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Electronic Theses, Treatises and Dissertations
The Graduate School
2011
Seventh Day of the Seventh Moon by
Edward Knight
Eun-Hee Park
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THE FLORIDA STATE UNIVERSITY
COLLEGE OF MUSIC
SEVENTH DAY OF THE SEVENTH MOON
BY EDWARD KNIGHT
By
EUN-HEE PARK
A Treatise submitted to the
College of Music
in partial fulfillment of the
requirements for the degree of
Doctor of Music
Degree Awarded:
Summer Semester, 2011
The members of the committee approve the treatise of Eun-Hee Park defended on April
27, 2011.
____________________________
Carolyn Bridger
Professor Directing Treatise
____________________________
Evan Jones
University Representative
____________________________
Timothy Hoekman
Committee Member
____________________________
Valerie Trujillo
Committee Member
The Graduate School has verified and approved the above named committee members.
ii
Dedicated to my dearest grandmother, Kim Hong-Wol (!"#).
iii
ACKNOWLEDGEMENTS
I would like to express my deep appreciation to Dr. Edward Knight, who not
only wrote a fascinating chamber work, Seventh Day of the Seventh Moon, for enhak!,
but was also tremendously supportive and encouraging during the completion of this
treatise.
My very special thanks go to my major professor, Dr. Carolyn Bridger. I wish
there were perfect words to describe how grateful I am for her existence in my life. She
is an inspiring, warm-hearted teacher, a fabulous pianist, and my “Dr. Mom” who has
taken wonderful care of me. I would not have been able to complete this treatise and my
doctoral studies without her endless support and love. Dr. Bridger’s husband, Waldie
Anderson, is my “grandpa” who is always there for me whenever I am in need of wisdom,
encouragement, laughter, inspiration, and any kind of help. Thank you very much,
“Grandpa Waldie!”
I owe much to my committee members: Dr. Timothy Hoekman, Professor
Valerie Trujillo, and Dr. Evan Jones. Dr. Hoekman enthusiastically shared his extensive
knowledge of Italian and German diction and vocal literature; Professor Trujillo helped
me become a much more expressive, sensitive, and attentive accompanist and vocal
coach. My special gratitude goes to Dr. Jones for his warm words of encouragement and
his willingness to serve as my outside committee member following the untimely passing
of Dr. Michael Allen.
I would be remiss if I did not thank my former piano teacher, Dr. Michael Baron,
for his continued support and guidance. Also, my aunt and uncle, Esther and Robert
Patterson, opened a very special door for me to come to the United States ten years ago to
pursue my musical studies and have been my spiritual mentors ever since.
I wish to express my profound and heartfelt gratitude to my father, Park CheolSung; my mother, Ju Yeon-Ju; and my sister, Park Seonha. Their faith, confidence, and
unconditional love have provided a constant source of strength.
Many thanks as well to my dearest friends who have been precious gifts from
God in so many ways.
iv
Lastly, but most importantly, my deepest thanks go to God. He is the source of
my strength and shows His great love at every moment of my life.
v
TABLE OF CONTENTS
List of Tables ............................................................................................................................. vii
List of Musical Examples ......................................................................................................... viii
Abstract........................................................................................................................................ x
1. EDWARD KNIGHT ............................................................................................................... 1
Childhood and Early Education .......................................................................................... 1
From Michigan to Texas ..................................................................................................... 2
John Corigliano and John Lambert ..................................................................................... 3
Oklahoma City University .................................................................................................. 5
2. EDWARD KNIGHT’S CHAMBER WORKS WITH PIANO ............................................... 7
Introduction ......................................................................................................................... 7
Annotated Bibliography of Chamber Works with Piano .................................................... 8
3. SEVENTH DAY OF THE SEVENTH MOON .................................................................... 15
Significance....................................................................................................................... 15
Background ....................................................................................................................... 16
The Story of Kyun-woo and Jiknyeo ................................................................................. 17
Origin of the Story ............................................................................................................ 19
Customs of Chilseok ......................................................................................................... 20
4. MUSICAL ANALYSIS AND PERFORMANCE SUGGESTIONS .................................... 22
I. On the Banks of the Silver River ................................................................................... 22
II. Two Hearts ................................................................................................................... 28
III. Exile ............................................................................................................................ 33
IV. Bridge of Wings.......................................................................................................... 41
V. Once a Year .................................................................................................................. 48
CONCLUSION ......................................................................................................................... 57
APPENDICES ........................................................................................................................... 58
A. List of Quartets for Clarinet, Violin, Cello, and Piano ................................................ 58
B. Authorization Letter ..................................................................................................... 60
C. Edward Knight’s Formal Sketch of Seventh Day of the Seventh Moon ....................... 61
BIBLIOGRAPHY ..................................................................................................................... 66
BIOGRAPHICAL SKETCH ..................................................................................................... 69
vi
LIST OF TABLES
1 Sonata Form, On the Banks of the Silver River ............................................................22
2 Ternary Form, Two Hearts ...........................................................................................28
3 Four Related Motifs ......................................................................................................34
4 Binary Form, Exile ........................................................................................................34
5 Subsections in A, Exile .................................................................................................35
6 Formal Diagram of Bridge of Wings .............................................................................42
7 Ternary Form, Once a Year ..........................................................................................49
!
vii
LIST OF MUSICAL EXAMPLES
1 Theme 1, On the Banks of the Silver River, mm. 1-4 ...................................................23
2 Theme 2, On the Banks of the Silver River, mm. 25-29 ...............................................24
3 Closing Theme, On the Banks of the Silver River, mm. 52-56 .....................................24
4 Canon in Development Section, On the Banks of the Silver River, mm. 65-72 ...........25
5 On the Banks of the Silver River, mm. 86 .....................................................................25
6 On the Banks of the Silver River, mm. 75-77 ...............................................................26
7 On the Banks of the Silver River, mm. 111-120 ...........................................................27
8 Two Hearts, mm. 1-8 .............................................................................................. 29-30
9 Two Hearts, mm. 14-17 ................................................................................................30
10 Two Hearts, mm. 26-36 ..............................................................................................31
11 Two Hearts, mm. 52-55 ..............................................................................................32
12 Two Hearts, mm. 61-65 ..............................................................................................33
13 Exile, mm 39-43 ..........................................................................................................36
14 Exile, mm. 44-45 .........................................................................................................37
15 Exile, mm. 47-58 .........................................................................................................38
16 Exile, mm. 83-88 .........................................................................................................39
17 Exile, mm. 95-100 .......................................................................................................40
18 Exile, mm. 119-122 .....................................................................................................41
19 Bridge of Wings, mm. 1-8 ...........................................................................................42
20 Bridge of Wings, mm. 12-15 .......................................................................................43
21a Bridge of Wings, m. 22 ............................................................................................43
viii
21b Bridge of Wings, m. 25 .............................................................................................43
21c Bridge of Wings, m. 27..............................................................................................43
22 Bridge of Wings, mm. 29-30 .......................................................................................44
23 Bridge of Wings, m. 48 ...............................................................................................44
24 Bridge of Wings, mm. 76-81 .......................................................................................45
25 Bridge of Wings, mm. 82-85 .......................................................................................45
26a Bridge of Wings, m. 92..............................................................................................46
26b Bridge of Wings, mm. 104-105 .................................................................................46
27 Bridge of Wings, mm. 110-118 ...................................................................................47
28 Bridge of Wings, mm. 143-145 ...................................................................................48
29 Once a Year, mm. 2-4 .................................................................................................50
30 Once a Year, mm. 5-7 .................................................................................................51
31 Once a Year, mm. 22-25 .............................................................................................52
32 Once a Year, mm. 30-34 .............................................................................................53
33 Once a Year, mm. 119-130 .........................................................................................54
34 Once a Year, mm. 133-137 .........................................................................................55
35 Once a Year, mm. 142-145 .........................................................................................56
ix
ABSTRACT
Born in Ann Arbor, Michigan in 1961, award-winning American composer
Edward Knight started his musical training at the age of two with his grandmother, a
concert pianist.
