John Corigliano is one of the most important American composers of his generation and one the most versatile. What he has accomplished exemplifies the American music of our time. While his music is often harmonically complex and rhythmiaclly challenging, he also dares to write a simple, beautiful melody, which is unusual in our time. My association with John and The Red Violin has been one of the greate privileges of my musical life.

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Mezim Fantasia on an Ostinato for piano I could have notated these different passages as improvised, but that would be asking the pianist to play a consistently fast piece that never repeated any notes. My Etude Fantasy is actually a set of studies combined into the episodic form and character of a fantasy.

John Corigliano Etude Fantasy for piano Who People and organizations associated with either the creation of this dissertation or its content.

Judith Sherman Engineering and editing assistant: The following text was automatically extracted from the image on this page using optical character recognition software:. In mulling over the project, I immediately rejected the idea of a technical showpiece as redundant. Tillis always encouraged me — and did for my entire life. Aria 4th Movement of Concerto for Oboe Fantasia on an Ostinato for orchestra Creation Date August So each piano would sound perfectly tuned by itself, but, for example, the note G on one piano would sound at a pitch between Fantaey and F sharp on the other, creating eerie effects and dissonances when the instruments were played together.

Etkde Items Other items on this site that are directly related to the current dissertation. The atmosphere created here is magical. Sometimes they resembled Mozart, Bach, and Brahms; sometimes they resembled nothing familiar at all. Two Scenes from Genesis Corigliani Hough seems to have it all—blazing technique, real artistic vision, an adventurous curiosity, and a deft style as an annotator. Concerto for Piano and Orchestra Related Items Doctoral Recital: Mark Baechle was tasked with listening to what I played, and then fantazy to figure out how to put it into measures that made sense.

So I constructed the beginning and end of Fantasia on corigoiano Ostinato precisely, but I made the large central section a series of interlocking repeated patterns: Voyage for flute and string orchestra Irreverent Heart voice and piano Marvelous Invention Songbook for a New Century Influence of minimalist techniques associated with Terry Riley, Steve Reich, coriliano Philip Glass is apparent throughout the work; rhythmic phasing, repetitive patterns, and musical stasis are used extensively in the second section.

Please use the dropdown buttons to set your preferred options, or use the checkbox to accept the defaults. The following notes from the composer are a succinct guide for the listener: The work ends quietly with the opening motto heard in retrograde accompanying the mournful two-note ostinato.

Poem on His Birthday So I had to correct the written proofs to compensate for my splattered notes. Poem in October version for chamber orchestra ; revised We also provide extended guidance on usage rights, references, copying or embedding. The Solo Piano Works of John Corigliano: Etude Fantasy and Fantasia on an Ostinato The UNT Libraries serve the university and community by providing access to physical and online collections, fostering information literacy, supporting academic research, and much, much more.

To do this, I used a computer technology known as MIDI sequencing, which captures both the sounds and a crude but accurate notation of what is played. Influence of minimalist techniques associated with Terry Riley, Steve Reich, and Philip Glass is apparent throughout the work; rhythmic phasing, repetitive patterns, and musical stasis are used extensively in the second section.

Show all pages in this dissertation. Cavatina and Cabaletta Quarter-tones are readily and sometimes unintentionally produced by violinists and singers, but they rarely appear in piano music, because of the instruments fixed pitches. But I had to get serious and learn notation and other musical skills. But before long, the surrealism of quarter- tone harmonies returns, as each pianist seems to fight to define his or her tuning as tonic. Most Related.


Etude Fantasy, for piano

His father, John Paul Corigliano Sr. In a recent communication with David Hess , Hess acknowledged that The Naked Carmen was originally conceived by Corigliano and himself as a way to update the most popular opera of our time Carmen. Mercury Records wanted the classical and popular divisions to work together and after a meeting with Joe Bott, Scott Mampe and Bob Reno, it was decided to proceed with the project. He credits his first two concerti for solo wind for both changing his art and his career.


Etude Fantasy

Both rely on the interval of a second, which is also developed throughout the work. The first etude is subtitled "For the Left Hand Alone," and indeed it is; such are the demands placed upon the pianist that one never misses the right hand. After the initial melodic statement, the virtuoso figurations accompanying the tone row return, followed by a gradual slowing down which finally introduces the right hand, playing a quiet chromatic scale over a gently pulsing left-hand accompaniment. The atmosphere created here is magical. The title of the next etude, "Fifths to Thirds," refers to the intervallic contraction from a fifth, played with the thumb and little finger, to a third, played with the index and ring fingers. Corigliano whips up a playful, frothy scherzo-like movement here, out of which an ebullient melody eventually emerges, all without straying too far from the basic device.

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