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UNIVERSITY OF MIAMI

CARL VINE’S PIANO SONATA NO. 4: AN ANALYSIS AND PERFORMER’S GUIDE

By

Lindsay Jane Garritson

A DOCTORAL ESSAY

Submitted to the Faculty of the University of Miami

in partial fulfillment of the requirements for the degree of Doctor of Musical Arts

Coral Gables, Florida

May 2020

UNIVERSITY OF MIAMI

A doctoral essay submitted in partial fulfillment of the requirements for the degree of

Doctor of Musical Arts

CARL VINE’S PIANO SONATA NO. 4: AN ANALYSIS AND PERFORMER’S GUIDE

Lindsay Jane Garritson

Approved: ________________ _________________ Santiago Rodriguez, M.M. Naoko Takao, D.M.A. Professor of Keyboard Performance Associate Professor of Keyboard

Performance ________________ _________________ Kevin Kenner, M.M. Guillermo Prado, Ph.D. Assistant Professor of Keyboard Dean of the Graduate School Performance ________________ Jodi Levitz, M.M. Professor of Instrumental Performance

GARRITSON, LINDSAY JANE (D.M.A., Keyboard Performance) (May 2020) Carl Vine’s Piano Sonata No. 4: An Analysis and Performer’s Guide Abstract of a doctoral essay at the University of Miami. Doctoral essay supervised by Professor Santiago Rodriguez Number of pages in text. (62)

This essay provides a structural analysis and performer’s guide to Carl Vine’s Piano

Sonata No. 4. Commissioned by the author in 2018 and premiered in 2019, this analysis

will be conducted through the lens of performing the piece—an analysis of its components

and overall structure which generates an informed interpretation. As the first pianist to

study and perform this new work, the author includes a performer’s guide which offers

relevant suggestions for execution of the score, i.e. approach to sound, phrasing, texture,

rhythmic features, and technical challenges.

Throughout the essay, similarities shared between Piano Sonata No. 4 and other solo

piano works of Carl Vine will be discussed briefly, highlighting characteristics of his piano

music.

A corroborating recording of this sonata has been released by the author, which

supports the analysis and ideas explored. This new work deserves to earn its place as one

of the most important solo piano sonatas of the 21st century.

iii

ACKNOWLEDGEMENTS I would like to thank my dear teacher, Santiago Rodriguez, for his support and

guidance throughout my doctoral career. I could not have pursued this project without the

support and help of Dr. Marie Jureit-Beamish and Paul Garritson. Thank you to Pollard

for your sweet memory and affection. Most importantly, thank you to Carl Vine for

writing such a magnificent sonata and believing in me as an artist and pianist.

iv

TABLE OF CONTENTS

Page LIST OF FIGURES .................................................................................................... v Chapter 1 INTRODUCTION AND OVERVIEW ........................................................... 1 Introduction…………………………………………………………………… 1 Biography of Carl Vine……………………………………………………….. 2 Significance…………………………………………………………………... 4 Methodology...................................................................................................... 4 Literature Review.............................................................................................. 5 2 STRUCTURAL ANALYSIS ........................................................................ 8 Motivic Organization ....................................................................................... 10 Rhythmic Organization .................................................................................... 18 3 INTERVALLIC AND HARMONIC ORGANIZATION ............................... 24 Intervallic Organization ................................................................................... 24 Chromatic Organization.................................................................................... 36 4 TEXTURE AND KEYBOARD EFFECTS .................................................... 41 Articulation and Pedaling ................................................................................ 41 Dynamics ......................................................................................................... 43 5 PERFORMER’S GUIDE ................................................................................. 44 Tempi................................................................................................................ 45 Phrasing, Sound, and Texture .......................................................................... 46 Rests..... ............................................................................................................ 54 Voicing............................................................................................................. 56 Idiomatic Writing and Patterned Passagework................................................. 58 Sound-World.................................................................................................... 59 6 CONCLUSION................................................................................................. 60 Bibliography.................................................................................................................. 61

v

LIST OF FIGURES

Figure Page

1. Piano Sonata No. 4: mm. 1-2........................................................................... 11 2. Piano Sonata No. 4: m. 16................................................................................ 11 3. Short Story from The Anne Landa Preludes, m.19........................................... 12 4. Piano Sonata No. 2, m. 31................................................................................ 12 5. Piano Sonata No. 4: m. 50................................................................................ 12 6. Piano Sonata No. 4: m. 89................................................................................ 13 7. Piano Sonata No. 4: mm. 40-44........................................................................ 13 8. Piano Sonata No. 4: mm. 85-86........................................................................ 14 9. Piano Sonata No. 4: mm. 101-104.................................................................... 14 10. Piano Sonata No. 4: m. 131............................................................................... 15 11. Piano Sonata No. 4: mm. 145-146.................................................................... 15 12. Piano Sonata No. 4: mm. 170-172..................................................................... 16 13. Piano Sonata No. 4: m. 190............................................................................... 16 14. Piano Sonata No. 4: mm. 208-209..................................................................... 16 15. Piano Sonata No. 4: mm. 252-254..................................................................... 16 16. Piano Sonata No. 4: mm. 321-322..................................................................... 17 17. Piano Sonata No. 4: m. 337................................................................................ 17 18. Piano Sonata No. 4: mm. 391-392..................................................................... 17 19. Piano Sonata No. 3: m. 452............................................................................... 17 20. Piano Sonata No. 4: mm. 393-397...................................................................... 18 21. Piano Sonata No. 3: mm. 453-456...................................................................... 18 22. Piano Sonata No. 4: mm. 82-84.......................................................................... 19 23. Piano Sonata No. 4: mm. 4-7.............................................................................. 20 24. Piano Sonata No. 4: mm. 128-131...................................................................... 20 25. Piano Sonata No. 4: m. 233................................................................................ 21 26. Piano Sonata No. 4: m. 363................................................................................ 21 27. Piano Sonata No. 4: mm. 140-141...................................................................... 22 28. Piano Sonata No. 4: mm. 4-7.............................................................................. 24 29. Piano Sonata No. 4: mm. 17-18.......................................................................... 25 30. Piano Sonata No. 4: mm. 22-23.......................................................................... 25 31. Piano Sonata No. 4: mm. 40-44.......................................................................... 26 32. Piano Sonata No. 4: 45-49.................................................................................. 26 33. Piano Sonata No. 4: mm. 58-59.......................................................................... 27 34. Piano Sonata No. 4: mm. 107-110...................................................................... 28 35. Piano Sonata (1990): mm. 3-4............................................................................ 28 36. Piano Sonata No. 4: mm. 120-123...................................................................... 29 37. Piano Sonata No. 4: mm. 133............................................................................ 29 38. Piano Sonata No. 4: mm. 140-141..................................................................... 29

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39. Piano Sonata No. 4: mm. 145-146..................................................................... 30 40. Piano Sonata No. 4: mm.167-169...................................................................... 30 41. Piano Sonata No. 4: mm. 170-172..................................................................... 31 42. Piano Sonata No. 4: m.173................................................................................. 31 43. Piano Sonata No. 4: mm.187-189...................................................................... 31 44. Piano Sonata No. 4: mm. 208-210..................................................................... 32 45. Piano Sonata No. 4: m. 233................................................................................ 32 46. Piano Sonata No. 4: mm. 254-255..................................................................... 33 47. Piano Sonata No. 4: mm. 271-273..................................................................... 33 48. Piano Sonata No.4: mm. 288-290...................................................................... 33 49. Debussy La cathédrale engloutie: mm. 1-2....................................................... 34 50. Piano Sonata No. 2: mm. 131-132..................................................................... 34 51. Piano Sonata No. 3: mm. 271-272...................................................................... 34 52. Piano Sonata No. 4: m. 296................................................................................ 34 53. Piano Sonata No. 4: mm. 317-319...................................................................... 35 54. Piano Sonata No. 4: mm. 385-386...................................................................... 35 55. Piano Sonata No. 4: mm. 484-486...................................................................... 36 56. Piano Sonata No. 4: mm. 19-23.......................................................................... 37 57. Piano Sonata No. 4: mm. 82-82.......................................................................... 37 58. Piano Sonata No. 4: mm. 385-386...................................................................... 38 59. Piano Sonata No. 4: mm. 196-198...................................................................... 38 60. Piano Sonata No. 4: mm. 71-73.......................................................................... 39 61. Piano Sonata No. 4: mm. 85-86.......................................................................... 39 62. Piano Sonata No. 4: m. 89.................................................................................. 42 63. Piano Sonata No. 4: m. 133................................................................................ 42 64. Piano Sonata No. 4: mm. 208-210...................................................................... 42 65. Piano Sonata No. 4: mm. 205-207....................................................................... 43 66. Piano Sonata No. 4: mm. 1-4.............................................................................. 45 67. Piano Sonata No. 4: m. 16................................................................................... 46 68. Piano Sonata No. 4: mm. 52-53.......................................................................... 47 69. Piano Sonata No. 4: m. 131................................................................................. 48 70. Piano Sonata No. 4: mm. 131-134....................................................................... 49 71. Piano Sonata No. 4: m. 107-108.......................................................................... 51 72. Piano Sonata No. 4: mm. 58-59........................................................................... 52 73. Piano Sonata No. 4: mm. 231-232....................................................................... 53 74. Piano Sonata No. 4: mm. 248-251....................................................................... 53 75. Piano Sonata No. 4: mm. 271-273....................................................................... 54 76. Piano Sonata No. 4: mm. 242-243....................................................................... 55 77. Piano Sonata No. 4: mm. 193-195....................................................................... 56 78. Piano Sonata No. 4: mm. 385-386....................................................................... 58 79. Piano Sonata No. 4: mm. 391-392....................................................................... 58