Knight has written about twenty chamber works, nine of which are for the piano
and other instruments. Each of these nine chamber works with the piano is introduced
chronologically in an annotated bibliography in Chapter Two. The author explores
Knight’s musical characteristics and compositional styles regarding the length, year of
composition, premiere performance, commissions, dedications, musical style and
structure, and significance.
In Chapters Three and Four, the author examines thoroughly Edward Knight’s
new work, Seventh Day of the Seventh Moon, for clarinet, violin, cello, and piano. Based
on a popular Korean legend, Kyun-woo and Jiknyeo (Korean title: $%&'()), Knight
paints this love story vividly with his unique musical language utilizing the distinct
sounds and characters of the four different instruments, but without incorporating any
Korean influences. This five-movement work is full of youthful energy, romanticism,
descriptive and vivid images of the story, and theatrical elements in a well-organized and
cohesive structure.
x
CHAPTER ONE
EDWARD KNIGHT
Childhood and Early Education
Born in Ann Arbor, Michigan in 1961, Edward Knight started his musical training at the
age of two with his grandmother, a pianist and lifelong teacher.
She gently introduced young
Knight to the sound of classical music and taught him how to enjoy himself by playing
instruments like piano and recorders.
It was the trumpet, however, that brought him early
success and led to a deeper interest in music.
He performed in various school and
extracurricular ensembles ranging from concert and “pep” bands to jazz band.
Knight started
attracting the attention of band directors by exhibiting an extraordinary natural talent on the
trumpet.
In the eighth grade, he took a private lesson from renowned trumpeter Clifford Lillya,
a professor at the University of Michigan at that time.
Professor Lillya arranged for Knight to
study with Melvin Harsh, also at the University of Michigan.
Knight was the youngest member
of the Michigan-based performance organization, Musical Youth International, which allowed
him to tour overseas several times.
These opportunities nurtured him musically, and gave him a
taste of different cultures while visiting many countries in Europe.
Knight’s first attempts to compose music were during his high school years when he
created arrangements for his ensembles.
He was not successful at first, but the experience
certainly “planted the seeds for the future study of composition.”1
His affinity for jazz
improvisation also led Knight to pursue the study of composition.
"For me it was a natural,
progressive development,” he states.
“I knew I was a good improviser.
spontaneously come up with things.
I started to realize that composing was what I was meant
to do; I found I had something to say.
It was easy to
I think anyone, if they have the right instruction and are
1
Subito Music Corporation website,
http://www.subitomusic.com/composers/composers.cfm?composer=11 (accessed December 10, 2010).
1
self-motivated, can learn technique and gradually build it throughout their life."2
From Michigan to Texas
In 1979 Knight enrolled at Eastern Michigan University (EMU) as a music education
major, where he learned basic techniques of every orchestral instrument.
At EMU he studied
with composition professor Anthony Iannaccone, whom Knight holds in high esteem.
Professor Iannaccone encouraged him to write his own music, not merely to imitate other
composers.
The formal training with Iannaccone helped establish a firm foundation for Knight
as a composer and helped build a solid and well-organized portfolio that resulted in his
acceptance into several graduate schools as a composition major.
Brass Quintet and the piano
solo Illusions brought Knight his first taste of success as a composer by winning prizes from the
Lansing Matinee Musicale and the Frederick Delius Composition Competition, respectively.
Soon after Knight began his master’s study at the University of Texas (UT) in Austin, he
searched for a pianist who could work with him.
Professor Danielle Martin at UT suggested
that he contacts one of her doctoral students, John Ferguson, who is now Executive Director of
American Voices, a nonprofit organization “devoted exclusively to cultural engagement
programs worldwide.”3
Delius Competition.
It was Mr. Ferguson who agreed to learn Illusions and perform it at the
This experience taught Knight how important and exciting it is to work
with performers who give true life to works that he creates.
In 1985 Knight began doctoral studies at UT.
Many guest composers and artists visited
UT, enabling him to attend and participate in numerous master classes and private lessons.
It
was a tremendous learning process for him to observe various teaching styles and glean many
different ideas.
After completing coursework for the doctorate, Knight applied for post-
doctoral study and various scholarships at the suggestion of his teacher, Dan Welcher.
particularly thrilled to win a Rotary Scholarship to study in London.
He was
Unfortunately, because
there were too many students who had already expressed interest in going to London, Knight was
asked by the scholarship foundation to consider going to South Africa or continental Europe
instead.
2
3
He decided to defer for a year and reapply for the Rotary Scholarship, which was
Ibid.
American Voices website, http://www.americanvoices.org (accessed February 20, 2011).
2
awarded to him again in 1988.
John Corigliano and John Lambert
During the year 1987, Knight corresponded with several composers in the United States,
expressing his desire to take lessons.
John Corigliano replied with an encouraging message.
Knight recollects:
I visited John Corigliano in New York. He was very interested in my music. But he
hadn’t taught privately in ten years, and was very busy with his compositional
commitment for the Chicago Symphony Orchestra and the Metropolitan Opera. He
said, “Let’s think about it!” I had to get my foot in the door. Before leaving New
York for Michigan to visit my family, I called Corigliano and left a very articulate
message saying how much I would love to study with him, and that he was really the one
who could teach me to reach my potential . . . and what I really needed to learn in terms
of form, structure, and so forth. Later in the day, Corigliano called me and said, “Okay,
let’s do it!”4
Knight immediately moved to New York City.
Under Corigliano’s tutelage, he
composed his first major piece for orchestra, Of Perpetual Solace, in 1988.
The work was
performed at Orchestra Hall in Chicago by the Civic Orchestra of Chicago, and was also selected
by the National Orchestral Association to be performed at Carnegie Hall as a 1991 New Music
Orchestra Project “Second Presentation” winner.5
and the concert was canceled.
Unfortunately, the organization disbanded,
Corigliano’s influence was significant, especially on planning a
cohesive overall formal structure, drawing a formal sketch of dynamic curves, and preparing as
many details as possible.
