COMPOSITIONAL AND PERFORMING STRATEGIES IN FIVE WORKS FOR PIANO SOLO BY CARL VINE

This research paper discusses five compositions for solo piano by Carl Vine (b. 1954): Five Bagatelles (1994), Sonata No. 2 (1997), Red Blues (1999), The Anne Landa Preludes (2006), and Toccatissimo (2011). Known for its distinctive synthesis of neo-romantic modernistic elements, Vine’s music has received wide attention and has been performed by internationally renowned musicians and ensembles. A pianist himself, Vine has composed works for solo piano, two pianos, and piano concertos, as well as works for piano trio and piano quintet. All the piano compositions reflect a continuation of twentieth-century pianistic traditions and were composed after 1985, when Vine decided to go in a different direction in search of his mature voice. While there has been some writing on Vine’s three Piano Sonatas and Piano Concerto No. 1, his other solo piano compositions have not received scholarly scrutiny in the literature. In this project I undertake analysis of the forms, harmonies, melodic content, rhythms, and textures of the five compositions. I also examine influences on these piano works; special features relating to their eclectic and neo-romantic elements; performance considerations which must be confronted on account of Vine’s extreme virtuosic writing; as well as pedagogical issues relevant to these particular works. This thesis consists of four chapters. The first chapter serves as an introduction, containing composer’s biography and stylistic characteristics in Vine’s piano music. The second chapter provides pedagogical examination of Vine’s all works for piano solo, including a comprehensive analysis of the forms, harmonies, melodic content, rhythms, and textures. In addition, the solo piano works are organized by levels of difficulty. The third chapter provides a detailed analysis of Piano Sonata No. 2, which shows more rigid structure. The fourth chapter provides a conclusion, summarizing compositional style in Vine’s piano music. An interview I conducted with Mr. Vine is reproduced in an appendix.U of I OnlySchool of Music polic