1

Chapter 1 Introduction and Overview Introduction The author was first introduced to Carl Vine’s music after hearing his Piano Sonata

(1990) performed at the 2009 Van Cliburn International Piano Competition. This sonata

has remained his most popular work for solo piano (and possibly of his entire canon),

with many pianists performing it on the international concert scene. The Five Bagatelles

(1994) are perhaps his second most popular work for solo piano. Since that time, Vine

has composed Piano Sonata No. 2 (1997), Red Blues (1999), The Anne Landa Preludes

(2006), Piano Sonata No. 3 (2007), Toccatissimo (2011), and most recently, Piano Sonata

No. 4 (2019).

In 2016, the author first met Mr. Vine while competing at the Sydney International

Piano Competition. He was serving as a jury member, and one of the requirements for the

competition was to perform a work by an Australian composer. As she had yet to learn

one of Vine’s pieces, the author chose Toccatissimo for the occasion. Learning this piece

combined with meeting the composer proved to be an impressionable experience; since

that time, she has explored his music in depth and advocated for its place as a pillar in the

21st-century canon of piano music.

In early 2018, the author approached Vine to inquire about commissioning a new

piano sonata. To her delight, he agreed and delivered the score to Piano Sonata No. 4 in

June of 2019. The world premiere was given at Carnegie Hall on November 11, 2019, and

2

subsequent premieres were held in London and Barcelona in 2020. In addition, an album

titled Aphorisms: Piano Music of Carl Vine was released by the author in November 2019,

featuring the world premiere recording of Piano Sonata No. 4 as well as The Anne Landa

Preludes, Piano Sonata (1990), Five Bagatelles, and Toccatissimo.

Biography of Carl Vine

Carl Vine was born in Perth, Australia, in 1954. His musical career began at the age

of five upon studying the cornet, and at age ten, he switched to the piano and began

composing. Three years later, the pipe organ was added to his studies.

In the early part of his musical career, Vine focused on composing for electronics;

at age sixteen, he won the first prize at the Australian Society for Music Education

Composers’ Competition for his electronic work Unwritten Divertimento. One year later,

he wrote his first commissioned score 2 Short Circuits (also for electronics) for the West

Australian Dance Company.

Carl Vine enrolled at the University of Western Australia as an undergraduate

physics major in 1972, switching to a bachelor of arts major in piano two years later. During

his undergraduate studies, he also worked for two months as a trainee sound recording

engineer at the BBC in London and became the official pianist for the Sydney Dance

Company, the latter for which he would compose his first fully-composed work 961 Ways

to Nirvana (for amplified string quartet, orchestra, and electronics) in 1977. In 1978, Carl

composed the first Australian full-length ballet Poppy for the same company.

3

In addition to serving as resident composer and pianist for the Sydney Dance

Company, Vine served as resident composer, conductor, and pianist for the London

Contemporary Dance Theatre and as resident composer for the Australian Chamber

Orchestra.1

In 1979, Vine and trombonist Simone de Haan founded the Flederman

contemporary musical ensemble. Based in Sydney, the group received numerous accolades

and performed extensively throughout Australia and abroad until 1989.

Composing for an extraordinarily diverse array of mediums including dance, film,

television, and theater, Vine’s compositional output is quite impressive. Among his canon

are eight symphonies; several choral and ballet works; twelve concerti; an extensive list of

chamber music (including six string quartets); various works for voice; works for and with

electronics; and a considerable amount of music for piano (solo and chamber).2

Carl Vine has received such awards as the Adams Award, which honors his

contribution to music for dance in Australia; the Don Banks Award for Outstanding

Contribution to Australian Music, awarded by Australia Council for the Arts; the Centenary

Medal for Contribution to Australian Society, awarded by the Australian Commonwealth

Government; and Officer of the Order of Australia (AO) bestowed by the Governor-

General of Australia.

From 2000-2019, Vine was the artistic director of Musica Viva, Australia’s largest

and most illustrious proponent of chamber music and music educational outreach. He

1 Vine, Carl. “Biography.” Carl Vine:: Composer. 2 Bebbington, Carl and Graeme Skinner. “Vine, Carl.” Grove Music Online.

4

received an honorary doctorate from the University of Western Australia in 2010, and since

2014 has served as lecturer in composition at the Sydney Conservatorium.

Significance

This paper will present the first analysis of Vine’s Piano Sonata No. 4. As such, I

will attempt to analyze the sonata through the lens of a performer—specifically, analysis

from which the experience of learning and performing this piece has informed my

understanding and interpretation thereof. Being the first performer of this piece, it is

indeed both a wonderful and intimidating position to write (and perform) from.

In conjunction with the recording of Piano Sonata No. 4, the following analysis and

performer’s guide will inform those who wish to learn and/or appreciate this wonderful

new work.

Methodology

There are two significant parts to this essay, with the first being an analysis of the

sonata. This will include a systematic examination of its overall structure; motivic,

rhythmic, intervallic, and harmonic organization; Vine’s use of the keyboard through

register contrast; and unique textures informed by articulation, dynamics, and pedaling.

In this sonata, any elements distinctive to Vine’s solo piano music will be outlined as well

as explicit similarities found between this sonata and his other solo piano works.

5

The second part will serve as a performer’s guide with specific insight into Vine’s

expectations of the performer; suggestions for the execution of phrasing; an approach to

sound and texture; recognizing and augmenting dramatic tension; utilizing rhythm to

maximum effect; an approach to voicing; and practice suggestions for difficult

passagework.

For clarity of organization, Chapter 2 will look at the sonata’s overall structure and

motivic/rhythmic organization; Chapter 3, its intervallic and chromatic organization;

Chapter 4, an examination of texture and its related components; Chapter 5, a performer’s

guide; and finally in Chapter 6, the conclusion.

Literature Review

A number of dissertations have been written about Carl Vine’s solo piano music.

While most focus on his first three piano sonatas, two exclusively analyze The Anne

Landa Preludes.

One of the earliest dissertations was written by Hanna Cyba: A Performer’s Guide

to the Piano Sonatas by Carl Vine from the University of Miami (2002). She delves into

analysis and performance suggestions for the first two piano sonatas, comparing and

contrasting their structure and looking at the musical influences throughout. Additionally,

it features interviews with two leading interpreters of the sonatas, Sergei Babayan and

Michael Kieran Harvey, the latter of whom premiered both sonatas.

In 2003, Eun-Kyung Yang from the Ohio State University wrote The Piano Sonatas

of Carl Vine: A Guideline to Performance and Style Analysis. She suggests practical

6

performance tips for the first two sonatas such as memorization techniques and

implementation of the pedal. She compares the two sonatas in regard to structure and

compositional style.

Kui Min from the University of Wisconsin-Madison chose to focus only on Vine’s

first piano sonata in his thesis Carl Vine First Piano Sonata (1990): New Sounds, Old

Idols, and Extreme Pianism (2008). As with the previous two dissertations, the first

sonata is analyzed from a structural point of view, while focusing on the influence of

Elliott Carter throughout.

In 2010, Hyekyung Yoon was the first to write about Vine’s third piano sonata in

An Introduction of Carl Vine’s Three Piano Sonatas with Emphasis on Performance and

Practice Suggestions for Sonata No. 2 (1997) at the Ohio State University (2010). While

including an overview of compositional traits shared between the sonatas, she focuses on

the second sonata, offering suggestions for practice and performance.

Similar to Kui Min, Benjamin Boren from Indiana University focuses on the

structural and conceptual similarities between Carter’s Piano Sonata and Vine’s first

piano sonata in Modeled Individuality: the Influence of Elliot Carter’s Piano Sonata

(1946) in Carl Vine’s Piano Sonata (1990) (2012).