Knight states, “Before then, I was writing music with just a little
consideration for form and structure, hoping that things would just work themselves out
automatically at the end.”6
After a year of studying with John Corigliano, Knight moved to London on a Rotary
Scholarship to attend the Royal College of Music where he continued composition studies with
John Lambert.
Lambert’s teaching method was unique:
He (Lambert) asked question after question. He wouldn’t give me any answers, which
was a bit frustrating from time to time. Thinking back, he probably knew that I was far
4
5
6
Edward Knight, phone interview by author, Oklahoma City, OK, January 8, 2011.
Edward Knight, http://edwardknight.com (accessed December 10, 2010).
Edward Knight, interview by author, tape recording, Oklahoma City, OK. January 30, 2011.
3
enough along musically that what he had to do was just question me. It was somewhat
of a longer process of composing pieces because he made me think and think. This
process helped me to find my own voice. While studying with him, I gained so much
more control and technical ability that it absolutely matured me as a composer.7
At the Royal College of Music, Knight was the first American composer to win the Sir
Arthur Bliss Memorial Award for outstanding postgraduate composer.
He completed a choral
piece, O Vos Omnes, and an orchestral piece, Total Eclipse, in London.
O Vos Omnes received
its premiere by I Cantori di New York in Carnegie Hall’s Weill Recital Hall in 1989.
Total
Eclipse was premiered in 1990 after having been selected for the New York Philharmonic’s
Horizons ’90: New Music for Orchestra concert.
This was the year when Knight returned to
New York City from London.
My phone answering machine was broken for a week or so; I didn’t really care much
about it. When it was finally fixed, the phone rang. It was David Del Tredici from the
New York Philharmonic. Del Tredici jokingly said, “Are you too good to return my
calls? I’ve left a bunch of messages and you never called me back!” I thought it was
one of my friends playing a joke on me. I immediately rushed to Lincoln Center to meet
him. He wanted to perform Of Perpetual Solace, which he found while he was at the
American Society of Composers, Authors and Publishers (ASCAP). I also brought Total
Eclipse with me, which hadn’t yet been performed. When I showed it to him, he was
very much interested in performing that piece instead.8
Subsequently, Knight produced two orchestral works in 1991, Big Shoulders and Granite Island.
Commissioned by ASCAP/Meet the Composers and the Chicago Symphony Orchestra to
commemorate its centennial, Big Shoulders was awarded ASCAP’s Rudolf Nissim Prize for the
best new orchestral work in 1994.9 Granite Island was commissioned for the first L.A.
Composers Project, a competition established to celebrate the Los Angeles Philharmonic
Institute’s tenth season.
An abandoned lighthouse set atop a jagged granite island in Lake
Superior inspired the composer to create the piece.10
In New York City, Knight held a variety of odd jobs to make ends meet, including
working as a personal assistant to John Corigliano for several years.
was appointed to the faculty at Hunter College.
During this time period, he
After his first child, Alexander, was born in
1993, both Knight and his wife, Mary Jane Alexander, thought that “it might be time for a
7
Ibid.
Ibid.
9
Edward Knight, http://edwardknight.com (accessed December 10, 2010).
10
Ibid.
8
4
change of venue.”11
M.J. Alexander accepted a teaching job at St. Michael’s College in
Jeffersonville, VT, a small town with a population of only four hundred.
Knight soon found
that living there could be monotonous and tedious for a composer, with limited performance
venues and few musical activities available.
At that time Knight was writing his piano trio
Colic Frolic, a very difficult piece for him to focus on consistently.
he states.
“I was in culture shock,”
“Not being able to work with performers on a regular basis made me feel
desperate.”12
Oklahoma City University
One day, Mark Parker, Dean of the Wanda L. Bass School of Music at Oklahoma City
University (OCU), called Knight to commission an orchestral piece.
Dean Parker was already
familiar with Knight’s music; he had conducted Of Perpetual Solace on a concert just days after
the bomb attack on the Alfred P. Murrah Federal Building in April 1995.
Knight had for some
time wanted to set Langston Hughes’s poetry to music, specifically for voice and orchestra.
This collaboration produced his first song cycle, Life is Fine, which received its premiere by
soprano Faye Robinson with the American Music Festival Orchestra in Duncan, Oklahoma, in
1997.
Later, he transcribed Life is Fine for high voice and piano, hoping that this version would
provide more access for singers to perform the cycle.
In the same year, Knight was offered a faculty teaching position at Oklahoma City
University as Composer-in-Residence, a position that he retains.
birth of his second child, Allegra, in 1997.
Even more joyous was the
The first assignment at OCU was writing two
musical theatre works: Strike a Match (1999) and Night of the Comets (2001).
Because his
wife, M.J. Alexander, was such an accomplished writer, Knight set many of her poems and lyrics
into a song cycle (Tales Not Told), in addition to cabaret/theatre songs.
In fact, both Strike a
Match and Night of the Comets are settings of words from M.J. Alexander’s stories and lyrics.
Although it was his first attempt to write a different musical genre, musical theatre, the latter was
named best new work for TV, film, or stage by the Oklahoma Writers’ Federation, Inc.
This
expansion into a new genre also led Knight to incorporate musical theatre aspects into his
11
McDaniel, Catherine. “I offer a dance of joy…: The Intersection of Genealogy and Genre in Edward
Knight’s Tales Not Told.” D.M.A. diss., University of Oklahoma, 2009, 103.
12
Edward Knight, interview by author, tape recording, Oklahoma City, OK. January 30, 2011.
5
chamber music writing later in life.
At OCU, Knight has had numerous opportunities to work with fine musicians.
Many
colleagues and even students have commissioned him to write new works, especially chamber
music, including Romance for Clarinet & Piano for Chad E. Burrow and Amy I-Lin Cheng;
Acela (for flute/piccolo, B-flat clarinet, violin, cello, marimba/vibes, and piano/celesta) for
students of Alpha Zeta Chamber, Sigma Alpha Iota; Raven (for clarinet and marimba) for David
Steffens; and Sonata Through Salt-Rimmed Glasses (for trumpet/flugelhorn and piano) for
Michael Anderson.
As his passion for chamber music grows deeper in his heart, Knight
continues to enjoy collaborating with performers and creating works that both performers and
audiences will appreciate.
Edward Knight’s name is continuously being recognized nationwide.
He has received
numerous awards including Oklahoma’s Musician of the Year in 2002; the prize for Best Song
Cycle in the Established Professional Category from the American Art Song Competition for
Composers, sponsored by the San Francisco Song Festival in 2004; and an Aaron Copland
Award in 2006.
Several commercial recordings have been released with his orchestral works,
chamber music, and a song cycle through labels such as Albany Records, Capstone Records, and
ERM Media series.
In addition, he has been a frequent fellow at the Yaddo, MacDowell,
Ucross, and Djerassi artist colonies.
