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THESIS
~~ LIBRARY
(f 9 j.‘ 4;} Michigan State
University
This is to certify that the
dissertation entitled
CONCERTO FOR PIANO
FWD OfiCHESTKH
presented by
kELLY TANG
has been accepted towards fulfillment
of the requirements for
PA: 0' degree in C WES—:74 ‘44
Major professor
Date gigp'é 26 /E95
MSU is an Affirmarive Acn'on/Eq ual Opportunity Institution 0-127'71
PLACE IN RETURN BOX to remove this checkout from your record.
TO AVOID FINES return on or before date due.
MAY BE RECALLED with earlier due date if requested.
DATE DUE DATE DUE DATE DUE
5/08 K:/Prolecc&Pres/CIRCIDateDue,indd
CONCERTO FOR PIANO AND ORCHESTRA
By
Kelly Tang
A DISSERTATION
Submitted to
Michigan State University
in partial fulfillment of the requirements
for the degree of
DOCTOR OF PHILOSOPHY
School of Music
1995
III-I u—u Inn-l w n—l ...-i and a... —l1 and an" nun-I and um- um- .n—a I—I- ...-n ....-
ABSTRACT
CONCERTO FOR PIANO AND ORCHESTRA
By
Kelly Tang
Each of the Concerto’s three movements embodies a distinct personality. The first movement
establishes an atmosphere of restless struggle. The second movement subsides into a mood of
wistful longing, while the third movement builds up a joyous momentum, dispelling the tension
and propelling the work to its closure.
The formal plans used in this composition are derived from classical models. The opening
movement is laid out in modified sonata form. In contrast, the freely spun-out “neo-romantic”
second movement is closer to the through-composed symphonic poem. Reminiscent of several
piano concertos by Mozart, the dance-like final movement is in rondo form with a virtuosic
cadenza that ushers in the coda.
This work blends various twentieth-century harmonic idioms such as octatonicism, modality,
atonality, polychordalism and the use of pitch sets. These foreground elements are subject to a
linear middleground contrapuntal structure. Ascending and descending middleground structural
lines can be perceived in the treble and bass. For each movement, the middleground is in turn
subordinate to a single-voiced Ursatz. For example, the Ursatz of the third movement comprises
C, G, D, A, and E (beginning at measures 1, 42, 62, 90 and 123 respectively). The appearances
of these intervallically equidistant Ursatz notes are punctuated by prominent textural, rhythmic,
and timbral accents. The advent of each structural tone also coincides with the demarcations of
the rondo sections, which further highlights the Ursatz.
In each movement, the generation of melodic material is extensively governed by the manipulation
of a small handful of motivic cells. While most thematic variations are explicit, more subtle
motivic relationships can be detected. An example can be seen in the second movement, where the
pitches of the Opening violin monody are restated by the various instrumental sections in
rhythmically-augmented, octave-displaced, Klangfarbenmelodie style during the last eight bars of
the movement.
The historical and cultural eclecticism of this work is apparent in the integration of Chinese and
gamelan scales, Indian mrdangam rhythms, jazz syncopation, Broadway lyricism, and the explicit
orchestration of Hollywood film scoring. These disparate elements are interwoven within an
underlying formal structure playfully reflective of the Mozartean piano concerto, and hybridized
within contemporary harmonic styles.
Copyright © by
KELLY TANG
1995
Instrumentation
Flute (doubling piccolo)
Oboe
Clarinet in Bb
Bassoon
4 Horns in F
2 Trumpets in Bb
2 Trombones (lst: Tenor Trombone, 2nd: Tenor-Bass Trombone)
Timpani (one 30" drum, two 28" drums, one 25" drum)
Piano
Strings*
* To attain proper balance with the reduced wind sections, the string section should be
restricted to approximately 10 first violins, 10 second violins, 8 Violas, 8 celli, and 6 double
baSses. At least 3 double basses should be equipped with E-string extension attachments so
that notes lower than B can be played.
Concerto for Piano & Orchestra
Score in C J I Kelly Tang
= 72
Flute
Oboe
Clarinet
Bassoon
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Horn 3.4
Trumpet 1.2
Trombone 1.2
Timpani
Piano
Violin l
Violin 2
Viola
Cello
f
f llf
Copyright by Kelly Tang I995
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MICHIGAN STATE UNIVERSITY LIBR I
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3 1293 03062 7222