In 2013, Yuson So of University of Kansas wrote Piano Sonata No. 1 by Carl Vine;

a Theoretical and Pianistic Study, which, more than any previous dissertations, focuses

on the theoretical analysis of this sonata. The same year, Mitchell Thomas Giambalvo

from Florida State University wrote An introduction to the Piano Music of Carl Vine with

Emphasis on His Piano Sonata No. 3. He provides an overview of Vine’s solo piano

7

music with an emphasis on his third piano sonata, concentrating on motivic relationships

throughout the sonata.

The last two theses focus exclusively on The Anne Landa Preludes. In 2015,

Christopher Ruggiero from Ball State University wrote A Recording and Guide to the

Performance of Carl Vine’s Anne Landa Preludes. In addition to the work’s pianistic

challenges, he explores the compositional styles of Vine as realized through its rhythmic

and pitch organization, texture, and phrasing.

Lastly, Tang Ying of the University of Kansas offered The Anne Landa Preludes

of Carl Vine: Musical Characteristics and Practical Performance Guidelines (2016),

with an analysis of its musical characteristics and advice for performance.

8

Chapter 2 Structural Analysis As a preface to Piano Sonata No. 4, Carl Vine provides the following program note:

This work is constructed as three movements performed without a break. The first, Aphorisms, comprises a string of concise, linked but contrasting musical ideas which have no need to be part of a larger argument, coexisting in shared isolation. The second, Reflection, is generally softer and slower with some meditative moments perturbed by darker material. The final movement, Fury, is a musical portrayal of relentless and unfocused anger that, even when catching its breath, wastes little time before reverting to unyielding belligerence.

While the titles “Reflection” and “Fury” are self-explanatory, “Aphorisms” of movement

one might be a less familiar term. According to the Merriam-Webster dictionary, an

aphorism is “a concise statement of a principle” or “a terse formulation of a truth or

sentiment: adage.”

As Vine indicates, the sonata consists of three continuously-played movements.

Correspondingly, the measures are through-numbered from beginning to end. It is

interesting to note that his second and third piano sonatas are also through-numbered and

designated without pause between movements.

With regard to an overall structure, sections within each movement are delineated

by texture and rhythmic organization rather than adhering to a conventional form, e.g.

Classic sonata form. Rather, the following structural outline has been concluded:

9

I. AB Introduction

mm. 1-14 A First Theme: mm. 16-40 Transition: mm. 41-49 B Second Theme: mm. 50-84 Transition (opening material): mm. 85-88 Coda mm. 89-106 Transition (into second movement): mm. 99-106 II. ABCDC' Introduction mm. 107-115 A First Section: mm. 116-130 B Second Section: mm. 131-139 C Third Section: mm. 140-145 D Fourth Section: mm. 146-157 Transition: mm. 158-159 C' Fifth Section: mm. 160-167 Coda mm. 168-172 III. ABA' A First Section: mm. 173-188 Second Section: mm. 189-197 Third Section: mm. 198-206 Transition: mm. 207-208 Fourth Section: mm. 209-224 Transition: mm. 225-228 Fifth Section: mm. 229-242 Sixth Section: mm. 243-252 Seventh Section: mm.253-270 B First Section: mm. 271-286 Second Section: mm. 287-294 Third Section: mm. 295-302 Fourth Section: mm. 303-318 A' First Section: mm. 319-334 Second Section: mm. 335-352 Third Section: mm. 353-362 Transition: mm. 363-367 Coda mm. 368-end

10

To summarize, movement one loosely follows an AB form with an introduction

and coda. Two distinct themes with accompanying ostinati make up the core of the

movement, and as such are categorized as themes rather than sections. Combined with

transitional passages, this movement indeed comprises, “a string of concise, linked but

contrasting musical ideas which have no need to be part of a larger argument, coexisting

in shared isolation.”

Movement two suggests five larger units (ABCDC') with an introduction and coda,

and movement three follows an approximate ABA' form with coda. In the case of

movement three, the return of “A” is not a clear iteration of material, but rather a return

to its character and textures. As noted, the smaller sections within each larger unit, i.e.

AB, etc. are assigned by changes in texture and rhythmic organization rather than

significant changes in character or dramatic meaning.

Moreover, this outline has been discerned by points of dramatic change—an

analysis through an expressive lens. The explanation, first and foremost, is deduced as a

performer of the piece and guided by an artistic interpretation.

Motivic Organization When exploring Vine’s motivic construction throughout the sonata, it is evident

that structural unity is achieved through related ostinato patterns, transitional material,

and recurring intervals throughout. In each movement, various ostinati patterns help

define sections. We will now look at these motivic relationships and how they contribute

to this sonata’s form.

11

The opening of Piano Sonata No. 4 features a series of arpeggiated figures upon

which much of the sonata’s motivic material is based. The shape as well as the sub-

divisions of each gesture lay this groundwork; here they are divided into groups of five,

nine, and ten notes (Figure 1).

Figure 1: Piano Sonata No. 4: mm. 1-2

After several measures of syncopated, transitional material, the first major theme

(A) appears at m. 16. Beneath this clear melodic line, an accompanimental line of

quintuplet groupings is similar in shape to the opening gestures. Functioning as an ostinato

pattern, Vine frequently employs such patterns throughout his piano music. From a

dramatic perspective, these patterns can serve as vehicles for building dramatic tension

and/or excitement on both micro and macro levels (within sections and over the span of a

movement) (Figure 2).

Figure 2: Piano Sonata No. 4, m. 16

This ostinato pattern serves to outline and reinforce the melodic material. Furthermore, its

particular shape and functional qualities recall other passages in Vine’s solo piano music. In

12

the first of The Anne Landa Preludes, for instance, there is a clear melodic line under which

an ostinato pattern of arpeggiated gestures occur (Figure 3).

Figure 3: Short Story from The Anne Landa Preludes, m. 19. Figure 4: Piano Sonata No. 2: m. 31

Another example can be found in Vine’s Piano Sonata No. 2, observing a similar shape

in its accompaniment pattern and outline of the melody (Figure 4).

Throughout the second major theme of Piano Sonata No. 4, Vine uses another

ostinato pattern beginning at measure 50 (Figure 5).

Figure 5: Piano Sonata No. 4: m. 50

While the first theme features a pattern of quintuplet 16th notes for every quarter note,

here it consists of four 32nd-notes per eighth note (eight per quarter note); whereas the

first theme highlights the quarter note, the second theme highlights the eighth note.

Additionally, the right hand of the second theme begins almost every measure on the

“and” of the first beat, further implying this eighth note emphasis. Whereas the first

13

theme evokes a certain nobility (albeit with forward momentum), the second theme

evokes a greater sense of urgency through its syncopations and more active ostinato

pattern.


In the Coda of the first movement, Vine continues with the ostinato pattern of theme

two (Figure 6). However, the urgency previously created is replaced with a hint of

resignation or acceptance, highlighted by the fact that the accompaniment and theme are

placed in a higher register of the keyboard as well as the theme itself comprising longer

note values (as opposed to eighth notes). As a result, Vine has generated a dramatic effect

through contrast of register and rhythmic variation. These are characteristics of Vine’s

piano music which will be explored further.

In each of the first-movement transitions, Vine continues utilizing the arpeggiated

gesture. For instance, mm. 40-49 serve as a transition between themes one and two

(Figure 7).


Containing elements of the opening figure, the character is one of searching or hesitation,

and Vine uses the longer notes (e.g. half notes, dotted half notes, whole notes) to create a

14

“suspended” quality. In this context, “suspended” pertains to time—a sense of momentary

stasis.

The transition between theme two and the coda again features the initial

arpeggiated gesture, but this time in a more direct iteration (although an octave lower,

mp dynamic, and sustained bass notes) (Figure 8).


Figure 9: Piano Sonata No. 4: mm. 101-104 \ The final transitional material of the movement appears within the coda; it functions

as a lead-in to the second movement (Figure 9). Again, the gestures recall the opening

motive, but as more extended arpeggios across the keyboard (rather than small,

ascending/descending shapes). Similar to the transition between themes one and two

(mm. 41-49), there are moments of suspension. Rather than uncertainty, though, an

impression of tranquility creates the organic transition of character into the second

movement.

With a display in unity, the extending of arpeggiated material can be observed in

mm. 131-139 of the second movement. Utilizing a wider range of the keyboard than at

any point in the first movement, a theme (f) is embellished by surrounding arpeggios (pp)

15

and organized into various groups of 32nd notes and 64th notes. Such a striking effect is

achieved through register contrast and accompaniment flourishes (Figure 10).


Further on, mm. 146-157 recall the second theme of movement one in its

configuration, emphasizing each eighth-note pulse and groupings of 32nd notes. Unlike

the second theme’s ostinato pattern (eight 32nd notes per quarter note), however, the

pattern here is primarily groups of ten per quarter note (or one group of five per eighth

note).This ostinato pattern is essentially an amalgamation of the previous patterns (in

movement one), possessing those groupings of theme one (five notes per beat), yet

emphasizing the eight-note pulse of theme two (Figure 11).