6
CHAPTER TWO
EDWARD KNIGHT’S CHAMBER WORKS
WITH PIANO
Introduction
Beginning in 2007, Edward Knight’s compositional focus became more centered on
chamber music.
It was during this year that he composed Beneath a Cinnamon Moon for
clarinet, viola, and piano, and realized how much he loved the creation of chamber works for
specific performers.
Chad E. Burrow (clarinetist), Matthew Dane (violist), and Amy I-Lin
Cheng (pianist), who presented the premiere of Beneath a Cinnamon Moon, have since
commissioned Knight to compose other works for them to perform.
As a result, Inbox (for
Dane and other founding members of the Brightmusic Series in Oklahoma) and Curve of Gold
(for Burrow, Cheng, and William Christensen13) were composed and premiered by them.14
Knight has written twelve more chamber works, each with a different instrumentation, due to the
variety of groups with whom he has worked.
Knight’s chamber music style has gradually evolved and developed from his earlier
chromatic and atonal writing into a tonal, theatrical, witty, and lyrical writing style.
This new
style is less technically demanding for the players, thereby creating a more accessible work for
both performers and audience.
Some works, such as Inbox, might even be perceived as merely
humorous, though Knight incorporates humorous elements in a well-structured and musically
cohesive manner.
In the process of creating new works, Knight enjoys collaborating not only with
performers, but also with his wife, M.J. Alexander.
As mentioned briefly in chapter one, M.J.
Alexander is an accomplished writer and often assists Knight with the invention of descriptive
13
William Christensen is a voice professor at Oklahoma City University, OK.
Chad E. Burrow is currently a clarinet professor at the University of Michigan; his wife, Amy I-Lin
Cheng, is a collaborative pianist. Matthew Dane is on the faculty of the University of Colorado.
14
7
and relevant titles for his works.
They also concoct suitable stories for each work, as in Acela,
Sonata Through Salt-Rimmed Glasses, and Inbox.
This chapter consists of an annotated bibliography of Edward Knight’s nine chamber
works with piano.
It is organized in chronological order and contains specific information for
each piece: year of composition, instrumentation, length, dedication, publisher, commission
information, and movements.
The level of technical difficulty of the work and its musical style
will also be discussed.
Annotated Bibliography of Chamber Works with Piano
Where the Sunsets Bleed: Sonata for Cello and Piano
•
Year of Composition: 1994
•
Instrumentation: Cello, piano
•
Length: 21 minutes
•
Dedication: The composer’s grandfather, James Henry Knight
•
Publisher: Subito Music Publishing, Inc. (IAP-S041)
•
Commission: American Voices, a Dutch-based ensemble commissioned the work as part of
the 50th anniversary commemorations of the ending of World War II.
•
Movements: I. Turbulent; moody, II. Freely, III. Larghissimo, IV. Spirited
Both the cello and piano parts of this work are technically challenging to play.
Throughout the first movement, the cello line has a slow-moving but intense melody with a
narrow range, while the piano part, with continuously moving swift thirty-second notes,
produces a swirling and turbulent effect.
The second movement depicts “the hallucinatory state
before death where fragments of past memories dance in and out of an ethereal atmosphere.”15
The somber mood of the third movement is set by the many tritones and “weeping” minor
seconds within the cello part.
vibrant cello cadenza.
The fourth movement is rhythmically dynamic and includes a
The entire piece is atonal and chromatic.
15
Edward Knight. Program notes from When the Sunsets Bleed: Chamber Music of Edward Knight. Troy
757 © by Albany Records, 2005.
8
Colic Frolic: Notes from a Sleep-Starved Dad
•
Year of Composition: 1996
•
Instrumentation: Violin, cello, piano
•
Length: 16 minutes
•
Dedication: None
•
Publisher: None
•
Commission: None
•
Movements: One movement
Although written in a single movement, this work is divided into two contrasting
sections.
The first section is atmospheric with a slow tempo and uses a higher range of the
piano and harmonics on the strings, whereas the second is highly rhythmic and propelling.
work is strongly chromatic and atonal.
This
On the title page of the score, there is a “Note to
performers: in the opening 30 bars, play with confidence and abandon, in a comically selfabsorbed way, with little concern how the parts fit together.”16 The piano begins with a threenote motif (B-A-C) that slowly develops within a fluctuating tempo.
The development of the
motif and the tempo variance together generate a feeling of uncertainty.
Knight’s use of
harmonics on long notes in the strings and the high range of the piano are apparent within the
first section of the work.
As the piece progresses, it builds energy through the use of denser
texture and more rhythmic activity, especially within the second section.
This work is
technically challenging for all three performers.
Acela
•
Year of Composition: 2003
•
Instrumentation: Flute/piccolo, clarinet, violin, cello, marimba/vibes, piano/celesta
•
Length: 5 minutes
•
Dedication: None
•
Publisher: Subito Music Publishing, 91190110
•
Commission: Alpha Zeta Chapter of Sigma Alpha Iota, in honor of its 75th anniversary
16
Edward Knight. Colic Frolic: Notes from a Sleep-Starved Dad. Manuscript from the composer.
9
•
Movements: One movement
This work was inspired by “the sleek, high-speed bullet trains that run the Northeast
Corridor, between Boston and Washington, D.C.”17
piano and vibes, it is playful and lighthearted music.
Opening with a festive theme played by the
The syncopated rhythms and constant
meter changes help to maintain cheerfulness and energy throughout the piece.
While it
challenges performers to maintain a tight ensemble, it is not as technically demanding as his
previous works.
According to Knight’s own description of the piece, “we hear the echoes of
the hammers from the transcontinental railroad tracks being laid, and the breath of early steam
engines.
The work takes us through machines of increasing power, and culminates in the
energy and triumph of Acela, the newest and fastest train on the continent.”18
Romance for Clarinet & Piano
•
Year of Composition: 2003
•
Instrumentation: Clarinet, piano
•
Length: 16 minutes
•
Dedication: Chad E. Burrow and Amy I-Lin Cheng
•
Publisher: Subito Music Publishing, 91190090
•
Commission: None
•
Movements: I. Dinner, Then a Movie, II. The Ride Home, III. And Then...
Romance tells a story that requires both audience and performer to use their
imaginations.
The clarinet opens with a flourish, an ornamental scale that seems to represent a
curtain opening before a show.
Knight uses musical gestures such as glissandi, grace notes, and
swift ascending scales in both the clarinet and piano parts to further the sense of fantasy.
The
creation of a tight ensemble is a challenge in the first movement because of constant alternation
between duple and triple subdivisions.
flirtatious.
The second movement, for clarinet solo, is coy and
Full of humor and liveliness, the third movement is an excellent example of
Knight’s theatrical style.
17
18
Knight, http://edwardknight.com (accessed December 15, 2010).
Ibid.
10
Sonata Through Salt-Rimmed Glasses
•
Year of Composition: 2006
•
Instrumentation: Trumpet/flugelhorn, piano
•
Length: 16 minutes
•
Dedication: None
•
Publisher: Subito Music Publishing, 91190100
•
Commission: None
•
Movements: I. Tequila Sunset, II. Once Upon a Time, III. The Worm at the Bottom of the
Bottle
The work portrays scenes in which a man has his romantic hopes raised and dashed
during one evening in a cantina.
