpsest at UC San Diego to be

programmed along with Lei Liang’s Harp Concerto and Donald Martino’s Triple

Concerto. While I knew I’d avoid the term “concerto” and allusions to the historical

form, I was immediately intrigued by the problem of writing for the piano in a chamber

music setting. As a pianist, I find that the solo piano is a colorful and versatile

instrument, but next to other instruments, it feels more limited. How would I handle the

88 fixed pitches in equal temperament when I so often utilize glissandi and microtonal

fingerings in other instruments? Also, next to the inherently more lyrical strings, winds,

and brass, the piano often sounds percussive to me. I knew that this piece should not

only grapple with these issues but feature them.

Scored for solo piano along with two percussionists and a nine-piece mixed

ensemble, Dreams of a Young Piano is a playful exploration of the piano’s identity. If

an anthropomorphized piano had youthful ambitions, they might be to transcend its

limitations and to imagine itself with the powers and properties of various other

instruments. The two-movement work entertains this pipe dream, enacting a

metaphorical extension of the piano in two primary ways: mechanically—shedding its

confines as a percussive instrument with fixed tuning—and acoustically—acquiring a

larger instrumental body that extends across the entire stage by enlisting the forces of

the surrounding ensemble.

1

I. Motivations: the Primary Goals of Piano Technique

Pianists of the Western classical tradition are fortunate to inherit a large body of

solo repertoire. Though essential to the oeuvres of Mozart and Haydn, it wasn’t until the

middle of the nineteenth century that the piano completed its physical evolution into the

robust, dynamic, and timbrally versatile instrument it is today. For me, nineteenth-

century literature from late Beethoven to Ravel epitomizes the expressive capabilities of

the instrument, and from the study of this music, pianists acquire two missions that

inform every sound they make—to turn the hammered instrument into a singing, lyrical

one; and to voice the chords and textures in ways that are timbrally nuanced and can

evoke various colors, often inspired by other instruments. In a sense, the pianist is

constantly working to turn the piano into something else, to play it despite itself.

The endeavor for lyricism requires not only sensitive touch and great technique

but also some smoke and mirrors. Example 1, from Schoenberg’s Sechs kleine

Klavierstücke, Op. 19, demonstrates an extreme case of how pianists must sometimes

“fake it” when it comes to the dynamic capabilities of a hammered instrument. The four

hairpin crescendos in the right hand part of measure 1 are simply absurd. Crescendos

within single attacks are impossible on the piano, whose sound can only decay after

each hammer strike. If one forgives Schonberg’s illogical request, his intention seems

simple enough: make one crescendo through the length of measure 1. It seems to follow

that the pianist should simply make each note louder than the preceding one. In practice,

however, this does not sound musically convincing. With the tempo sehr langsame, the

piano’s resonance decays significantly even after a quarter beat and despite the forte

2

dynamic. For continuity, pianists usually follow a long note with a slightly softer

dynamic so as to match (or at least compensate for) the long note’s decay. To play the

Example 1. Arnold Schoenberg: from Sechs kleine Klavierstücke, Op. 19, III. Sehr langsame, mm.1-2.

right hand G on beat 2 here even as loudly as the chord on beat 1 would sound abrupt

and melodically disjunct; to play it more loudly would sound worse. Often, the smoke

and mirrors, is provided by an intervening left hand, which can help create the sensation

that the right hand is making a crescendo even when it is not. Here, however, the left

hand must remain pianissimo, which cannot contribute much to the right hand’s forte.

The decay problem is even worse with the longer note C in the right hand—a dotted

quarter note to be followed by a louder B-flat. It is basically impossible to play the B-

flat louder without sounding unmusical, and from a brief survey of recordings,

performers tend to leave that crescendo out.

Despite the logistical issues, a performer will find a reasonable solution,

utilizing careful voicing, borrowing some resonance from the left, perhaps adding some

rubato to maintain energy on the long notes, and more. Yet as Schoenberg went out of

his way to write four separate crescendos, he intentionally underscores the piano’s

expressive limitations and makes a point of asking the piano to be some other

3

instrument.

While not involving smoke and mirrors, the pianist’s second endeavor, for

nuanced voicing and timbre, requires complex muscular agility that is not without

mystery. A simple fact of piano playing: as for any percussion instrument, the pianist

can only control the attack of each note and not its sustain. A more complex twist: how

one sustains and releases a note retroactively informs how one made the attack.

Therefore, the nuanced muscular changes during the attack, the sustain, and the release

all influence the tone quality. See Example 2, from Ravel’s Pavane pour une infante

défunte. To give the right hand octaves in this passage a bell-like quality, the attack

requires arm weight applied broadly for richness, slowly for the soft dynamic, but with

firm fingertips for clarity. For the eighth-note octaves of m.67, the player integrates the

drop, attack, and release into one rounded gesture. Much like striking a real bell—the

striker must come away so as not to impede the resonance. To push the key forcefully

or to ram into the bottom of the key produces a harsher, more piercing sound without

breadth. The quarter-note octaves of m.68 are more difficult than the eighth-note

octaves, as the performer must keep the keys depressed while still “releasing” the arm

weight to allow for the best resonance. In other words, even though the hammer hit has

already occurred, how the player holds the keys still matters.

In m.70, the accented octaves across the two hands signals a change of color.

“Horns!” I tell my student. How is this timbre achieved? Impossible to explain—the

student must learn to use her ears. It’s something about a change in the focus of the

attack, the speed of the accent, the voicing between the two members of the octave, the

4

shaping of the upward gesture. A bar later, the 3-octave accented notes should perhaps

evoke basses, low winds, as well as brass. Such color changes are a great source of

excitement for me as a pianist—a single instrument becomes an orchestra.

I begin my discussion with piano technique to demonstrate that, aside from

learning notes, the pianist spends a great deal of energy working to transform the piano

into something else. For this reason, the process of practicing can be immensely

satisfying. Yet, just as a fantasy for the instrument, what if the piano did become a

different instrument? What if it could shed some of its physical limitations and extend

its capabilities, literally gaining the powers of strings, winds, and brass? What would

the piano then do as an even larger, more colorful instrument? And so Dreams of a

Young Piano was born.

II. Influences and Affinities

Example 2. Maurice Ravel: from Pavane pour une infant défunte, mm.67-68.

5

The composer with perhaps the most influence on my musical thinking is Gérard

Grisey, whose Périodes from Les espaces acoustiques likely changed the course of my

compositional voice when I first heard it halfway through college. Even fifteen years

later, as I re-read Grisey’s writings, I realize how many of his ideas I have incorporated,

though there are, of course, important deviations.

Grisey’s music revolves around the core concept that sound and time are

essentially linked. A “sound object” cannot exist outside of time; the unfolding of time

is required for the understanding of a sound. He writes, “Object and process are

analogous. The sound object is only a process which as been contracted, the process

nothing more than a dilated sound object.”1 For Grisey, then, the fullest, most intimate

investigation of a sound requires time to be slowed down. He says, “As a result of the

extreme expansion of time, we arrive at the very heart of sound whose material is

revealed by the effect of an inordinate magnification.”2 Here Grisey implies that one

metaphorical knob controls two variables: time and proximity—expanded time allows

for a closer view of a sound, and contracted time pushes the listener away from the

sound’s detail. While my own approach to sound is not so firmly correlated with the

scaling of time, and in fact often includes the intentional uncoupling of these variables

(see my discussion on form below), some corollaries to this concept are important in my

music.