Figure 11: Piano Sonata No. 4: mm. 145-146 The transition into movement three echoes the earlier transition into movement two

with moments of suspension. However, where there was hope, this transition suggests a

16

hint of fatalism: as opposed to an ascending shape, these gestures are now descending

into the following movement (Figure 12).


Figure 13: Piano Sonata No. 4: m. 190 Figure 14: Piano Sonata No. 4: mm. 208-209


Vine uses ostinati to great effect in the third movement, and each one shares similar

components. The first pattern appears as continuous 16th notes in the right hand (Figure

13). Shortly after, he builds on this pattern by transforming into triplets at measure 208

(pulse withstanding) (Figure 14). The dazzling texture created from these ostinati (p to

pp in dynamic) combined with the fast tempi indicated (quarter note = 153 at m. 189;

dotted eighth note =204 at m. 208) help generate a level of excitement throughout. Yet

another sixteenth-note pattern occurs after a climactic arrival on the downbeat of measure

253 (Figure 15).

17

After a development-like section from mm. 271-318, a 16th-note pattern is

introduced at measure 319. Unlike the previous two designs, however, this ostinato

pattern undulates between emphasis on groupings of two and four sixteenth notes as

opposed to the previous triplet pattern (Figure 16).

Figure 16: Piano Sonata No. 4: mm. 321-322 Figure 17: Piano Sonata No. 4: m. 337

Figure 18: Piano Sonata No. 4: mm. 391-392 Figure 19: Piano Sonata No. 3: m. 452 The pattern eventually transforms into a series of continuous 16th-notes in the left hand

while the right hand builds intensity with accented, forte offbeats. Occurring near the end

of the piece, this texture helps drive the dramatic tension further (Figure 17).

Motivically, the endings of Vine’s Piano Sonata No. 4 and Piano Sonata No. 3 are

quite similar: in mm. 391-392, the fourth sonata has an ascending passage of technically-

brilliant, broken octaves, which is dramatically augmented by a crescendo (Figure 18).

Likewise, the end of Vine’s third sonata features an ascending line of broken notes

(Figure 19). While the latter contains single notes rather than octaves, the “sweeping”

18

effect is alike. Both sonatas also contain a series of dissonant chords leading to dramatic

glissandi in the last two measures of their respective endings (Figures 20 and 21).


Figure 21: Piano Sonata No. 3: mm. 453-456 Additionally, sonatas two, three, and four conclude with A minor (implied) chords. The

formula Vine uses for gaining momentum and achieving a thrilling effect is clearly akin.

As evident from the examples above, motivic relationships throughout Vine’s

Piano Sonata No. 4 lend unity to the overall structure. Furthermore, they enable tension

to build and release at moments of dramatic importance.

Rhythmic Organization The implementation of rhythm, in all its varieties, defines the character and drama

throughout the fourth sonata. In conjunction with motivic organization, rhythm is an

essential factor for structural delineation. Although the elements of motivic construction

19

have been discussed, we will look at all the ways Vine utilizes rhythm for fashioning

dramatic variety.

Throughout the sonata, Vine shifts meter quite often. For example, there are seven

on the first page alone (measures 1-18). The author argues that from an expressive point

of view, this frequent change in meter creates a sense of spontaneity; within measures 1-

3, each measure includes the grouping of two arpeggiated gestures followed by a “held”

chord of (progressively longer) length. By the end of the third measure, the impression is

one of a rallentando. In this case, it is a rallentando created through rhythmic treatment—

a written-out rallentando, so to speak.

The latter impression is actually a characteristic throughout the fourth piano sonata.

For instance, Vine employs this technique at the end of theme two (first movement) with

a shift in pattern from 4/4 to 5/4 meter combined with a decrescendo (Figure 22).

Figure 22: Piano Sonata No. 4: mm. 82-84 The end of the second movement also indicates a natural relaxation of the tempo by

moving from a 4/4 meter to 6/4 meter. Where other composers might add a rallentando

or fermata, Vine achieves a similar expressive impact through meter change and rhythmic

manipulation. Conversely, meter changes are also used to imply forward momentum. In

measures four and five of the first movement, there is a steadiness created between the

syncopated patterns. Suddenly this groove is disrupted with a change from 4/4 meter to

20

6/16 meter at measure six; after a sudden decrescendo and change to 12/16 meter at

measure seven, the listener is launched into a thematic line in the left hand (mf subito)

supported by an ostinato pattern in the right hand (pp) (Figure 23).


Figure 24: Piano Sonata No. 4: mm. 128-131 In this transition, a characteristic of Vine’s piano music is on display: metric modulation.

The pulse among sixteenth notes remains from measures 4-7 despite the meter changes.

By maintaining the same pulse between sections, Vine again creates structural unity

through his use of rhythm. Likewise, movement two shifts from a 7/8 meter to a 3/4 meter

in measure 131(Figure 24). In the material leading up to that measure, an atmosphere of

calm pervades. Because the eighth-note pulse remains from measures 130 to 131, this

21

calm is able to transform organically into the impassioned character of the following

melody.

Yet another example is in the third movement: the ostinato pattern beginning in

measure 207 occurs within a 4/4 meter, changing to a 12/16 meter in measure 208. While

the sixteenth notes are converted into triplets at measure 208, the rhythmic pulse remains

constant between the two measures.

In addition to meter change and metric modulation, Vine utilizes varied rhythmic

groupings to thrilling effect. In measure 233, he implements a 3/4 meter + 3/8 meter; the

last three eighth notes within this compound meter convey forward momentum into the

next measure. Most likely, Vine is employing this rhythmic formula for increased

excitement, i.e. “Fury” of the movement’s title (Figure 25).

A similar formula for momentum is created in measure 363: although its 7/8 meter

is not a compound meter, the last three “broken” eighth notes of the pattern function as

an upbeat to the next measure (Figure 26).

Figure 25: Piano Sonata No. 4: m. 233 Figure 26: Piano Sonata No. 4: m. 363 The particular rhythmic pattern of two-plus-three as well as two-against-three is

heavily used by Vine. The latter creates varied dramatic effects depending on the context

of the piece. For instance, measures 7-15 of the opening include a triplet ostinato pattern

in the right hand (16th notes) juxtaposed with thematic material in the left. The effect is

22

one of unease and/or mystery. In contrast, measures 120-125 of the second movement

feature a two-against-three pattern which, in its dramatic context, suggests a languid air

and improvised quality. The slower tempo and longer-note durations (here in eighth

notes) combined with the steadiness of the left-hand pattern against the triplets/varied

rhythmic groupings of the right hand creates this sense of improvisation.

Further on, one of the major themes of the second movement (C) creates a similar

atmosphere with its two-against-three pattern. One may observe something unusual here:

in the last eighth note of measure 140, two grace notes are attached to the F-sharp octave.

In measure 141, the second beat contains a similar rhythmic figure, but two 64th notes

are attached to the octave E instead of grace notes. The implication is that the 64th notes

will be placed on the beat (and therefore highlighted) rather than before the beat (where

grace notes are typically placed) (Figure 27).

Figure 27: Piano Sonata No. 4: mm. 140-141 Throughout Vine’s solo piano music, the employment of grace notes vs. written-out

patterns is precise. In addition to rhythmic placement, the expressive effect could be an

objective. In the case of measures 140 and 141, small notes within the second pattern

have more emphasis because of their rhythmic placement. From another perspective,

Vine has written out the expressivity for the performer, requiring nothing further than to

23

play what is indicated (as opposed to manipulating time for further dramatic effect). This

recalls the earlier example where Vine will implement a gradual release of the tempo

through rhythmic manipulation rather than explicit indication, e.g. rallentando.

24

Chapter 3 Intervallic and Harmonic Organization Intervallic Organization Vine’s use of specific intervals for dramatic enhancement is an important

component of his piano music. In addition to the motivic patterns already explored, his

use of recurring intervals within melodic lines throughout Piano Sonata No. 4 enhances

dramatic tension and structural unity. Perhaps most importantly, his use of specific

intervals enriches an extraordinary sound palette of color.

One interval featured throughout the fourth sonata is the tritone. Vine in fact utilizes

this interval in much of his solo piano music, and it tends to create an atmosphere of

mystery, foreboding, and/or overall tension. For instance, one of Vine’s first solo piano

works (Five Bagatelles) features the tritone as a key element in much of its melodic

structure.