The description of scenes can be found in Knight’s program
notes, available on his website at “edwardknight.com.”19
The first movement opens in a
confident manner, but the music gradually darkens toward the end to anticipate the next scene in
which the man reminisces about past moments with a former lover.
The nostalgic and
sentimental second movement is played by the flugelhorn, a perfect fit for the movement due to
its warmer timbre.
Divided into three sections, the final movement begins with a lyrical, muted
tune on the trumpet that sets a romantic tone.
This is followed by a waltz and tango that require
theatrical actions from both performers.
Beneath a Cinnamon Moon
•
Year of Composition: 2007
19
Edward Knight’s notes on the scenes of each movement, extracted from his website,
http://edwardknight.com (accessed March 1, 2011):
I. Tequila Sunset—Lights turn on one by one as dust creeps into evening. He enters the cantina jauntily,
with hopes high. A series of music-box tunes cycles by, as romantic partners are eyed and possibilities
weighed. Conversation turns to flirting and laughter. A wave of nostalgia overcomes him,
accompanied by a fuzzing of mind and blurring of time.
II. Once Upon A Time—A glimpse of flashing eyes from across the room evokes memories of a long-last
love. He allows himself to glorify their future together that never came to be.
III. The Worm At The Bottom Of The Bottle— Reality shoulders its way back in as the reminiscences
dissipate. He becomes aware of the music in the cantina and, to his numbed brain, the increasingly
disjointed dancers. Hope has dissolved, the long-lost love is still lost, and he surrenders himself to a
frenetic embrace of the now. He turns to lock eyes with the woman from across the room. They
couple in a deliberate tango that swells in speed and intensity just before the tequila sunrise.
11
•
Instrumentation: Clarinet, viola, piano
•
Length: 25 minutes
•
Dedication: To Chad E. Burrow, Matthew Dane, and Amy I-Lin Cheng
•
Publisher: Subito Music Publishing, 91140080
•
Commission: Brightmusic, in Celebration of Oklahoma’s Centennial
•
Movements: One movement
Divided into seven sections, Knight utilizes two main themes.
The first is based on a
native American chant, first heard in a section marked “Heartbeat of ‘Okla Homma,’ the Red
People.”20 The “Heartbeat” theme is used as a recurring bridge that connects each section to the
next.
The second theme is a hoedown that can be heard within each one of the seven sections.
These sections are entitled “Land Run Hoe-Down; Iron Horse, Black Gold; The Dream Fades:
Dust Bowl, Depression; The Gathering Storm: Machines of War; Red Earth Requiem: For Those
Lost; Start Your Engines! Route 66; and Oklahoma Crazy Quilt.”21 While the clarinet and viola
parts are virtuosic in nature, the piano part, though it uses the full range of the keyboard, is more
sparse and accessible.
Bringer of Fire, Rhapsody for Contrabass & Piano
•
Year of Composition: 2009
•
Instrumentation: Contrabass, piano
•
Length: 11 minutes
•
Dedication: None
•
Publisher: Subito Music Publishing, 91140100
•
Commission: Zain Effendi, a Polish graduate contrabass student at Oklahoma City
University, OK, who presented its premiere at the International Bass Society in 2009
•
Movements: One movement
20
“Oklahoma” translates to “red people” in the Choctaw language.
Edward Knight. Beneath a Cinnamon Moon for clarinet, viola, and piano. Long Island City, NY:
Subito Music Publishing, Inc., 2007.
21
12
Written as a single movement, this is a virtuosic piece for both the contrabass and piano.
The composer’s descriptive comments within the score include “Lightly; Hypnotized” in the
canonic section, and “Ignoring piano—soaring above the conflict” in the codetta.22 These
descriptions are very specific, creating a compelling character for the work.
piano accompaniment reinforces the robust energy of the piece.
A florid and rapid
Before the codetta, there is a
cadenza for the contrabass.
Inbox for Flute, Viola & Piano
•
Year of Composition: 2010
•
Instrumentation: Flute, viola, piano
•
Length: 13 minutes
•
Dedication: None
•
Publisher: Subito Music Publishing, 91190110
•
Commission: To Christina Jennings, flutist; Matthew Dane, violist—founders of the
Brightmusic Series, Oklahoma City, OK.
•
Movements: I. Do Not Delete!; II. Classmate Quest; III. Match.com; IV. Ebay Bid War
Inbox is a composition full of humor and mischief.
It is an accessible work for all
audiences, regardless of their age group or musical background.
The piece contains many
amusing conversations between instruments, especially between the flute and viola.
Knight
quotes a taunting children’s tune, “nana nana an-na,” in the first movement, and the three
instruments recreate and elaborate upon this well-known taunt.
The second movement consists
of a romantic and lyrical dialogue between the flute and viola, with warm, waltz-like phrases in
the piano part between the “dialogue” sections.
a whimsical manner.
The third movement utilizes tango elements in
Finally, the fourth movement brings the witticism and humor of the piece
to a close with its lighthearted and mischievous character.
For a final laugh, the piece ends with
an exclamation from the violist—“Sold!”
22
Edward Knight. Bringer of Fire: Rhapsody for Contrabass & Piano. Long Island City, NY: Subito
Music Publishing, Inc., 2009.
13
Curve of Gold
•
Year of Composition: 2010
•
Instrumentation: Tenor, clarinet, and piano
•
Length: 18 minutes
•
Dedication: To Brightmusic; my friends William Christensen, Chad E. Burrow, and Amy ILin Cheng
•
Publisher: None
•
Commission: Brightmusic, in Celebration of Oklahoma’s Centennial
•
Movements: I. Old Tunes, II. Redbirds, III. There Will Come Soft Rains, IV. Wild Asters, V.
Barter
•
Poet: Sara Teasdale (1884-1933)
This work is Knight’s third song cycle, but the first in which he uses the poetry of Sara
Teasdale.
The text setting is mostly syllabic and the piano accompaniment is light in texture,
allowing the voice and the text to be dominant.
The clarinet is treated as another persona, who
has the essential role of elaborating upon the poetry.
14
CHAPTER THREE
SEVENTH DAY OF THE SEVENTH MOON
Significance
The available repertoire for quartets consisting of clarinet, violin, cello, and piano is
limited.
In their book, The Piano in Chamber Ensemble, Maurice Hinson and Wesley Roberts
list only thirteen works written for this instrumentation:
1. Ignaz Moscheles, Fantasy, Variations and Finale, op. 46 (1819)
2. Heinrich Kaminski, Quartet, op. 1b (1912)
3. Paul Hindemith, Quartet (1938)
4. Ben Weber, Variations, op. 11a (1941)
5. Olivier Messiaen, Quatuor pour la fin du temps (1941)
6. Ross Lee Finney, Divertissement (1964)
7. Akio Shiraishi, Anagram (1966)
8. Charles Boone, Quartet (1970)
9. Stephan Oliver, Ricercare (1973)
10. Rick Sowash, Daweswood (1980)
11. Rick Sowash, Anecdotes and Reflections (1989)
12. Elisenda Fábregas, Portraits II (1999)
13. Elisenda Fábregas, Summer Solstice (2000)23
Only one of the quartets listed above was written before the twentieth century; the Moscheles
quartet was composed during the late classical era.