First, as implied by his term “sound object,” sound, for Grisey, is something

1 Gérard Grisey, “Tempus ex Machina: A composer’s reflection on musical time,”

Contemporary Music Review 2, no. 1 (1987): 268-269, DOI: 10.1080/07494468708567060. 2 Gérard Grisey, “Did You Say Spectral?,” Contemporary Music Review 19, part 3 (2000): 1,

DOI: 10.1080/07494460000640311.

6

with physical properties—it can be viewed, opened, unfurled, seen up close and far

away to reveal different levels of detail.3 It is an object to be investigated.

Moreover, the sound object possesses an “internal dynamism.” He writes, “It is

impossible to think of sounds as defined objects which are mutually interchangeable.

They strike me rather as force fields given direction in time. These forces – I purposely

use this word and not the word form – are infinitely mobile and fluctuating; they are

alive like cells, with a birth, life and death, and above all tend towards a continual

transformation of their own energy. There exists no sound which is static, immobile….”

The composer’s exploration of the sound is the endeavor to investigate “the energy that

inhabits it.” 4

I am equally motivated by this notion that a composer can “create” a sound

entity that then has a life of its own; it becomes my task to understand it. If I were a

novelist, I would create characters and then write various scenes and situations not for

the novel but for a deeper understanding of the characters’ potentials. As a composer, I

find that after I introduce (create) a few initial sound characters, the majority of my

process is the attempt to “listen” to them, uncovering the layers of their sonic and

behavioral potential, trying to hear what else they need to do.

I also feel an affinity for Grisey’s idea of sounds having an “internal

dynamism.” For me, it is not only that sounds consist of inner forces but more

importantly that those energies are shared across all of my sound objects. As I listen to

3 Though Pierre Schaeffer coined the term “sound object,” and since there are likely as many

definitions as there are composers, I am limiting the term here to the ways that Grisey uses it. 4 Grisey, “Tempus ex Machina,” 268.

7

the sounds, they are fundamentally (though not always apparently) connected to a

larger, ongoing vibration. In a sense, all instrumental resonance has the ability to tap

into this great vibration, and indeed, the emergence of the meta-piano in Dreams

attempts to tap into this. Two of my favorite poets, to whom “listening” is also essential

to their processes, echo a similar idea. Li-Young Lee refers to a “hum” that pervades the

universe and which his poems attempt to capture.5 W.S. Merwin, in his poem

“Utterance” implies a moment of creative vision as hearing “the echo of everything that

has ever been spoken.”6

My tendency towards an abstract, existential oneness is countered by the surface

eccentricities of my compositional materials. Like Chaya Czernowin, who has described

her music as comprising “living creatures” that “want to do certain things,” I also

ascribe behaviors to my materials.7 In the opening section, for example, the piano’s

behavior is agitated and angular, with a fast, somewhat erratic energy. The ensemble, in

contrast, at Rehearsals A, D, and E of the first movement, is staid, even cold, a behavior

that returns in the second movement at Rehearsal F.

While Czernowin is explicitly interested in unknown creatures, one could say

that sounds are often personified in my music in a more human way, which resonates

with Elliott Carter’s approach.8 In the score of his Quintet for Piano and Winds, he

describes a concept that applies to much of his music. “To heighten the dialectic

5 Li-Young Lee, Breaking the Alabaster Jar: Conversations with Li-Young Lee (Rochester, NY: BOA Editions, 2006), 89-90.

6 W.S. Merwin, Migration (Port Townsend, WA: Copper Canyon Press, 2005), 279. 7 Chaya Czernowin, phone interview by Yvonne Wu, July 23, 2013. 8 David Weininger, “Chaya Czernowin wants listeners to feel the effect of her music,” Boston

Globe, Oct. 24, 2013, http://www.bostonglobe.com/arts/music/2013/10/24/composer-chaya-czernowin- has-compositions-upcoming-callithumpian-concert/GvELtfcFaFOwCqcdhskj0J/story.html.

8

interplay between the instruments,” he assigns to each a unique “musical vocabulary”

and “its own type of expressivity and character.” But the characters are not merely

juxtaposed; the interactions among the characters imply a social, human context. He

continues, “The interplay of commentary, answer, humorous denial, ironic, supportive

or self-effacing were considered as part of the musical thought and expression.”9 Carter

goes further, bringing the musician behind the instrument into the picture. “I regard my

scores as scenarios, auditory scenarios, for performers to act out with their instruments,

dramatizing the players as individuals and participants in the ensemble.”10

Social dynamics and implied attitudes that certain characters might have for

others, though not forefronted in Dreams, are relevant to its interpretation. Attending to

the relative friction between or synergetic connectedness among characters informs my

compositional choices, formally as well as locally. Again, Rehearsal A and D of

movement 1 are the piano’s first attempts to provoke the ensemble. Both of these

instances are relatively violent, rousing gestures, with big accented chords that follow a

flurry of energy. In contrast, at Rehearsal E, the piano’s first espressivo line leads into

the first extended resonant fragments in the Glockenspiel, crotales, and vibraphone.

Here the ensemble is stirred again, but it is by the sweet entreaties of the vibrating

metals.

II. Form and the Meta-Piano

As sectional divisions in Dreams are unambiguous, I will avoid a didactic

9 Elliott Carter, Quintet for Piano and Winds (New York: Boosey & Hawkes, 1994). 10 David Schiff, The Music of Elliott Carter, 2nd ed. (Ithaca: Cornell University Press, 1998), 26.

9

description of the work’s formal layout and instead discuss aspects of the form that are

most meaningful to me.

In a nutshell, the first movement shows the piano’s transformation, from a

maximally percussive instrument in the opening—where it exchanges short, dry attacks

with the two percussion—to the “meta-piano,” which has the entire ensemble on stage

resonating as one instrumental body. The second movement continues to explore the

capabilities of this new instrument with expanded resources.

The first movement was initially written as a stand-alone work, but after its

premiere, I felt it had an introductory function and was compelled to write its

continuation. I set out to write the second movement with the restriction that I would

only take materials from the first and expand them. Despite that limitation, my

brainstorm list of avenues for development immediately grew to an unwieldy length,

and I seemed to have two options—either write an hour-long, many-movement work in

an attempt to exhaust all the possibilities and address all of the meta-piano’s potential,

or take the more modest approach with the realization that a comprehensive

demonstration of the meta-piano concept is neither interesting nor necessary. I chose the

latter.

Disjunct Transformation

While the concept of the piano’s transformation suggests a simple narrative

from condition A to condition B, I avoid a linear progression connecting the two.

Instead, a key formal concept in Dreams, and in much of my work, is what I call

10

Disjunct, or Non-Linear, Transformation. This is especially applicable when, based on

the materials in the music, the listener can easily imagine a formal scheme that moves

gradually from condition A to B. What is presented instead is a sectionalized form,

which might include A and B but where the middle might be cut out, where an

insignificant portion of the progression might be magnified, where the segments of that

re-ordered progression vary in length. In short, a linear progression has a sort of Cubist

technique applied to it (we see two eyes on one side of the face, a disproportionate nose,

etc.). This manipulation of a simple formal progression is, I hope, more engaging for the

listener as he/she asks, “How did we get here?” and compares the non-linear journey to

their own imagination of the simpler one. As the composer, it allows me to dwell on

certain aspects of the sounds and materials that, to my ear, require more musical time

and attention.

One example of disjunct transformation: the “progression” from piano to meta-

piano actually happens twice in the first movement. The meta-piano is attained by

Rehearsal H (m.84-96), after which the piece begins again: Reh. J through M (mm.97-

123) is a transformation of the opening piano/percussion trio material, now with the

ensemble, and the second half culminates with even bigger chords from the meta-piano.