Figure 28: Piano Sonata No. 4: mm. 4-7 Much of the fourth sonata’s melodic (and motivic) material includes frequent

tritones. The first instance of this is within the opening of the sonata (Figure 28). Using

three distinct musical lines, a sense of instability is created by constant intervals in the

25

second and third lines. Additionally, measure seven features an ostinato pattern which

emphasizes the tritone interval. The tension in this pattern is heightened by oscillation

between a D-sharp and E natural (in the right-hand thumb), giving the impression of

constant tension-release every other beat. In conjunction with tritones, Vine uses various

non-chord tones for expressive purposes, heightening this “tension and release” within

phrases.

Previously, we looked at each theme’s motivic treatment with respect to its

accompaniment material (ostinato patterns and their rhythmic makeup). Now, we will

look at each theme (melodic line) and its intervallic construction.



As a whole, the first major theme of movement one moves in step-wise motion.

Thus, larger intervals are emphasized when they appear. For example, measure 17

features a tritone from F-sharp to C natural, emphasized by an accent on the C natural

(Figure 29). Furthermore, the C natural functions as an appoggiatura. Vine’s use of

appoggiaturas throughout this sonata is frequent, and they often appear with accents for

dramatic emphasis (Figure 30).

26

As we explored earlier, the transition between themes one and two has a searching

quality created by gestures of shorter notes followed by longer, held notes. In a nod to the

beginning of the sonata, these gestures are placed within different meters and feature

intervals of perfect fourths, tritones, and perfect fifths. In addition, there is an allusion to

improvisation by the rhythmic placement of each gesture, almost speech-like in effect

(Figure 31). This impression is augmented by an accent placed on the downbeat of

measure 46, speech-like in its context; the accented G natural also serves as an

appoggiatura (Figure 32).



While tritones augment the unsettled character of this transition, there are “falling”

intervals of open fourths and fifths (falling in the sense that they are descending in shape),

intervals which suggest a sigh or similar speech-like effect. Perhaps the meaning of the

movement’s title, “Aphorisms,” is on display here. Vine later builds upon this falling

interval concept in the second movement, which we will examine momentarily.

27

While the second major theme of the first movement includes both tritones and

appoggiaturas, the melodic line generally moves in thirds rather than the step-wise

motion of theme one. As a result, it possesses less of the “sung” quality of theme one; it

does not radiate the same expansiveness. Instead, an urgency is suggested by its ostinato

pattern, i.e. eight 32nd notes per beat vs. five 16th notes per beat.

Another compositional trait of Vine’s piano music is a tendency to accent shorter

notes within melodic material. Within the second theme of the fourth sonata (B), these

accents highlight important intervals and can assign a speech-like quality to the music

(rather than sung). Furthermore, these accents offset strong beats and enhance already-

syncopated textures.

For example, measures 58-59 underscore two 32nd notes (Figure 33).


Vine’s choice to accent these upbeats rather than their successive long notes is rather un-

intuitive and difficult to execute within a ff dynamic. Likewise, an accented 32nd note

occurs at measure 72, which simultaneously highlights a tritone interval.

As noted in the transition between themes one and two (first movement), Vine

utilizes falling intervals in the opening of movement two. Almost every measure includes

a falling interval ranging from a third, fourth, fifth, sixth, or seventh. Titled “Reflection,”

many constructional elements contribute to this movement’s atmosphere. The intervallic

use of fourths and fifths helps to create an open, vast effect. The frequent rhythmic

28

construction of shorter-note groupings followed by longer, held notes helps craft an

impression of “reflection” and stasis. Additionally, each downbeat features a held chord

in the low register of the keyboard, suggesting the toll of a bell (Figure 34).


Figure 35: Piano Sonata (1990): mm. 3-4

Creating a sense of vastness through the above components is a frequent

characteristic in Vine’s piano music. For instance, the opening of the second movement

is similar to the intervallic, rhythmic, and register construction of Vine’s Piano Sonata

(1990): in the latter’s opening, intervals of fourths and fifths are featured in chordal and

melodic material, and every other downbeat has a bell-like chord placed in the low

register of the keyboard (Figure 35).

This tendency to feature bell-like chords or notes in the low register continues in

the second movement of Piano Sonata No. 4. From measure 116, a melodic statement is

introduced with the falling or sighing intervals established at the movement's beginning.

Specifically, the intervals tend to center around fourths, fifths, and sixths, and the

29

downward shape of these intervals implies a sadness or resignation within their dramatic

context. In addition, Vine’s trait of accenting shorter notes within a melodic line is on full

display here (Figure 36).



Figure 38: Piano Sonata No. 4: mm. 140-141 At measure 131, this melodic pattern and texture morph into a dramatic sweep of

arpeggios, which embellish the melody and cover a wide range of the keyboard. One

can observe the continuation of accented short notes followed by longer notes in

measure 133 (Figure 37).

Measure 140 (C) marks a new theme in the second movement (earlier referenced

in “rhythmic organization”), and its character is less mysterious than the first notable

theme at measure 116 (A). Whereas the latter contains a suspended and slightly

ambiguous quality, the theme at measure 140 has a hint of resignation—less searching

(Figure 38). In addition, the close formation of intervals at measure 140 lends itself to

30

a singing quality; it tends to move by intervals of seconds and thirds rather than fourths

and fifths. Likewise, the melodic material from measures 146-156 continues to “sing”

by moving in seconds and thirds (Figure 39).



After a powerful point of arrival at measure 154, Vine paves the way for a poignant

return to the previous theme (C) through a transition highlighting intervals of fourths and

fifths. Relatedly, the transition leading into the third movement begins with a series of

overlapping chords, outlining fifths and tritones (Figure 40). Earlier, the author

suggested that this transition was slightly more fatalistic than the transition between

movements one and two, indicated by the sweeping gesture in m. 171 and largely-

descending shapes within mm. 168-172. Whereas the transition into movement two ended

on a B natural three octaves above middle C, the transition into movement three lingers

31

on a low G-flat three octaves below middle C. This augments the fatalistic or foreboding

character of the moment and enables movement three to “emerge” from the low G-flat

(Figure 41).



Figure 43: Piano Sonata No. 4: mm.187-189

Titled “Fury,” the third movement begins with parallel, broken sixteenth notes

(meaning an alternating hand technique). Vine applies numerous tritones throughout this

opening, and they serve as an intervallic cornerstone for much of the movement. Implying

unease and generating dramatic tension, the tritone helps to create much of the fury that

the title implies (Figure 42).

The initial broken passagework switches to octaves at measure 181, driving the

music forward to the first clear ostinato pattern of the movement at measure 188. Beneath

this right-hand pattern, the tritone is again exploited within the left-hand line (Figure 43).

32

Similarly, the next ostinato pattern is comprised of a tritone while the melodic

material above is almost entirely made up of tritones (Figure 44). As we observed over

the course of movements one and two, Vine will often accent shorter notes within a

theme; measures 210-212 are no exception, and the two-note patterns allude to the falling

intervals of the second movement.



The texture of this section is the most transparent within the movement (a combination

of higher register, absence of chords/octaves, and softer dynamics), thereby enabling a

more mysterious character.

Broken octaves return at measure 229, moving in a chromatic design and

transforming into a syncopated pattern of tritones within compound meter (Figure 45).

33

Before reaching the (B) section of measure 271, another ostinato pattern of triplets occurs

under a melodic line of tritones (Figure 46).


Figure 47: Piano Sonata No. 4: mm. 271-273 Figure 48: Piano Sonata No.4: mm. 288-290

Upon arrival of the (B) section, there is a sudden change in character to something

almost threatening. Moving chromatically in both hands, the combination of low register

and syncopated chords/octaves creates an atmosphere of foreboding and angst (Figure

47). Marking a textural and therefore dramatic difference, measure 287 features a series

of chords which recall the writing of Debussy. Specifically, it features a series of parallel-

moving chords/octaves above a sustained octave in the low register of the keyboard,

creating an eerie stasis. This specific texture is a particular characteristic found in Vine’s

piano music (Figure 48). One can see a striking similarity with the construction of

34

Debussy’s tenth Prelude, La cathédrale engloutie (Figure 49). While Vine’s writing does

not move in strict parallel motion, the effect is related in the texture created, shape of the

moving chords, and register contrast.

Figure 49: Debussy La cathédrale engloutie: mm. 1-2. Figure 50: Piano Sonata No. 2: mm. 131-132

Figure 51: Piano Sonata No. 3: mm. 271-272 Figure 52: Piano Sonata No. 4: m. 296 Another example of this texture and sonic color can be found in the first movement

of Vine’s Piano Sonata No. 2. The connections with Debussy are even more distinct

(Figure 50). Likewise, Vine’s third sonata displays the same compositional traits (Figure

51).