A significant work written in the romantic
era that is not included in the list above is Quartet Op.1 in E-flat Major for Pianoforte, Clarinet,
Violin, and Cello, by Walter Rabl (1873-1940).
This work won the first prize at a competition
23
Maurice Hinson and Wesley Roberts. The Piano in Chamber Ensemble: An Annotated Guide. 2nd
edition. Bloomington, IN: Indiana University Press, 2006, 518-530.
15
held by the Wiener Tonkünstlerverein (Vienna Musicians Association) in 1896.
Johannes
Brahms, the honorary president and head judge at the competition, was so impressed by Rabl’s
quartet that he recommended it to his publisher, Simrock.24 A list of additional quartets written
for clarinet, violin, cello, and piano is included in Appendix A.
Edward Knight’s aspiration to contribute one more significant work for this combination
of instruments resulted in Seventh Day of the Seventh Moon.
This chapter provides the
background of its creation, the story line and the origin of the Korean legend Kyun-woo and
Jiknyeo.
Suggestions for performance and a thorough study of the composer’s musical style
will be discussed in Chapter Four.
Background
Seventh Day of the Seventh Moon, for clarinet, violin, cello, and piano, was completed in
the spring of 2010.
From the inception of his creative process, Edward Knight had a specific
chamber ensemble in mind—enhak!—of which the author of this treatise is a founding member.
Enhak!, originally formed at The Florida State University in 2007, made its Carnegie Weill
Recital Hall debut at the 2008 International Chamber Music Ensemble Competition (ICMEC)
Winner’s Concert.
They returned to this venue on 3 May 2010 to perform a concert entitled
“American Portrait,” which included the premiere of Libby Larsen’s Rodeo Queen of Heaven, a
work commissioned by the group.
Enhak! was the Grand Prize Winner of the Yellow Springs
Chamber Music Competition (2009), Gold Medalist at the ICMEC (2008), and the recipient of
an Encore grant by the American Composers Forum, Recording Assistance Grant by the Co-op
Press, and the James and Lola Faust Chamber Music Scholarship by Mu Phi Epsilon Foundation.
As promoters of music by living composers, enhak! has been invited to music festivals
and concert series across the U.S. as well as abroad, including OK Mozart Festival (OK), The
Florida State University’s Fourteenth Biennial New Music Festival (FL), Pan Music Festival
(Seoul, Korea), Chapel Hill Chamber Music Workshop (NC), Promising Artists of the 21st
Century Series (Costa Rica), Distinguished Artist Series (OK), and William S. Newman Artist
24
Melissa Malde. “The Songs of Walter Rabl.” Ph.D. diss., University of Cincinnati, 1998, ProQuest
Dissertations and Theses. Retrieved from
http://search.proquest.com/docview/304428166?accountid=4840 (accessed March 8, 2011).
16
Series (NC).
Edward Knight became acquainted with the author of this treatise at Oklahoma City
University while she was pursuing a master’s degree in piano performance.
She often appeared
on the Project 21 Concert Series25 to perform works by Knight’s composition students.
The
real collaboration between Knight and the author began in 2009 as they shared ideas about
possible future projects.
In recent years, Knight has worked closely with performers.
Collaboration with performers—this is the way I would love to work! I would like to
write pieces that performers and the rest of the world think are necessary. Being a
composer is like being a pianist. For example, it can be very lonely. You can be
sitting in a practice room or writing for hours and hours. To me, giving music to the
public, performing, and sharing are what it is all about. I don’t want to share music that
nobody wants. It is like giving presents to someone who already has ten of them. I
want to give what is needed by performers and the audience. Since there are a bunch of
string quartets, for example, I am not interested in writing a string quartet. I am
interested in writing a piece that eventually will become a part of the repertoire. All of
this comes from communication. When everybody understands what’s going on, then to
me it is exciting.26
Knight was commissioned by enhak! to write a work of substantial length.
The ensemble is
constantly in search of new, high quality repertoire for its instrumentation.
“If I were to write a
20-25 minute piece,” he explains,
“it would need to have some sort of thread or story—and
close relationship with the group—that I find interesting and hopefully you—enhak!—find
relatively interesting as well.
And, I am very interested in mythological stories, although none
of my works to date is based on mythology or creation tales.”27
a well-known Korean folk tale, Kyun-woo and Jiknyeo.
His choice for the “thread” was
Entitled Seventh Day of the Seventh
Moon, Knight’s new quartet successfully serves the composer’s purpose of reaching out to a
large and varied audience.
The Story of Kyun-woo and Jiknyeo
Once upon a time, there was a heavenly kingdom.
25
In this kingdom there lived a lovely
“Project 21 is the name given to the group of students involved in the music composition department
of Oklahoma City University,” http://www.project21composers.com/aboutus.php. (accessed February 15,
2011).
26
Knight, interview by author, tape recording, Oklahoma City, OK. January 30, 2011.
27
Ibid.
17
princess, Jiknyeo, who was a very skillful weaver.
She created the best quality fabric and the
most beautiful patterns in the kingdom; that was why she was called “Jiknyeo,” which means a
weaving maiden.
One day, the king was watching his daughter weaving at her loom and realized that she
was no longer a little girl, but a beautiful young lady who was mature enough to get married.
The king gathered all the wise men of the kingdom to find a perfect match for Jiknyeo.
“Oh,
king,” said one wise sage, “there is a young prince in a neighboring kingdom, who I believe will
be the perfect match for your beautiful daughter.” The king was delighted to learn that the
prince, whose name was “Kyun-woo,” meaning cow herder, was the best herder and a very
diligent man.
Everyone at the meeting agreed to send an ambassador to the neighboring
kingdom immediately.
This was great news to Kyun-woo’s father, the neighboring King, for he
had been seeking a wife for his son.
The wedding date was set and people in the two kingdoms were busy preparing for the
royal wedding ceremony.
The parents of Kyun-woo and Jiknyeo instructed them that they need
to be faithful as husband and wife and devoted to each other.
“Be very responsible, and do not
be lazy and neglect your work,” they reaffirmed to the newlywed couple.
Kyun-woo and Jiknyeo were the happiest married couple in the kingdom.
Their only
desire was to be together all day long, lying in each other’s arms, counting the stars in the sky,
talking in the garden, or running through the meadows.
Meanwhile, Kyun-woo’s cows
wandered around freely, and Jiknyeo’s loom became dusty and rusty.
father discovered their laziness.
Jiknyeo.
Disappointed and angry, the king called in both Kyun-woo and
The king said, “You have disobeyed me!
playing together, neglecting all your duties.
people of my kingdom.