The replaying of the entire progression is like a retelling of a story, with each version

revealing different details and relationships among the characters.

A second example: after the first, long ensemble chord, at Reh. B (m.20) and

forward, the piano/percussion trio seem to continue the material from the opening, but

here, their instrumentation has suddenly changed. Their sounds are more diminished, as

11

the marimba and vibraphone have been exchanged for woods and Almglocken (still

wood and metal), and the piano’s sprawling figuration is now confined to the top octave

of the piano, where the strings are dampened by a sock stuffed with rice. The opening

material is now heard through a metaphorical filter.

In movement 2, the non-linear techniques continue and even include passages

with multiple materials sounding simultaneously. Reh. F through H (mm.27-47)

consists of three layers. The percussion duo leads the section, presenting small waves of

light, scurrying material. They maintain a relatively consistent periodicity, with local

phrase fragments lasting two to six beats and larger phrase groups lasting 7 to 10 bars.

The piano, bringing with it individuals from Groups 2 and 3, appears sporadically, with

irregular phrase-lengths, and with pauses of two to four bars at a time. Its textures,

though, seem to come out of the percussion duo. In contrast, the two flutes and one

clarinet of Group 1 articulate both a different time scale and harmonic world. The

microtonal tunings of partials along with their long sustains refer back to the first

movement’s opening ensemble chords. More importantly, their slow articulation of

pitches suggests that a slower unfolding of time is occurring alongside the other

activity. The periodicity of their appearances is the sloweset of the three layers.

Another passage of multiple layers occurs at the very end of movement 2, Reh.

R to the end (m.131-end). Here, Groups 1 and 2 are independent from the piano, which

is supported somewhat by the strings (the bass highlights some important piano

pitches). In contrast to Reh. F, the two layers here utilize more similar tempi and

periodicities. Still, they almost never align (except at m.135), and the particularities of

12

their rhythms and speeds keep them metrically detached from one another.

Sectionalization and Shifting Perspectives

As discussed above, Grisey couples the “zoom” level on a sound material with

temporal scale, while I intentionally decouple them and try to present my materials in

varying proportions and levels of zoom. The sectional breaks in my music allow for

shifts in the listener’s “perspective” on a given sound. That two highly contrasting

characters are presented side by side at the beginning of movement 1 is significant. The

opening piano/percussion trio section is 38 seconds long (in the accompanying

performance), while the first ensemble chord lasts about 30 seconds. The latter’s nearly

static nature and lack of textural detail suggest a distant view of a “sound object.” In

contrast, but in almost the same time frame, the opening trio presents too much detail—

we feel its high energy, but its busyness seems to intentionally evade our aural gaze.

Disruption and “Transformation by Disruption”

The sectionalization in my work often happens as an unexpected disruption or is

the border between two contrasting materials. The listener is suddenly pulled out of a

particular soundscape or musical scenario, and at first, he/she might interpret the cuts as

simply part of a formal scheme. However, in retrospect, the experience of the whole

piece could suggest that the disruptions themselves have an impact on the content of the

sections that were disrupted. For example, from the opening of the first movement

through Reh. F (m.57), the ensemble disrupts the piano/percussion trio three times (Reh.

A, D, and E). After the first disruption, as discussed above, the abrupt change of

13

instrumentation in the piano/percussion trio at Reh. B seems to be “unexplained” by the

music—it simply happens. However, after the second disruption, the trio sounds its first

long notes (the vibraphone in m.39 is a pivotal point), and when the trio continues to

extend its sounds after the third disruption, the piece begins to suggest that, despite the

apparent lack of interaction, the ensemble chords might be exerting influence on the

trio. In the other direction, though the ensemble seems aloof in these three first

appearances, it shifts at Reh. G (mm.71-77) and then fuses into the meta-piano, which

makes its first emergence at Reh. H (mm.84-96). From the vantage point of Reh. H, the

preceding process exemplifies “transformations by disruption,” where the shifts

themselves instilled some sort of change that were not immediately apparent. The

characters were moved by the “experiences” of having been disrupted. Here again, a

personification of the materials applies.

III. Highlights of the Harmonic Design

In very broad terms, the harmonic plan of the piece is also subjected to a non-

linear model. Some salient sections, though, suggest a simple harmonic trajectory. The

opening piano/percussion trio is the most densely chromatic; the accented chords

emphasize minor-second clusters. In contrast, the ending of the first movement

emphasizes consonant intervals and even grows increasingly triadic. The middle, such

as the piano “chorale” at Reh. G, bridges the extremes. Chromaticism still pervades, but

here the clusters have opened up to minor 7ths and major 9ths (with fewer major 7ths

and minor 9ths), and the open voicing incorporates more consonant intervals. In this

way, the beginning, middle, and end outline one large-scale motion, from highly

14

chromatic to highly triadic.

The ending of the first movement, however, moves through a similar

transformation—in a shorter amount of time and rather linearly. From Reh. P (m.144) to

the end of the movement, the piano sounds its final nine chords, each presented as a

rhythmically flexible arpeggio. See Example 3. Chord 1 is a fully chromatic chord,

which would have Forte number 8-1—all consecutive semitones from B up to F#.

Chord 9 is very triadic, containing triads of b minor, c# minor, A major, D major, E

major, g# diminished. The ensemble, grouped in their three trios, highlight these triads.

The intervening Chords 2 through 8 see the gradual transformation between these

extremes.

In the second movement, much of the pitch content is derived from—and, in

certain sections, even limited to—these nine harmonies. The harmonies do not occur in

the same order, though, and when they recur, I use particular subsets to emphasize

Example 3. Last Nine Chords, Movement 1, Rehearsal P to end. Chord number and pitch content performed by piano.

15

distinct harmonic colors.

For the Ad Lib. piano solo near the beginning of movement 2, for example,

almost all pitches are taken from Chord 7 of movement 1’s conclusion. Out of that 8-

pitch group, C and D come a little later and are rarer (m.11 and forward), and E is also a

special note (ending the first two “phrases”, m.9 and m.10). The most frequently used

pitches belong to the bottom of the f# minor scale (F#, G#, A, B, C#). In fact, the only

pitch that does not belong to the f# natural minor collection is C-natural, but since I

most often couple C-natural with D-natural, the dyad provides a color that contrasts

with the f# minor diatonic collection.

Later in the Ad Lib. passage, I introduce pitches outside of Chord 7—A#

appears (m.12), and near the end, D# (m.14, second system). Since the pitch content in

the piano part is tightly controlled here, these added pitches signal a drift in the

harmonic position and indeed accompany more (possible destabilizing) activity from

the ensemble.

The pitches of the high piano tremolos in movement 2 mostly come from Chord

3. This section begins at Reh. H (m.48-59) and continues at Reh J (mm.65-68) (with

intervening material at Reh. I). Though Chord 3 in the context of movement 1 is

relatively chromatic, its reappearance here grows increasingly consonant. By Reh. J, I

feature subsets that contain major 2nds, 4ths, 3rds, and 6ths, giving this section a highly

contrasting harmonic color compared to the rest of the movement.