After the Debussy-inspired material in the fourth sonata, Vine slowly builds tension

through call-and-response writing—meaning, there are two distinct melodies constructed

in a dialogue manner (Figure 52). Additionally, the top line tends to recall the falling

intervals of the second movement. Coupled with continuous syncopations and

embellishing triplets in the melodic line, the climactic moment of this section arrives at

measure 317 in the form of cataclysmic chords at either end of the keyboard, alternating

35

with clashing E-flat-centered chords in the right hand and E natural-centered chords in

the left. After a sudden silence, an ostinato pattern occurs and again centered around

tritones; as earlier discussed, the emphasis in this pattern lies in two-note groupings

(Figure 53).

Figure 53: Piano Sonata No. 4: mm. 317-319 Syncopated chords (piano subito) indicate the start of the Coda at measure 368, and

a return of the chromatically-moving octaves appears at measure 372 (a mirroring of those

in measure 229).

Figure 54: Piano Sonata No. 4: mm. 385-386 Showcasing a brilliant display of virtuosity, measures 385-386 feature a series of

chromatically-descending chords (Figure 54). This particular passage recalls a

comparable moment in the ending of Vine’s second sonata both in its chromatic, broken

36

chords and dazzling effect. While the shape of these chords is ascending rather than

descending, the dramatic impression and context are quite similar to the fourth sonata

(Figure 55).

Figure 55: Piano Sonata No. 2: mm. 484-486 Chromatic Organization As one can observe from analyzing both the motivic and intervallic relationships,

Vine uses these ingredients throughout Piano Sonata No. 4 to shape and enhance drama.

While this sonata (and essentially all of his solo piano music) does not employ key

signatures or conventional chord progressions, Vine will use chromaticism in many ways

to achieve the same effect— namely, to manipulate dramatic tension and create a variety

of colors.

The first of these categories can be described as chromaticism that builds and

dissolves dramatic intensity.3 For instance, the first theme of movement one begins with

a tonal center of E natural, occurring every half note in the bass. As the theme progresses

and builds momentum, it moves chromatically to an E-flat in measure 19, a D natural one

3 Ruggiero, Christopher. Dissertation.

37

measure later, D-flat in measure 21, then a C natural in measure 23, enhancing the mini

arrival of an A-flat appoggiatura in the melodic line (Figure 56).

Figure 56: Piano Sonata No. 4: mm. 19-23 A similar example is in the second movement: beginning at measure 146, the

ostinato pattern centers around an E natural in the bass, then moves chromatically down

to a G natural which complements the B-flat arrival in the melodic. It is perhaps the most

important arrival-point in the movement, and this release of energy is created through

chromatic movement in the bass line and forward motion in the ostinato pattern (ten 32nd

notes per quarter note).


Whereas the above examples showcase a building of intensity, chromaticism can

also be used to dissolve tension (Figure 57). At the end of the first movement’s second

theme, the ostinato pattern centers around an E-flat in measures 78-80, D natural in

38

measure 81, D-flat in measure 82, then C natural in measure 83, underscoring the

winding-down of the sequence.

Chromatic clusters of chords can also be used for an effect which augments an air

of angst and forward momentum. As previously observed, the ending of Vine’s fourth

sonata includes a series of descending chromatic chords/clusters which push the

momentum forward (Figure 58).



Earlier in the movement, a chromatic series of chords are also featured but in a fragmented

manner: underneath the ostinato of the right hand, measures 194-197 contain a series of

chords which build to a sudden explosion after a rapid crescendo (Figure 59). The third

39

movement in particular explores chromaticism through its various chordal sequences and

ostinato patterns.

Additionally, Vine utilizes chromaticism for its coloristic possibilities. Specifically,

enharmonic chord-tones are used to connect sections, thereby enhancing coloristic

possibilities. The coloristic and therefore expressive possibilities are evident here: in the

second theme of movement one, a recurring C-sharp in the bass is prominent from

measures 68-71. Measure 72 immediately pulsates around a D-flat, suggesting a darker

color and subdued character (Figure 60).


Figure 61: Piano Sonata No. 4: mm. 85-86 Further on, measures 85 and 86 restate the opening material (arpeggiated gestures)

of the piece (Figure 61). However, the register here is lower than the beginning and

marked mp as opposed to ff. An F-sharp on the downbeat of measure 85 is suddenly

replaced with a G-flat in the following measure. The result, as with measure 72, is a subtle

40

change in color; whereas F-sharp yields a certain brightness, G-flat is typically more

muted in shading.

41

Chapter 4 Texture and Keyboard Effects The structure of Piano Sonata No. 4 is defined essentially by its various rhythmic

elements. That said, each rhythmic pattern and surrounding texture are inherently linked

in establishing the character and atmosphere of the music.

Vine’s use of extreme register contrast, for instance, is a powerful/striking

characteristic throughout his piano music. In the fourth sonata, for instance, Vine will

frequently employ a recurring note or chord in the bass juxtaposed with an ostinato

pattern and/or melodic material higher up on the keyboard. The overall impression is one

of vastness, combined at moments with a suspended sense of time, e.g. the opening of the

second movement. Evoking the sound of a bell (with its inherent resonance) can also

amplify these impressions.

Articulation and Pedaling Vine’s careful use of articulation and pedaling are crucial means for enhancing the

texture. He is quite specific where accents are placed and especially within melodic

material; earlier, we examined his tendency to place accents on 32nd notes functioning

as upbeats (to a longer note). This type of writing usually creates a vivacious, sparkling

texture. Furthermore, melodic material featuring accented upbeats will usually appear

above a virtuosic ostinato pattern with a senza pedale directive. The effect suggests

42

accents “popping” out of the texture (Figure 62). The second movement contains melodic

material with similar accents; here, the expression and texture are enhanced with the

sostenuto pedal. The accents are still striking, but within a lush resonance (Figure 63).



Figure 64: Piano Sonata No. 4: mm. 208-210 In other sections, accents will emphasize certain intervals. As examined, tritones are an

important feature throughout the sonata. For instance, measures 209-212 feature an

ostinato pattern over which a melodic pattern of tritones are accented (Figure 64).

43

Dynamics Similar to his treatment of articulation and pedaling, Vine is quite specific about

dynamics throughout his piano music. Often, the dynamics are stratified, meaning there

are at least two or more dynamics indicated simultaneously. For example, any section

with an ostinato pattern will usually feature one dynamic in the melodic material, one

dynamic in the ostinato pattern, and one dynamic in any sustained bass notes.

For maximum dramatic effect, there are also moments where dynamic change will

highlight sudden textural change. The third movement in particular alternates between

“fiery” octave passages and transparent textures. For instance, measure 207 suddenly

veers from ff octaves/chords to a transparent ostinato pattern marked piano, legatissimo

and senza pedale (Figure 65).


44

Chapter 5 Performer’s Guide With the analysis conducted above, it is evident that Carl Vine’s Piano Sonata No.

4 requires a high level of pianism. The technical demands, required artistic vision, and

ability to execute all of the score’s indications is quite challenging. The following guide

will direct advanced performers in how best to approach its technical difficulties,

elucidate phrasing, and include suggestions that will help facilitate an expressive

understanding of the piece. In conjunction, a thorough analysis of the sonata’s structural

elements should inform and enhance the performer’s interpretation.

To begin, it is essential to understand Carl Vine’s expectations of pianists

interpreting his music. In an interview from 2002, author David Pereira asked the

composer what his “view of being ‘true to the score’” was. Vine’s response was the

following:

Performers have an obligation to find, within themselves, the finest expression of the composer’s original intention. I try to make my scores as self-evident and transparent as possible, and my general philosophy is that no interpretation is required: just play the dots. Interpretive possibilities, however, are virtually endless, as are schools of interpretation. If I write a specific tempo, I expect that direction to determine the absolute speed of the music. Not that I expect performers to be simple automata, but however they may bend and sway the material, it must still adhere to the basic pulse that I have prescribed.4

In other words, “adding” to what is already in the score is not needed. That said, he

offers these thoughts on the artistic discretion and personality of the performer:

When I finish a new work, it is not some amorphous cloud of floss that needs to be pushed into shape by a musician. It is a perfectly discrete architecture, colour and design that only awaits the breath of life. The thing is not entirely inflexible, but allows enough variance to reflect the personality of the performer.5

4 Pereira, David. “Compositional Credos and Performance Perspectives: An Interview with Carl Vine.” Context, 59. 5 Ibid, 60.

45

Tempi

As Vine explained, one of his fundamental expectations of the performer is to heed

the tempo/tempi indicated throughout a score. When looking at Piano Sonata No. 4, one

of the interesting things to note is how close tempi are to each other—how nuanced the

differences in speed are from section to section. In the opening of the first movement,

there is a metronome marking of 80 for the quarter note. Three bars later, the indication

is 90 for the quarter note; the pulse between both tempi is quite similar and therefore must

be internalized from the early stages of learning the score (Figure 66).