Eventually, Jiknyeo’s
You have spent all of your time merely
Your irresponsibility is a bad example for the
It appears to me that living together has contributed to this state of
affairs.” The couple was punished by being forced to live separately from one another; Kyunwoo was exiled to the West and Jiknyeo to the East.
Only once a year, on the seventh day of
the seventh moon, were they allowed to meet each other alongside the Silver River.
While taking care of the cows, Kyun-woo could not keep his mind on his work.
often stared at the eastern heaven, cherishing blissful days of the past with Jiknyeo.
He
Jiknyeo
wove beautiful fabrics on her loom, yet her eyes were on the western heaven; she missed Kyunwoo terribly.
They both counted the days, wishing that the seventh day of the seventh moon
18
would come soon.
Finally, the day arrived; both of them walked a long way to the Silver River.
As they neared the river, they were heartbroken to realize how deep and wide the river was, so
much so that it was impossible for them to cross it and embrace one another.
Kyun-woo and
Jiknyeo cried and cried—helplessly—and their tears became heavy rain, causing a severe flood
on earth.
All the animals on earth were worried that the flood would soon wash everything away
and threaten their lives.
“We need to do something to help cease their crying.
will all die in this flood,” said the black bear anxiously.
nightingale chirped.
Otherwise, we
“What if I sang for them?” the
“Or I could dance for them,” the white crane interrupted, showing off her
graceful dance movements.
“I think the only way to make them stop crying is to make a bridge
so that they can cross the Silver River, suggested the wise old owl.
Magpies volunteered, “We
magpies can fly up to the Silver River with the crows to make a bridge for them!” Soon, all the
magpies and crows flew off and formed a feathery bridge across the river with their outspread
wings.
Finally, Kyun-woo and Jiknyeo stopped crying and ran to each other on the feathery
bridge.
They embraced and spent all night talking about how much they missed each other and
how happy they had been during those days when they lived together.
As dawn broke, they
were forced to part and go their separate ways, returning to the East and the West respectively,
wishing each other well until the next time they would meet again.
Since then, magpies and crows have not been seen on earth on the seventh day of the
seventh moon.
On the following day, however, they were seen with fewer feathers on their
heads and wings as a result of the two lovers stepping on them to cross the Silver River, also
known as the Milky Way.
Origin of the Story
The seventh day of the seventh month, the day that Kyun-woo and Jiknyeo are allowed
to meet each other at the Silver River, is known as Chilseok (!") in Korea.
Chilseok is one of
the Korean festivals that used to be celebrated yearly according to the lunar calendar.
The very
same festival is also celebrated in China, called Qi Xi, and in Japan, where it is known as
Tanabata.
19
The story has been transmitted through many generations in China, Japan, and Korea.
Several historical books and paintings have been discovered, providing evidence of the existence
of the story in all three countries.
In China, the oldest collection of poetry, 詩經 (Shih Ching),
which was compiled in the fifth century B.C., contains a poem entitled 大東 (Da-Dong) that
tells a story of a weaving maiden, cow herder, and the Milky Way.
During the Han Dynasty
(206 BC-220 AD), a book called 齋諧記 (Jai-iXe-Ji) records the story of Kyun-woo and
Jiknyeo.
Japan’s oldest poetry collection, 万葉集 (Man'y!sh"), also describes the story.
The
mural in the tomb of King Gwanggaeto of Goguryoe, one of the Three Kingdoms of Korea in the
fourth century, paints Kyun-woo and Jiknyeo mourning on different sides of the Milky Way.
Even though there is no record or evidence specifying the country of origin, it is suspected that
this story probably came from China, where the oldest evidence was discovered.
The story of Kyun-woo and Jiknyeo was derived from a heavenly phenomenon.
star of Kyun-woo is referred to as Altair, and the star of Jiknyeo as Vega.
is located in the east and Vega in the west of the Milky Way.
The
In astronomy, Altair
In the early evening of the
seventh day of the seventh month, these two bright stars are visible directly overhead on each
side of the Milky Way.
Choi Nam-Sun (1890-1957), a historian, writer, and cultural crusader,
states in his book! !"#$ (The General Knowledge of Chosun28) that during the Zhou
Dynasty (1046-256 B.C.) in China, people were fascinated by the fact that once every year Altair
and Vega were facing each other.
They created a story, which later evolved into the legend of
“Weaver Girl and Cow Herder” in the Han Dynasty.29
Customs of Chilseok
Cucumbers and melons are among the seasonal produce which starts to flourish during
this period.
Therefore, unmarried women prepared these on the table and prayed to the star of
Jiknyeo for excellent embroidery skills.
Married women used to prepare offerings with wheat-
pancakes and fruits that were newly harvested and prayed for peace within their household and
longevity of their family members.
In the Northern part of Korea, people held what is called
28
The book title is translated by the author.
Choi Nam-Sun and Choi Sang-Jin. "#$ %& (The General Knowledge of Chosun). Seoul, Korea:
%&'( )* +,- (Doseo Chulpan Duri Media), 2007.
29
20
gosa, a “shamanistic ritual in which food is offered to the spirits in order to avoid misfortune and
bring good luck.”30
Both wheat-pancakes and wheat-flour noodle soup are traditional food for Chilseok.
This is the last chance to taste wheat-based food in Korea because the quality of the wheat soon
diminishes as the cold weather approaches afterwards.31 For this reason, these two dishes were
an essential part of the dinner menu on Chilseok.
30
Naver dictionary,
http://endic.naver.com/krenEntry.nhn?entryId=609e7e9d0fc6451fa7865480a694318f&query=
(accessed March 1, 2011).
31
The National Folk Museum of Korea, http://www.nfm.go.kr/index.nfm (accessed March 1, 2011).
21
CHAPTER FOUR
MUSICAL ANALYSIS AND PERFORMANCE SUGGESTIONS
I. On the Banks of the Silver River
Kyun-woo and Jiknyeo were the happiest couple in the kingdom. Their only desire was
to be together all day long, lying in each other’s arms, counting the stars in the sky,
talking in the garden, or running through the meadows.
The first movement portrays a scene in which Kyun-woo and Jiknyeo are chasing and
flirting with each other, running around hand-in-hand, laughing blissfully.
Marked “Joyful,
exhilarating; fairy-tale adventure,” the movement is full of youthfulness and excitement
throughout.
As indicated in Table 1, this movement is in sonata form.
Table 1 Sonata Form, On the Banks of the Silver River32
Sections
Theme
Exposition
Th 1
Measure 1
Tonal C
Centers
tr
24
Th 2
27
(C-Eb-F#)
tr
47
Development
CT tr Subs I
Subs II
tr (Th 1+CT)
52
103
(111+120)
F#
58 65
Ab
Db
Theme 1 is initially presented as a conversation between clarinet and piano.
cheerful accompaniment is provided by the violin and cello (Ex. 1).