While I don’t consider this a spectral piece, I have used some basic pitch

16

techniques employed by Gérard Grisey and Tristain Murail but without linking them to

the formal design as either of these composers do. Several appearances of the ensemble

include equal-temperament pitches which act as “fundamentals” for the accompanying

microtonal pitches based on tunings of specific upper partials. In the opening three

ensemble chords in movement 1, I give three different fundamentals at once. The 9-

member ensemble is grouped into three trios so that the players can more readily hear

each other—each trio sounds one fundamental and two of its partials. I make octave

transpositions freely—the fundamental and partials are almost never as far apart from

each other as they should be—but, as my goals were simple, the effect is achieved: to

give the ensemble a different harmonic sound palette compared to the piano while also

creating an “inherent” connection between the two groups—the fundamentals are

always generated by the piano.

IV. Extending the Piano: Some Compositional Considerations

As introduced above, the metaphorical extension of the piano and its

explorations comprise the primary motivations of the work. I expand the piano’s sonic

and mechanical capabilities and extend its physical reach, moving its sounds and

energies around the stage. Most of the ideas here are clear upon hearing the piece;

others provoke questions, discussed below.

The extension of the piano’s metaphorical sonic capabilities:

• Sustained notes can be lengthened even further. • Sustained sounds can swell (any pianist’s dream)! • One “sound” can split into multiple layers and have independent dynamic

17

shapes. • Sounds can take on various timbres. • Sounds take on more harmonic complexity with ensemble’s microtonal

capabilities.

The extension of the piano’s sound in physical space:

• Sounds move from piano via pitch identity or pitch doubling. • Sounds move through the space as energetic waves or bursts.

I owe perhaps the largest debt to Elliott Carter’s Double Concerto, which

features solo harpsichord and piano with chamber ensembles that support each soloist.

Carter carefully assembled the ensembles around each keyboard soloist so as to both

enhance and complement the latter’s timbral features.11 While the Double Concerto

models my concept of a surrounding ensemble that enhances the sounds of a solo piano,

Dreams features the piano’s acquisition of its larger persona as the central issue and not

a circumstantial one. In my work, the listener can engage in ongoing interpretive

questions about the piano’s identity. How does the piano woo the ensemble? Even after

they merge, there are plenty of moments when the piano is just a piano again. The

second movement includes several passages where the ensemble is initially subsumed

in the piano’s sound but seems to eventually overflow, as if to surpass the meta-piano’s

ability to contain it. Indeed, in the conclusion of both movements, the ensemble seems

to overpower the piano, which drops out.

A few passages provide, to my ear, important moments for interpreting the

piano’s shifting relationship with the ensemble.

In movement 1, mm.39-40, the vibraphone chord is passed on to piano, which

11 For example, the harpsichord’s orchestra includes more brass, highlighting its metallic timbre but also boosting its volume: trombone, horn I, trumpet, and flute. As if to help its thin bass, the lower strings are allied with the harpsichord: contrabass and viola.

18

plays the same pitches. Since this is the first such exchange, an ambiguity arises: is it

“one sound” being passed around, or is it two separate

instruments/characters/personalities in agreement? How unified are these bodies at this

moment? I enjoy this tension.

A similar tension occurs at movement 1, Reh. G, mm.71-83—the “chorale” with

the piano and percussion trio. All the pitches in the vibraphone and

Glockenspiel/chimes are drawn from the piano chords (though with octave

transpositions applied freely), but each of the three has a unique, strong melodic line.

Dynamically, the percussion sit just behind the piano, as if in its shadow. Here also, a

friction occurs between the individuality of the part and the unity of the three.

In contrast, in movement 1, m.106: the bass clarinet and piano play together in a

rare instance of exact unison. This moment suggests a deeper integration of the

ensemble with the piano. The latter now has new “arms,” with more timbral potential.

While the categories of piano’s sonic capabilities and its physical reach have

blurred boundaries, attending to the sound in physical space raised an important

question during my compositional process.

As indicated in my performance notes, I specify the spatial arrangement of the

instruments. The piano is centered at the front of the stage, while the percussionists are

in the two rear corners. The antiphonal exchange between the percussionists, with the

piano in the middle, adds to the high energy of the opening and is, happily, audible in

the stereo recording. The large triangle formed by the trio across the performance space

initially acts as a skeleton for what later becomes the body of the meta-piano. The

ensemble, forming a semi-circle around the piano, radiates from the piano’s body, both

19

symbolically and physically increasing its size by several times. The whole stage acts as

the resonating chamber for the meta-piano.

Despite the importance of this stage configuration, the spatial design does not

impact the listener’s experience in the way that it does in pieces like Stockhausen’s

Carré or Gruppen, Xenakis’s Persephassa, or in most of Henry Brant’s works, where

the ensemble creates an immersive experience by encircling the audience. Still, some

simple concepts from these pieces apply to mine. Stockhausen and Xenakis demonstrate

that temporally staggering homogeneous material, especially, with staggered crescendo

and decrescendo, creates the sensation that a sound is physically moving around a

space.12 From Henry Brant, I take his concept called “spill”—if a few spatially

separated instruments play the same pitch, it will seem as if the pitch is coming from the

entire space between them.13

Carter’s Double Concerto, like Dreams, is spatially configured on stage but not

interspersed among the audience, and while spatial issues are not relevant throughout

the entire work, there are notable passages when sounds move very palpably. A single

harmony is tossed back and forth across the two sides of the stage a few times; later, a

long thread of accented notes encircles the stage, accelerating as it goes.

One commonality among most of the above works is that sound not only

“moves” around a space but it does so with high speeds. The most salient moment of

12 see Harley’s discussion. Maria Anna Harley, “Spatially of sound and stream segregation in

twentieth century instrumental music,” Organised Sound 3 (1998). 13 Henry Brant, “Space as an Essential Aspect of Musical Composition,” in Contemporary

Composers on Contemporary Music, ed. Elliott Schartz and Barney Childs (New York: Holt, Reinhart and Winston, 1967), 232.

20

interaction among the three ensembles in Gruppen is the rapid exchange of short

fragments, Xenakis’s Persephassa is a constant state of whirling ecstasy, and Carter’s

most explicit passages of motion also reach high speeds. As discussed earlier about

Dreams, the energetic potential of a sound material is a fundamental aspect of its

conception—the basic impetus of the piece is that the piano attains an energetic groove

with the ensemble, and the latter’s ability to augments its dynamic powers (i.e. the

swells) is one of the biggest prizes. Yet as I found myself in the final climactic passages

of each movement, I wondered, did my interest in activating the listener’s perception of

sound moving in space obligate me to write high-energy music? In other words, “non-

spatial” pieces have pitch doublings all the time, and we don’t think of them as “sound

traveling.” In order to make the point, then, must the exchanges happen fast?

It is difficult to answer this question, since I establish certain behaviors from the

beginning: the piano literally stirs the ensemble through big accented chords. The

repetition of the arpeggio figure at the end of movement 1 reinforces the concept that

the piano continues to rouse its new forces through the breadth of its gesture. Energy,

after all, is a personality trait of the piano, and I listened to its needs.

To counter these high energy passages, the second movement offers some

calmer passages. Two of my favorite passages are the opening of the Ad Lib. section

and the high piano tremolos at Reh. H and J. Here, the piano does—for moments here

and there—fuse with the others. In the relative stillness, they resonate as one body, and

the piano relishes its moment of glory as it has become something else.

21

Dreams of a Young Pianoin two movementsfor solo piano, two percussionists, and ensemble

Yiheng Yvonne Wu2014/2016

22

Dreams of a Young Piano

Performance Notes

General Notes• Score is in C.• Accidentals apply only to the notes they immediately precede, not to the entire measure.• The piece may be performed either as two movements or with movement 1 alone.