The author recommends comparing these metronome markings frequently in order to

ensure the nuanced difference is felt; such subtle changes in rate of pulse are present

throughout the sonata. For instance, practice starting from measure four (as opposed to

46

the beginning) and check how close one is to the metronome marking. Then start from

measure one, comparing the two tempi. Repeat until the subtle difference (80 vs. 90 for

the quarter note) is internalized. Otherwise, the tendency could be to play measure four

at a faster speed than indicated.

Phrasing, Sound, and Texture

Much of the fourth sonata (and virtually all of Vine’s piano music) requires a

significant amount of finger dexterity. It consists of multiple layers—layers requiring the

utmost control in execution. Specifically, the first and second themes of movement one

contain multiple lines, each requiring a different dynamic, touch, and expressive meaning.

Let us take the first theme from measure 16: one of the difficulties is feeling a

steady pulse while shaping long phrases (Figure 67).


Although the meter is 4/4, the author recommends thinking in 2/2. For every measure,

there are two half notes in the bass line; feeling the pulse in two rather than four (although

staying within the indicated metronome marking) enables the shaping of larger phrases.

47

Otherwise, one can err on the side of sounding too “beat-y” and lose the drive of the

theme’s temperament. As Vine indicates, the accompanying quintuplet groupings must

be a mf dynamic, suggesting a lighter touch and thereby adding verve to the music.

In respect to the desired sound within this theme, it is important to note that each

half note in the bass should have clarity and resonance (regardless of dynamic change).

Furthermore, any comparable passages should include as resonant a sound possible

without overpowering the finer passagework and melodic line above. One of the dangers

is in producing a muddy texture if the specified dynamics and pedaling are not heeded.

For achieving the highest amount of clarity between voices, the author recommends

practicing under tempo and without the pedal, listening carefully to how one shapes the

melodic material as well as evenness of the underlying 16th notes. The ultimate objective

of the performer should be to create a clear line of phrasing, clarity between each musical

line, and a resonant sound throughout (avoiding any harshness).


Similarly, the second major theme in the first movement (A) consists of layered

writing (a clear melodic line and ostinato accompaniment) (Figure 68). One of the

differences compared to the first theme is the senza pedale indication at measure 50.

48

Consequently, evenness of touch is imperative. The melodic material beginning at

measure 52, for instance, must be rendered with legato articulation. Because pedal is not

indicated, one must utilize a high level of finger legato. To achieve the required

articulation, the author recommends practicing under tempo (at least half speed) and

listening carefully to how the notes connect. In addition, the first note of every 32nd-note

pattern must have a clear attack (within p) to enliven each pulse (unlike the first theme,

no bass notes are forte or sustained).

Furthermore, achieving clarity and evenness within the 32nd notes is challenging.

Practicing these 32nd notes with a staccati articulation can be a counter-intuitive, yet

useful device. Again under tempo, being able to execute each 32nd note with a uniform,

precise staccato articulation can promote more control and clarity when implementing

the final tempo and legato melodic line above.


In the second movement, a section which requires similar finesse is mms. 131-139

(Figure 69). As with the major thematic material in movement one, Vine writes a clear

melodic line (forte) around which the accompaniment embellishes with 32nd notes (pp),

and each downbeat features a sustained note in the bass (p). From an expressive point of

49

view, it is essential that each bass note be placed with “care.” The author recommends

using this section’s harmonic progression as a source of guidance, deciding which

harmonic centers convey tension vs. resolution (or subtle shades within those categories).

Additionally, singing aloud the melodic line can be a valuable guide for deciding where

the music should “breathe.”

Articulation can further enhance phrasing. For instance, one could say that the first

phrase of this section (B) occurs from measures 131-134 (delineated by its change in

texture) (Figure 70).


Within this melodic line, ties from the last beats of measures 131 and 132 into each

subsequent downbeat (respectively) imply that the bass notes will dictate the shaping of

50

the phrase (pushing forward, pulling back, etc). Therefore, both the timing and clarity of

each bass note must be considered.

Make sure that the pedal is carefully changed on every downbeat, promoting clarity

of harmonic progression and enhanced resonance. Additionally, be aware of the myriad

coloristic possibilities in these bass notes, and use articulation to enrich each inherent

color, e.g. the F-sharp of measure 133 generating a “brighter” color than the “darker” E-

flat of measure 134; utilizing a faster attack of the key in harmonies deemed “brighter”

can amplify a brilliant effect.

One of the most difficult aspects of interpreting the fourth sonata is in generating

long lines; without a clear understanding of the piece’s structure and phrasing, the author

has found that it may sound too episodic or even random in construction.

As we have seen throughout the major themes of the piece, Vine often features an

extended melodic line with a repeated pattern functioning as an accompaniment. To avoid

the impression of shortened phrases, the author urges these guidelines: 1) look closely at

the harmonic movement as an indicator of phrasing; 2) abide by all indicated dynamics

for a variety in color (especially stratified and sudden dynamic changes); and 3) within

each movement, choose one point of dramatic arrival to and from which the expressive

momentum develops.

In the earlier analysis, a suspended characterization throughout moments of the

sonata was expounded. At the beginning of the second movement, for instance, this

suspended effect is created through register contrast (chords/notes placed low on the

51

keyboard) and the rhythmic grouping of the melodic line (shorter-note groupings

juxtaposed with held notes) (Figure 71).


The author has found it pertinent to use bells as inspiration for the sound in such textures.

A key to creating this effect is through consideration of every note’s articulation; the

higher the notes are on the keyboard, the faster one must strike the key. As earlier

discussed with the enhancement of “brighter” vs. “darker” colors, a faster attack of the

key can generate more resonance and therefore brilliance to the overall texture.

This is important to also consider when Vine designates accents on numerous 32nd-

notes within a melodic line. Otherwise, the tendency is for these notes to disappear (next

to their adjacent longer notes) rather than “jump” out of the texture. This is particularly

true of those 32nd-note accents appearing in the first two movements of the fourth sonata.

For any such passages, the author suggests practicing under tempo while “grabbing” each

accented note. Therefore, the fingers will be better conditioned to accent the shorter notes

at their indicated tempi and dynamic level (many of these shorter notes require the use of

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the “weaker” fourth and fifth fingers, making it difficult to achieve clarity and volume at

a brisk tempo).

For example, measures 58-59 of the first movement are technically-challenging for

the above reasons (Figure 72).


When practicing under tempo, approach the 32nd notes in the melodic line with a quick,

literal grabbing motion. With the dynamics indicating a piano in the ostinato pattern and

the melodic line growing from a forte to fortissimo, the technical challenges are

compounded. First, practice all parts at a piano dynamic, then gradually bring the melodic

line up in volume; be able to control the dynamics in every iteration before arriving at the

final tempo. Repeated practice in this way will condition one’s fourth and fifth fingers

(right hand) to attack and release the keys quicker, be able to “speak” at a higher volume,

and thereby achieve more ease and clarity at the final speed.

As we have seen through analysis of Piano Sonata No. 4, the music’s structure

cannot be fully understood if the rhythm and its proportions are not grasped.

Implementing a clear execution of all rhythmic components is therefore vital. Without a

strong sense of pulse, for instance, the meter changes have less meaning and thereby

diminish dramatic possibilities. Likewise, metric modulations give the music a perception

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of continuity through shared pulse; tension built steadily over the course of a

pattern/section has the opportunity to create more excitement, whereas an unsteady pulse

can lose potential energy.


Syncopations play a substantial part in the construction of Vine’s fourth sonata

(Figure 73). As with metric modulations, the syncopations maximize dramatic intention

and enhance the texture (fast broken chords/octaves, for example, usually imply agitation

and/or excitement). Furthermore, articulation can be used for highlighting certain

syncopations. For example, measures 248-251 of the third movement feature accented

offbeats (Figure 74).


The contrasting section (B) of movement three begins with syncopated, slurred

chords between hands. With dynamics and articulation, the performer must create the

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implied atmosphere of mystery and/or unrest (Figure 75).The author recommends

producing as legato a touch as possible while emphasizing the chromatic tension

throughout; one’s sound and articulation should always reflect the subtle fluctuations in

color and character throughout this section, e.g. moments of increased tension needing a

slightly faster attack of the key to emphasize an interval or chord.


Comparably, measure 287 begins the Debussy-esque writing earlier discussed. The

suspended quality (stasis/floating) is emphasized if the syncopations between hands are

played without a fluctuation in tempo. Furthermore, the impression of bells can be created

in each chord with specific articulation: with the right hand placed in the upper register

of the keyboard and marked p, the attack and release of each chord should be slightly

quicker than the lower chords of the left hand (marked pp). The right-hand chords will

then have more resonance and a singing quality, “floating” above the texture.

Rests

Another aspect to consider is the treatment of rests; they are not to be hurried

through. If anything, a slight holding of the tempo or playing on the back side of the beat

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(while maintaining the basic pulse) can supplement the suspended character of the music.