InstrumentationSolo Piano (with light preparation as specified below)Percussion 1 Percussion 2

The remaining nine players form the ensemble, divided into three groups of three. Pitch and musical materials are often related among members of the same group. The groups should not be apparent in the seating arrangement—all nine players should be evenly spaced in a semi-circle (see below).

Group 1: Flute in C 1 Flute in C 2 Clarinet in Bb 1Group 2: Clarinet in Bb 2/Bass clarinet Horn in F Trumpet in BbGroup 3: Violin Cello Contrabass

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23

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24

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Cues: The conductor, following the piano solo, cues entrances of the ensemble. From measures 12-14, the conductor gives one cue for each ensemble trio, who then performs their 2 bars independently from the rest. The leader of each trio leads and conducts as necessary.

speed up and slow down, respectively, within given total duration

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25

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p.s.p. poco sul pont. only a small amount of timbral distortion; no pitch distortion

Scr.

m.s.p. 13083�790�4328���3;�-11)(-%8)0=�&)7-()�8,)�&6-(+)��&98�238�32�8,)�&6-(+)��73�8,%8�%�,-+,�()+6))�3*�&38,�timbral and pitch distortion results.

& 43 44 42 44 42 44 42 4463 � � � � � � �

& 44 42 43 44 4370 �œ

œ

œ#œ

��b

poco rit.Glock �

q = ca.76Slightly SlowerG

� 2

Œ

�b

�w

p

œ

‰ Œ Œ

�

& 42 4478 �Slower Still

3

q = ca.69

œ#

-

œ#

-

œ-

molto ritardando . . . . to q = 50

p

œ#- œ

-

F

�Tempo I q = 66H

‰

.

.O

œ

.

.O�

5p

.

.O

œ

J

O

œ

O�F

& 169 44 4587 �(fund. Cb,) �œL œ �

6P

poco

(G,19,-2) œ# œ

R

œ

f

Ó Œ � œ

ok œ

o

6F

sul G (6)

(fund. Cb,) œ

o

œ

o> �o œ

o>

ç çf fp �

& 4492Œ

O

œ

O

œ

O

œ

J

O

œ

.

.O

œ

O

œ

3f P f

(Fund.)I..

O

œ

O

œ

>

O

œ

O

œ

O

œ

>

J

O

œ

>44+1/3ç p ç ç

1/3

p

Œ �œb œ �6

f

(Fund.)

& 85 44 45 4495 œ œ œ

>

J

œ œ

>

œ

3ç PP ç

œ

J

œ œ

>

J

œ

>

3ç ç

2

q = 56J�

& 44 43 44 43 44100‰

¿� ‰ ‰

¿� �¿� ‰

¿� ‰ ¿� �3 5

f

pizz.IV

all strings dampened w/ LH

Œ � .œ-

‰

¿�P F

arco pizz.poco sul tasto IV

Ó

¿�‰¿

��� ¿

��¿

��5

5

IV III IV

¿� ¿� ‰ ¿� Œ Ó

5III

2 �

& 44 43107‰

¿� ¿� ¿� ¿� ‰¿� ‰ ‰

œ#-5 3

F

arco, poco sul pont.

IV III IV Iœ œ �

¿

� �¿� ¿� ‰

¿� ¿�3

IVpizz.

III IV

� ¿

�‰ Œ Ó

II

�K

Œ ‰ .œ

œ

�Ó

ß

IIIIpizz.

�

2

Vln.

<�238),)%(7�-2(-'%8)�8,)�(%14)2-2+�3*�8,)�786-2+7�;-8,�8,)�0)*8�,%2(���378�3*8)2�97)(�;-8,�pizzicato. The string number is given along with the approximate pitch, which should -2(-'%8)�8,)�6)0%8-:)�437-8-32�32�8,)�A2+)6&3%6(�*36�8,)�(%14)2-2+�0)*8�,%2(�

pizz.

26

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444444

4444

444444

4444

Percussion 1Wood

Marimba

Piano

‰ . œ> Œ Œ Jœ> Œ

3∑‰ . œœ# >

Œ Œ jœœ# >

Œ3

œœœœ# ÿ

‰ ≈ œb

œ

œb

œœb

œ œ jœœb

ÿ

Œ ≈œœb

ÿ

‰

7

3

œ œb œ œ

œœbÿ

‰ œ œœ jœœ

œb ÿ

Œ ≈œœœbb ÿ

‰3

q = 66

f

q = 66

f

ßF

œ> Œ Ó

∑œœ# >

Œ Ó

Œ ‰ œb >

œ

œb

œœb

œ œ œb

œœb

œ- œœ

5

Œ ‰ œœb> œœ#

-œ#

œ- œ œœb

3f

F

∑∑∑

œb

œœ#

œn œ œ

œœ#

œœb .ÿœœb .ÿ

6

œœœb .ÿ

œœœbb .ÿ

2/3

2/3

1+2/31+2/31+2/31+2/31+2/3

44444

ã

&

?

&

?

?

444444

44

4444

434343

43

4343

424242

42

4242

444444

44

4444

Perc.1Wood

Vib.

Mrb.

Pno.

4‰ . œ> Œ Ó

∑‰ . œœb

>Œ Ó

Œ ≈œ>

‰ Ó

5

≈ œœ>

‰5

œœœœ# ÿ‰ ‰ . œœœœ# ÿ

‰ œœœœ# ÿ‰

5 3

œœbÿ

‰ ‰ .œœb

ÿ

œœb >

œ œ

œœ# >œ# ‰ ‰

œœbÿ

‰5

7

3

f

Œ œ> Œ

∑Œ œœ# >

Œ

œ ‰ . Œ Œœœ

>

>

‰ .

≈ œœœœ# ÿ‰ ≈ œ

- œ

œœ#- œ#

œœb œb œ œœbn .ÿ≈

5

3

≈œœb

ÿ

‰ ‰ œœœb .ÿ

ŧF

≈ œ> ŒRœ>

5 5∑≈ œœ# >

Œrœœb

>5

5

Œ ≈œ

> ‰

≈ œœ>

‰

Œ ‰ œœbâ

≈5

Œ ‰œœœbb â

≈5f

Dreams of a Young PianoYiheng Yvonne Wu

Score in C

2014/2016I.

N.B.: Accidentals apply only to the notes they immediately precede.

27

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444444

44

4444

424242

42

4242

444444

44

4444

Perc.1Wood

Vib.

Mrb.

Pno.

7Ó " œ> ‰ . œ>

5 5!Ó " œœb

>‰ . œœb

>

5 5

‰ œ>

‰ Œ rœ>5

5

Ó‰ œœ

>‰ Œ R

œœ>5 5

‰œœb

ÿ." " œb

œ

œb

œœb

œ œ

œb œœb

œ œœ œb ‰œœb>

œ#

7 5

Œœ œ œ œ

&

‰œœœbb .ÿ

" œ œœœ œœb œb œ

3&

!!!

!

œ œœb œb œ œb œ " œb œœb " œb œn6

6

œœb œb œ œœbœ œ œ œœ

?F

!Π"

œ# >‰ Ó

Œ " œœ>

‰ Ó

Œ ‰ . œ>

Ó‰ . œœ

>

œœœœ#fl

‰ . Œ œœœbbâ

œ œ œœb " œœœ# .ÿ‰3

œœbfl

‰ . Œ œœœä œ œb œ œ " œ

œnb .

‰

5

ßf

&

?

&

&

?

4545

45

4545

4444

44

4444

Vib.

Mrb.

Pno.

10

.œ# > œ# >Œ Ó

..œœ>

œœ>

Œ Ó

Œ ‰ œ> " Ó

5

‰ œœ>

"5

Œ " œœœbbÿ.

‰ . œœœ

" œ# œœ# ‰ ‰ œœœœ#b .ÿ

œœb5

?&

Œ " œœœÿ.

‰ . œœbœb Œ ‰ œ

œœbb

. "5

6

&

ß ß

Œ ‰ . œœ# >Œ Ó

Œ ‰ . œœ>Œ Ó

!

" œ œb œ œœ# " œœœb . " œœ# œœb œœ œ œœœ#

b .‰

œb œ œœb œ-

œb œœb

œœœb -

52:3 6 5 5

œœœ œ " œ

œb .ÿ"

œb œ œœ# œ œ# " œœœ# .ÿ

‰ . œœ-

3 5 6

?&

?

ß ß

28

&

&

&

&

&

&

&

?

?

&

?

&

&

?

444444

4444444444

444444

44

4444

444444

4444444444

444444

44

4444

Fl. 1

Fl. 2

Bb Cl. 1

Bb Cl. 2

Hn.

Bb Tpt.

Vln.

Vc.

Cb.

Vib.

Mrb.

Pno.

12 !!

!

!!!

!

! &

! &

œ# >Œ ‰ .œ# >

‰ .œ# >

5 5

œœ>

Œ ‰ ..œœ>

‰ . œœ>

5 5

"œ#

>Œ Œ ‰ .

œ#> " Œ r

œ#>

6 55

" œœ>

Œ ‰ . œœ>

" ŒRœœ>6 5 5

‰ œ#

œœ

œœb

œb

œ

œœ

œb œœœbb˘

œ

œb

œb

œœ

œ œb œ

œœ#

œ œœb

œ œ

œœ## œ6 3

63

7

?

" œ œœ "6

œœfl

ßF cresc.

Œ ‰œk

Œ ‰œj

Œ ‰œ

Œ ‰œK

Œ ‰ œ#

Œ ‰ œK

Œ ‰ Oœ

Œ ‰ œL o

Œ ‰œo

Œ ‰œ# >

Œ ‰ œœ>

Œ ‰ œ#>

‰ œœ>

‰œœœ

# >œ

œœbœb

œ œœ œb

œ

‰ œœœ

bb >

7

2/3

2/3RH

ç

1+2/3

1+2/31+2/3

1+2/31+2/31+2/3

1+2/34

44

444

4

l.v.

2/3

2/3

2/3

2/3

1+2/341+2/341+2/341+2/341+2/341+2/341+2/34

(C,13,+41)

(C,9,+4)

(Fund.)

(C#,14,-31)

(Fund.)

(C#,19,-2)

##

#

##

#

#

#

#

ç

ç

con sord.

con sord.

(5)

(9)

sul D

sul D

2/3

2/3

2/3

2/3

2/3

2/3

2/3

2/3

2/3

w

w

w

w

w

w

Ow

wo

wo

!!

!

www

www

hold until sound fades completely

q = 50

q = 50

imminently emerging,but never quite there

A

A

w

w

w

w

w+

w

Ow

wo

wo

!!

!

!!

poco cresc.,imperceptibly

poco cresc.,imperceptibly

poco cresc.,imperceptibly

poco cresc.,imperceptibly

poco cresc.,imperceptibly

poco cresc.,imperceptibly

poco cresc.,imperceptibly

poco cresc.,imperceptibly

poco cresc.,imperceptibly

29

&

&

&

&

&

&

&

&

&

ã

ã

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?

454545

454545

4545

454545

4545

444444

444444

4444

444444

4444

424242

424242

4242

424242

4242

444444

444444

4444

444444

4444

Fl. 1

Fl. 2

Bb Cl. 1

Bb Cl. 2

Hn.

Bb Tpt.

Vln.

Vc.

Cb.

Perc.1Wood

Perc.2Alm/Wd

Pno.

16 w

w

w

w

w

w+

Ow

wo

wo

!

!

!!

gradually brighten

w

w

w

w

w

w

Ow

wo

wo

!

!

!!

gradually brighten

gradually brighten

w

w

w

w

w

w

Ow

wo

wo

!

!

!!

ord.

ord.

ord.

gradually brighten

˙ .˙

˙ .˙

˙ .˙

˙ .˙

˙ .˙

˙ .˙

O ..O

o .o

o .o

!

!

!!

poco sul pont

poco sul pont + very slight scratch tone

poco sul pont + very slight scratch tone

œ‰ . Œ Ó

œ‰ . Œ Ó

œ‰ . Œ Ó

œ‰ . Œ Ó

œ ‰ . Œ Ó

œ ‰ . Œ Ó

Oœ ‰ . Œ Ó

œo ‰ . Œ Ó ?

œo‰ . Œ Ó ?

Jœœ> Œ " œ œ œ œ œœ> " ..œœ>

3

‰œœ>

Π" ..

œœ>

Œ3

œœœ

# .‰ . Œ Ó

œœœ

bb .ÿ

‰ . Œ ÓF

Leggiero

P

P

Tempo I

Tempo I

q = 66

q = 66Leggiero

Q

Leggiero

p

p

p

p

p

p

p

p

p

cresc. and brightening seem to cut off before arriving at "peak"

to Bass Clarinet

B

B

!!

!

!!!

!

!

!

Œ ‰ œ œ œ œ> œ œ œ œ œ> œ " œ œ> œ ‰3 5 6

œœ>

Œ Œ ‰ œ œ

!!

!!

!

!!!

!

!

!

‰ . œ œ> ‰ œ œ œ>

5 5

œ>

œ œ ‰ œ œ>

œ œ œ œ "6

!!

Q

30

ã

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?

4444

4444

4242

4242

8383

8383

4444

4444

Perc.1Wood

Perc.2Alm/Wd

Pno.

$

$

23œœ> " œ œ œ " œœ> œœ>

5

" ..

œœ>

‰ . œ œ œ ‰..

œœ> " œ

œ>

6 5 5

!

!

" ..œœ> ‰ . œ œ>

5

" ..

œœ>

œ œ œ ‰5

!

!

œ œ œ ‰ ‰3

‰ œ œ œ œ>

œ œ

3 3

! &

! &

top octave dampened

!!

œ œ œ œ# œn œ Œ œ œ# œ‰ œ Œ

66

Œ œœb ˘ " œœ¯ œ œ Œ œ œ œ œ# œ

6 5

P

ã

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&

&

42

42

4242

44

44

4444

Perc.1Wood

Perc.2Alm/Wd

Pno.

($)

($)

27Œ " œ œ œ œ œ œ œ œ œ ‰ œ œ œ œ œ "

6 5 6 5

!œ- œœ. " œ- œ# Œ Ó

3

Ó Œ ‰ œ œ# œ

3

p P

Ó ‰ . œ œ œ œ> ‰ . œ

5 6

!œ- œ œ œ œ œ œ œ œ œ œ# œ œ œ œb œb œ œ œ Œ

6 6 7

!

œ œ œ œ " Œ5

‰ œ œ>

œ " œ œ œ3

!

! ?

œœ> " œ œ œ œ œœ> " œœ>

5

œœ>

Œœœ> " œ

œ>

5

" œœ˘

‰ Œ " œœ˘

‰ Œ

" œœ#

#fl

‰ Œ " œœ

#fl

‰ Œ

loco

loco

QF

F

F

f

f

C

ã

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&

?

4343

4343

Perc.1Wood

Perc.2Alm/Wd

Pno.

$$

31Ó ‰ . œ œ œ œ œ œ œ œ œ œ.

6 5

!