It should sound as though there is a natural element of “breathing” in between

phrases/musical ideas, just as a singer breathes between phrases. In performance, the

author has found it helpful to breathe consciously at such moments. Furthermore,

moments in the sonata which are not necessarily vocal in construction may still benefit

from a sense of space for dramatic impact. The placement of rests throughout the sonata

augments tension at strategic moments.


For instance, the third movement features several moments where rests are used to

this effect: the first significant moment of arrival occurs at measure 242. Leading to this

moment, a continuous stream of 16th notes and octave passagework build to the dramatic

chord/octave at either end of the keyboard. After reaching this arrival, make sure all pedal

and sound are fully cleared before continuing to the next measure (Figure 76). Otherwise,

the dramatic potential of the moment (via silence) is lost and the structure less coherent

when the return of the movement’s opening material emerges at measure 243.

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Voicing There are numerous instances throughout the sonata where a high level of voicing

is required—voicing within chords as well as between chords. This is essential not only

for the phrasing but an overall brilliance in the texture. Much of the third movement, for

instance, is centered around vibrant textures and sudden changes thereof. Syncopations

and the voicing of chords are key components to the dramatic explosiveness in this finale.


In measures 194-197, the left hand consists of chromatic chord-clusters (Figure

77). Because they appear in the lower end of the keyboard and underneath the right-hand

ostinato, the difficulty is in voicing them coherently and making sure the staccati

articulation (laced with numerous accents) is clear. As earlier recommended when

practicing multi-layered passages, practicing each line under tempo and at different

dynamic levels will help craft better control (and dexterity) of the fingers. For instance,

practicing the left hand from measures 194-197 starting at a forte dynamic will enable

one to hear how well-voiced each chord is. One must also ensure, however, that the

release of each chord is as succinct as possible (while taking into account any accents),

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even at a slower tempo. Otherwise, the staccati articulation will not be as clear and

consistent at the final tempo.

Once the left hand has been mastered at a slower tempo with consistent voicing and

articulation, practice at a mf dynamic, then p dynamic. Once the pianist can play at all

three levels, practice with the indicated dynamics (be particularly mindful of the

crescendi/descrescendi), and build in speed toward the final tempo. Likewise, practice

the continuous sixteenth notes in the right hand under tempo and at various dynamic

levels, listening for evenness of touch.

Part of the difficulty in this particular passage is coordinating the hands precisely;

with fast, continuous sixteenths in the right hand marked pp, the left-hand chords can

easily lag behind. Moreover, the passagework can sound imprecise and lose its stunning

combination of mystery and virtuosity. Therefore, the author has found that practicing

hands together at a slow tempo and gradually increasing with the aid of the metronome,

as well as counting out loud, can solidify the coordination between hands. Throughout

this technical work, however, one should be mindful to shape each pattern and/or phrase

when possible.

Likewise, octave passagework within the third movement should always be shaped

and include the indicated accents. The latter marking is what gives this music much of its

bite and fury. Additionally, many of the octave passages cover a wide dynamic range; the

performer must pay close attention to all indications (especially sudden) for greatest

virtuosic and dramatic effect. Unless indicated, the author recommends using minimal

pedal throughout octave passagework for maximum clarity in performance.

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Idiomatic Writing and Patterned Passagework

One of the joys in playing Vine’s piano music is that it is extremely idiomatic. One

can feel and hear that Vine is an accomplished pianist himself. Although quite difficult

to perform with all of the composer’s intentions (e.g. articulation, dynamics, clarity of

texture), the writing itself usually feels comfortable within the hand. Hence, Vine

sparingly indicates fingerings. To the advanced pianist, choices of fingerings will most

likely prove intuitive throughout the fourth sonata.



That said, there are several components of the sonata which demand precise

technical control. In addition to the numerous passages already examined, two passages

are particularly difficult to execute (Figures 78 and 79). Specifically, they appear in

ascending/descending patterns across the keyboard and pertain to skills of coordination.

They also happen to occur on the last page of the piece.

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The first passage consists of broken, chromatically-moving chords, and the second

consists of broken octaves. Practicing both passages with varied rhythmic emphasis is

recommended. For instance, start with emphasis on each eighth-note pulse, then quarter-

note, and eventually each half note (both passages occur within a 4/4 meter). Practicing

with dotted rhythms will also help to solidify one’s internalization of these passages, as

they can feel awkward physically and visually (they heavily rely on “motor” or otherwise-

called “muscle” memory). The author has found that in performance, emphasizing each

half-note pulse with a slight accent is greatly helpful. Otherwise, these difficult patterns

can easily derail. Visually, the grouping of the half-note pulse can serve as a goal post for

the eyes and hands, so to speak.

Sound-World

The pianist’s ability to create a wide array of colors is a principal requirement in

Vine’s piano music; this extraordinary music creates multi-dimensional effects through

register contrast, bell-like textures, and imaginative use of rhythm. For greatest impact,

the pianist must possess a vast color palette from which to choose. Because the textures

require such clarity of execution, practicing each musical line separately is recommended

(wherever there are two or more distinct lines). As one might approach a Bach Fugue, for

instance, outlining the character, sound, dynamic, and articulation in each voice will help

refine the overall texture when put together.

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Chapter 6 Conclusion Carl Vine’s Piano Sonata No. 4 is a magnificent new addition to the 21st-century

canon of piano music. It embodies all of the compositional traits that make Vine’s music

so effective. As analyzed, his use of motivic development, rhythmic organization, textural

imagination, and pianistic brilliance create a unique blend of elements which are a

pleasure to experience, both as a performer and listener.

It is the author’s wish that pianists who study this sonata will closely heed the

score’s indications. Vine is extremely specific throughout (articulation, pedaling, tempi,

rhythmic groupings, pulse, etc.), and these indications should be fully internalized when

studying.

As the first performer of this work, the author has found that analyzing the piece

with particular regard to structure has enabled a more cohesive interpretation. In addition,

paying close attention to one’s sound and creating a vivid color palette (with and without

pedal) enhances the dramatic possibilities of this music. In conjunction with Piano Sonata

No. 4, a survey of Vine’s piano music will illustrate how crucial the clarity of rhythm,

texture, sound, and passagework are when interpreting his music.

This essay and recording have attempted to celebrate the imagination and creativity

of Carl Vine’s Piano Sonata No. 4. It is the author’s hope that this sonata’s genesis will

spur further appreciation of Vine’s compositional output.

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Bibliography

Bebbington, Warren A., and Graeme Skinner.“Vine, Carl.” Grove Music Online. October 26, 2011. Oxford University Press. Accessed March 19, 2020. http://oxfordmusiconline.com.access.library.miami.edu/grovemusic/view/10.1093 /gmo/9 781561592630.001.0001/omo-9781561592630-e-0000043456. Boren, Benjamin. “Modeled Individuality: the Influence of Elliot Carter's Piano Sonata (1946) in Carl Vine's Piano Sonata (1990),” Indiana University, 2012. Pereira, David. “Compositional Credos and Performance Perspectives: An Interview with Carl Vine.” Context, no. 23 (2002): 59-66,99. Campbell, Peter. “The Music of Carl Vine.” Context, no. 42 (2017): 115-116. Cyba, Hanna. “A Performer's Guide to the Piano Sonatas by Carl Vine.” Dissertation, University of Miami, 2002. Giambalvo, Mitchell Thomas. “An Introduction to the Piano Music of Carl Vine with Emphasis on his Piano Sonata No. 3,” 2014. Kang, Gina. “A Study of the Third Piano Sonata of Carl Vine (2007): the Musical Characteristics of the Third Sonata Compared through the First Sonata and Second Sonata and Practical Performance Guide,” Ohio State University, 2012. Min, Kui.“Carl Vine First Piano Sonata (1990): New Sounds, Old Idols, and Extreme Pianism,” University of Wisconsin - Madison, 2008. Ruggiero, Christopher. “A Recording and Guide to the Performance of Carl Vine's Anne Landa Preludes” at Ball State University, 2015. So, Yuson. “Piano Sonata No. 1 by Carl Vine; a Theoretical and Pianistic Study,” University of Kansas, 2013.

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Vine, Carl. “Biography.” Carl Vine::Composer. Accessed March 20, 2020. http://www.carlvine.com/cgi- bin/index.cgi?cv=bio. Yang, Eun-Kyung. “The Piano Sonatas of Carl Vine: A Guideline to Performance and Style Analysis.” Dissertation, Ohio State University, 2003. Ying, Tang. “The Anne Landa Preludes of Carl Vine: musical characteristics and practical performance guidelines,” University of Kansas, 2016. Yoon, Hyekyung. “An Introduction of Carl Vine's Three Piano Sonatas with Emphasis on Performance and Practice Suggestions for Sonata No. 2 (1997),” Ohio State University, 2010.

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