Œ Rœ œ œ œb œb œ œ œ# œ œ

‰ Œ5 5

6

œœ##˘

œœ## œœ## ‰ Œ Œœœ#

fl

œœ# œœ#

p Ff

p F

œ> œ œ ‰ . Œ Œ ‰ . œ œ œ

6 6

Œ ‰ . œ œ œ> œ œ œ ‰ Œ5

" œ œ œ# œ œ œŒ

‰œ#

œ# œn

œ#œ

œ œ#

œ‰

56 6

6

Ó Œ

locosecco, quasi legato

Q

Pp F

F

..œœ> œœ> Œ Œ

.

.œœ> œ

œ>

Œ Œ

" œœ#ä " " œ œ œ# œ œœ œœ.

5

" œœ#ä " Œ Œ

F

F

F P F

31

&

&

&

&

&

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ã

&

?

ã

&

&

?

4848484848484848484848

48

48

4444444444444444444444

44

44

Fl. 1

Bb Cl. 1

B. Cl.

Hn.

Vln.

Vc.

Perc.1Wood

Perc.2Alm/Wd

Vib.

Mrb.

Pno.

34 !

!

!!

!

!Œ Œ " œ œ œ œ

!!

‰ . œ œ œ œ œ ‰ . Œ5 6

!

Œ

‰

œ#œ

œ

œ

œœ#

œ ‰ .66

?

Œ

loco

Q

P

p F

!

!

!!

!

!" ..œœ> Œ J

œœ> Œ3

!!

" ..

œœ>

Œ Œ

!

œœ#fl

‰ œœfl

Œ ‰œœœ##ä

œœ#fl

‰œœb

fl

Œ ‰œâ

f

f

f

!

!

!!

!

! &

œœ> Œ Œ

!!

œœ>

Œ Œ

!

" œœœ##.

œ# œ œœb

œ

œbœ

œbœ

œ

œ# œ#œ œ#

œ

56 6

&

"œ.ÿ

‰ .5

cresc.ßP

con sord.

‰œk .˙ w

3

‰œK .˙ w

3

‰œk .˙ w

3

‰ œk .˙ w3

‰œK .˙ w

3

‰œk .˙ w

3

!!!!!

œœ˘ œ

œb˘

‰ Œ Ó !3

?

œœb

b˘œœ˘ ‰ Œ Ó !3

f

flickering subtly, in the distanceD

D

%

%

%

%

%

%(Bb,17,+5)

(Bb,5,-14)

(G,12,+2)

(G,9,+4)

(B,11,-49)

(B,13,+41)

32

&

&

&

&

&

&

ã

&

?

ã

&

?

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4444444444444444444444

4444

4343434343434343434343

4343

Fl. 1

Bb Cl. 1

B. Cl.

Hn.

Vln.

Vc.

Perc.1Wood

Perc.2Alm/Wd

Vib.

Mrb.

Pno.

$ $ $

38œU

œU

œU

œU

œU

œU

!œœ>

œœ>Œ r

œb>Œ5

œœ#> œœ#

>Œ

rœœ>

Œ5

!‰ œ# ‰ ‰ .

œ# Œr

œœ

Œ3 5

‰ œœ ‰ ‰ . œœ3

Œ " œœbb˘

‰ Œ œœbb˘ " œ. œ.

&

Œ " œœœbfl

‰ Œ œœœbfl

‰ .

secco

F

F

F P

Fade out independently after 1-4 q s

Fade out independently after 1-4 q s

Fade out independently after 1-4 q s

Fade out independently after 1-4 q s

Fade out independently after 1-4 q s

Fade out independently after 1-4 q s

!!!!

!!

!"

œb>Œ Ó5

" œœ>Œ Ó

5

!

Ó ˙˙>

˙b>

œ œ œ œ œ# œ œ‰ Ó

5

!

l.v.

f

loco

!!!!

!!

!"

œb>Œ Ó5

" œœ>Œ Ó

5

Ó Œ " œ œœ

œœ

6

!

ŒRœœœb>

œœœ˙˙˙

5

Œ " œ œ œ œ œ œ œ ‰ œ œ# œ Œ5 6 6

ŒRœœ

b> œœ

˙˙

5

f

P

P

!!!!

!!

‰ . œ œ œ œ œ œ œ Ó5 5

!!

" œ œ œ Œ Ó

!

www

Ó œ œ# œ œ œ œ œœfl

œœfl

‰6 3

ww

F f

F

F

P

33

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&

&

&

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&

&

?

&

&

&

?

43434343

4343

4343434343

4343

44444444

4444

4444444444

4444

45454545

4545

4545454545

4545

Fl. 1

Bb Cl. 1

B. Cl.

Bb Tpt.

Vln.

Cb.

Glk.

Crt.2

Vib.

Mrb.

Pno.

($)

42 !!

!!

!!

!!!!!

‰ œœ œœ. " œ. " œ œ œ œ# œ "5

! f

!!

!!

!!

!œœ>

" œ# > œ# >5

œœ#> " œœ

> œœ>

5

!

‰ œœb

> Rœœ Œ œœb

fl‰ .

3 5

‰ œ> r

œ

fi

Œ œ˘

‰ .3 5

ΠΠΠJ

œœœ-

3

Œ Œ Œ Jœœœ

# -

3

secco

loco

f

f

f

!!

!!

!!

!!!!

‰ .œ

‰ œÓ

‰ .œœbb ‰

œœ

˙˙ ‰ œb œb

Jœ3

3

?

˙˙ Œ j

œ ‰ œœb3

3

?

espressivo

F

l.v.l.v.

F

!!

!!

!!

Ó Œ ‰ œb

!!!!

œ œ Œœ œ œœb

3‰ œœ&

‰ œb Œ ‰ œ# Œ3

Œ jœœb œœ#

3

&?

P

l.v. all

F

34

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&

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&

&

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&

&

&

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45454545

45

454545454545

4545

46464646

46

464646464646

4646

43434343

43

434343434343

4343

44444444

44

444444444444

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Fl. 1

Bb Cl. 1

B. Cl.

Bb Tpt.

Vln.

Cb.

Glk.

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Pno.

46Ó Ó ‰

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F

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45

45

4545

43

43

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q = 84

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42

42

4343

43

43

4444

44

44

4242

42

42

4444

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Mrb.

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61 !!

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444444

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Glk.

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66 !!

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poco rit.

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37

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42

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43

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44

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43434343434343434343

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4343

Fl. 1

Fl. 2

Bb Cl. 1

Bb Cl. 2

Hn.

Bb Tpt.

Vln.

Vc.

Cb.

Glk.

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71Ó ‰ œ œ

3

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42

4242

44444444444444444444

44

4444

Fl. 1

Fl. 2

Bb Cl. 1

Bb Cl. 2

Hn.

Bb Tpt.

Vln.

Vc.

Cb.

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78 !!!

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p

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q = ca.69

q = ca.69!!!

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q = 66

q = 66Ped.

l.v. all

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to Bass Clarinet

H

H

39

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&

&

&

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169169169169169169

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444444444444

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44

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Fl. 1

Fl. 2

Bb Cl. 1

B. Cl.

Hn.

Bb Tpt.

Vln.

Vc.

Cb.

Chm.

Vib.

Pno.

85 !!!

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(8)

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40

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444444444444

444444444444

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454545454545

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4545

Fl. 1

Fl. 2

Bb Cl. 1

B. Cl.

Hn.

Bb Tpt.

Vln.

Vc.

Cb.

Chm.

Crt.2

Vib.

Pno.

90 !

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f

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4444444444

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4444

Fl. 1

Fl. 2

Bb Cl. 1

B. Cl.

Hn.

Bb Tpt.

Vln.

Vc.

Cb.

Chm.

Crt.2

Vib.

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Fl. 1

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Bb Cl. 1

B. Cl.

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Mrb.

Pno.

~~~~~~~~~~

169 ˙ Jœ œ- œ

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sul II(4)

62

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Fl. 1

Fl. 2

Bb Cl. 1

Bb Cl. 2

Hn.

Bb Tpt.

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Cb.

Crt.1

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Mrb.

Pno.

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Ÿ~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

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l.v.

63

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Fl. 2

Bb Cl. 1

Bb Cl. 2

Hn.

Bb Tpt.

Vln.

Vc.

Cb.

Vib.

Mrb.

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179w

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4646464646464646

Flute 1

Flute 2

Clarinet in Bb 1

Clarinet in Bb 2

Horn in F

Trumpet in Bb

Violin

Cello

Contrabass

Vibraphone

Timpani

Marimba

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(C,5,-14)

(C,9,+4)

(Bb,7,-31)

(Bb,19,-2)

π

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flickering subtly

flickering subtly

flickering subtly

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flickering subtly

πsoft mallets — hide attack

con sord.

con sord.

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œ#œ

J

œ#

r

œ#

j

œ#

,

œ#œ

.

J

œ#

œ

,

3 3 3

sul A

trem. pizz.indistinct articulation

indistinct articulationtrem. pizz.

sul A

2/3

p#

##

&

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Vln.

Vc.

Cb.

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11 .˙#

æ

˙

œ

,æ

œæ æ æ

œB æœnæ

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œ

œ#

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.

j

œœ

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.

J

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.

J

œ#

œ#

J

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3 3

54trem. pizz.indistinct articulation

cut o! with violin

cut o! with violin

cue cut-o!

"

2/3

# barely audible

q = ca.63

"Solo AD LIB., q = ca.63 with subtle brightness in attack

66

&?

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œ# œn œ# œ ,œ# œ

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œ œ#,� .� œ# œ œ# œ# œ# œ

Jœ-, .œ- œ œ# œ œ# jœ. jœ œ- œ- œ# - œ< .œ# œ jœ3

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æ jœn æ æ œB æ æ æ jœæµ3

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jœ .Jœ,

œ# œ Jœœ#

,

Jœ#jœ œ# - œ# �

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4"TACET

�Solo AD LIB., q = ca.76

Solo AD LIB., q = ca.69

Solo AD LIB., q = ca.63�

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con sord.

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rœ# Jœ#

œœ# œ Jœ

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Œ Œ jœ# œ œ ‰3

‰œ# .�

(Gm,5,-14)

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Ó �K

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‰œ œ œ

‰ � .œl3(Gm,7,-31)

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p

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‰ œ � œ ‰3

Œ ‰ œ �3

Œ ‰ . œJ �con sord.

con sord.

(C,7,-31)

(Fund.)

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p

p

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Score in C

2014for solo piano, two percussionists, and ensemble

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Pno.

13

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œ# - œ .Jœ œ# œ,

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œ œ#œ# ..jœœ# - œ# œ# œ

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.

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C4

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p

p

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Score in C

2014for solo piano, two percussionists, and ensemble

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con sord.

(C,7,-31)

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p

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Score in C

2014for solo piano, two percussionists, and ensemble

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Score in C

2014for solo piano, two percussionists, and ensemble

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PP

senza sord.

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3

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Œ3

3

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(Gm,13,+41)

(Gm,7,-31)

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‰ œ- œ œ œ œ œ œ# œ œœ# œ œ Jœn -3

3

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33

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3

3

(5)(6) (7)

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P p

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Fl. 2

Bb Cl. 1

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3

‰œ# œ# Œ Jœl œ

Œ3

3

(Gm,11,-49)

(Gm,13,+41)

(Gm,7,-31)

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P

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3

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3 3

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3 3

3

3

(5) (6) (7)

P

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Fl. 2

Bb Cl. 1

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3

‰œ# œ# Œ Jœl œ

Œ3

3

(Gm,11,-49)

(Gm,13,+41)

(Gm,7,-31)

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P

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3

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3 3

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3 3

3

3

(5)(6) (7)

P

P p

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Œ ‰ œ œ Jœ œ .œ# - œ3

‰ œ � �arco

PP

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œ ‰ ‰ œ# - œ Jœ# - œ .œ- � .œU

3

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Fl. 2

Bb Cl. 1

Œ œK œ ‰ Œ

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3

‰œ# œ# Œ Jœl œ

Œ3

3

(Gm,11,-49)

(Gm,13,+41)

(Gm,7,-31)

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P

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3

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3

(5) (6) (7)

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Fl. 2

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q = 50

(Gm,13,+41)

(Gm,7,-31)

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G.P.

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71

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44

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Pno.

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Fl. 2

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Vln.

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Fl. 2

Bb Cl. 1

B. Cl.

Hn.

Bb Tpt.

Vln.

Vc.

Cb.

Glk.

Perc.1

Perc.2

Vib.

Timp.

Pno.

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~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

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steady bend

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slow bend

slow bend

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Fl. 2

Bb Cl. 1

B. Cl.

Hn.

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Vln.

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Perc.2

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Fl. 2

Bb Cl. 1

B. Cl.

Hn.

Bb Tpt.

Vln.

Vc.

Cb.

Perc.1

Perc.2

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Fl. 2

Bb Cl. 1

B. Cl.

Hn.

Bb Tpt.

Vln.

Vc.

Cb.

Vib.

Pno.

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Fl. 2

Bb Cl. 1

B. Cl.

Hn.

Bb Tpt.

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BIBLIOGRAPHY Books and Periodicals Brant, Henry. “Space as an Essential Aspect of Musical Composition.” In

Contemporary Composers on Contemporary Music, edited by Elliott Schartz and Barney Childs, 222-242. New York: Holt, Reinhart and Winston, 1967.

Grisey, Gérard. “Did You Say Spectral?” Contemporary Music Review 19, part 3

(2000): 1-3. DOI: 10.1080/07494460000640311. ——. “Tempus ex Machina: A composer’s reflection on musical time.” Contemporary

Music Review 2, no. 1 (1987): 239-275. DOI: 10.1080/07494468708567060. Harley, Maria Anna. “Spatially of sound and stream segregation in twentieth century

instrumental music.” Organised Sound 3 (1998): 147-166. Lee, Li-Young. Breaking the Alabaster Jar: Conversations with Li-Young Lee.

Rochester, NY: BOA Editions, 2006. Merwin, W.S. Migration. Port Townsend, WA: Copper Canyon Press, 2005. Schiff, David. The Music of Elliott Carter. Ithaca: Cornell University Press, 1998. Weininger, David. “Chaya Czernowin wants listeners to feel the effect of her music.”

Boston Globe (Boston, MA), Oct. 24, 2013. http://www.bostonglobe.com/arts/music/2013/10/24/composer-chaya-czernowin- has-compositions-upcoming-callithumpian-concert/GvELtfcFaFOwCqcdhskj0J/story.html.

Scores Carter, Elliott. Double Concerto. New York: Associated Music Publishers, Inc. 1964. Carter, Elliott. Quintet for Piano and Winds. New York: Boosey & Hawkes, 1994. Ravel, Maurice. Mineola: Dover Publications, 1986. Schoenberg, Arnold. Sechs kleine Klavierstücke. Mainz-Wien: Schott-Universal

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