32
Recapitulation
Abbreviations: Th=Theme; CT=Closing Theme; Subs=Subsection; tr=transition.
22
Theme 1
126
A
A jocular and
EXAMPLE 1 Theme 1, On the Banks of the Silver River, mm. 1-4
It is essential to match the articulation among instruments while sharing the “conversational”
theme.
Theme 1 should sound joyous, lively, and buoyant, but not too short or detached.
With a spirit similar to that of Theme 1, the piano, clarinet, and violin interweave the
blissful melody of Theme 2 from measure 27 (Ex. 2).
The transition from Theme 1 to Theme 2
is cleverly deceiving; a two-eighth-note tail of Theme 1 (E-G) in measure 25 repeats twice and
anticipates Theme 2 with an added passing note, F, in measures 26-27.
begins with the violin in measure 27 (see also Ex. 2).
The actual Theme 2
Sensitive awareness by the three
performers is necessary in order to make the entrance of the actual Theme 2 clear to the listeners,
as well as to connect fragments of the melody smoothly within a musical shape.
The cello
animates the joyful and vibrant melody with a bouncy and stable eighth-note pizzicato
accompaniment throughout.
23
EXAMPLE 2 Theme 2, On the Banks of the Silver River, mm. 25-29
Theme 2 builds tension as it rises gradually in register.
Finally, when it reaches the
peak, it blossoms into the closing theme in measure 52 (Ex. 3).
EXAMPLE 3 Closing Theme, On the Banks of the Silver River, mm. 52-56
24
The development opens with a simple canon between right hand and left hand in the
piano, using fragments of Theme 1 (Ex. 4).
Articulation markings such as accent, tenuto with
staccato, and slur need to be observed and executed carefully.
This spontaneous and
fragmented motif is used in an episodic manner.
EXAMPLE 4 Canon in Development Section, On the Banks of the Silver River, mm. 65-72
Theatrical elements add sparkling moments in the development.
For example, the
clarinet imitates Kyun-woo and Jiknyeo’s laughing with descending staccato eighths and grace
notes (Ex. 5).
EXAMPLE 5 On the Banks of the Silver River, m. 86
Another theatrical instance occurs when the violin, cello, and piano take turns playing
fast septuplet scales, depicting the two lovers chasing each other (Ex. 6).
25
EXAMPLE 6 On the Banks of the Silver River, mm. 75-77
There are no real accompanimental figures throughout the development section, only a
continuous thread of fragmented solos and duos among the four instruments.
It is challenging
to make the sequence of small fragments well-connected and not lose its fluidity, yet sound
“carefree.” It demands that the performers listen attentively to what comes before and after.
Sudden changes of dynamics must be exaggerated to produce spontaneity and playfulness.
In preparation for the recapitulation, Knight brings back Theme 2 in a gentler mood in
measure 111, which is bridged to the closing theme by a swooping crescendo in the piano in
measure 119 (Ex. 7).
26
EXAMPLE 7 On the Banks of the Silver River, mm. 111-120
27
The dynamic level reaches its peak when Theme 1 returns in the recapitulation in
measure 126, and the texture becomes much fuller and richer than in the exposition.
The
movement concludes in a mischievous and captivating mood with fragments of Theme 1 played
teasingly by the four performers and fading out to the end, with a final pizzicato note in the
violin.
II. Two Hearts
In ternary form (Table 2), Two Hearts opens with a glissando, played gently on the
strings inside the piano in the first measure, followed by the cello’s glissando of harmonics,
creating a hazy and atmospheric background.
In measure 4, the violin and then the clarinet
emerge with a mysterious melody that floats on the misty background as if it were coming from
far off in the distance.
The first eight measures of the second movement paint a picture of the
two lovers, uncertain about what they are feeling in their hearts.
yet know if they are dreaming, or if it is real (Ex. 8).
to the cello, the connection needs to be seamless.
Kyun-woo and Jiknyeo do not
When the piano hands over the glissando
The cello’s glissando, marked “somewhat
freely (slow----to fast----to slow),” and the piano’s gruppetti of ten notes in a whole-tone scale
must sound effortless and unmeasured.
Table 2 Ternary Form, Two Hearts
Sections
A
B
A!
Subsections
Intro
Duos
“Outro”33
Measures
1-8
9-60
61-65
33
Edward Knight. This quote comes from the composer’s unpublished formal sketch of Seventh Day of
the Seventh Moon. See Appendix C.
28
EXAMPLE 8 Two Hearts, mm. 1-8
29
EXAMPLE 8 (continued) Two Hearts, mm. 1-8
“The gentle, caressing, and unfolding of the wide-open love theme”34 begins in measure
9.
Kyun-woo and Jiknyeo’s love conversation is led by duos of different pairs of instruments:
clarinet and violin, clarinet and cello, and back again to clarinet and violin.
The piano provides
a warm harmonic foundation, built on perfect fifths, for the lyrical melody (Ex. 9).
EXAMPLE 9 Two Hearts, mm. 14-17
From measure 26, two instruments echo one another, rise and fall together, and become
intimate (Ex. 10).
34
Ibid.
30
EXAMPLE 10 Two Hearts, mm. 26-36
The two lines eventually meet and symbolically embrace on a unison E in measure 53.
This romantic moment is interrupted unexpectedly by the piano in measure 55 (Ex. 11).
The
motif anticipates the third movement, Exile, which produces a confrontation against the “love
melody,” and foreshadows the two lovers’ banishment from the kingdom.
31
[Unison E, symbolic embrace]
EXAMPLE 11 Two Hearts, mm. 52-55
In the return to the A section, which is shorter in length, the sound gradually disappears
to the end, evaporating into nothingness.
Knight explains, “The atmosphere ends with love
being out of reach”35 (Ex. 12).
35
Ibid.
32
EXAMPLE 12 Two Hearts, mm. 61-65
III. Exile
Disappointed and angry, the king called in both Kyun-woo and Jiknyeo. The
king said, “You have disobeyed me! You have spent all of your time merely
playing together, neglecting all your duties. Your irresponsibility is a bad
example for the people of my kingdom. It appears to me that living together has
contributed to this state of affairs.” The couple was punished by being forced to
live separately from one another; Kyun-woo was exiled to the West and Jiknyeo to
the East. Only once a year, on the seventh day of the seventh moon, were they
allowed to meet each other alongside the Silver River.
The third movement makes use of four closely related motifs that generate and build
intensity throughout the movement (Table 3):
33
Table 3 Four Related Motifs
Motif a
Motif b
3-1 . -1 -1
- -
-1 .- /- 0-1 -1
Motif c
Motif d
! - - 2- - - 2- 2- 2- - - 2- "
' ' '
!
" -&' -&' -'& '
-&
pp
sul pont. -&
-&
-& -
pp
The movement is divided into two distinct main sections (A & B), preceded by an
introduction in which the composer presents the four motifs (Table 4).
Table 4 Binary Form, Exile
Section
Introduction
A
B
Style
Statement of four motifs
Contrapuntal
Twelve-bar blues sequence
Measure
1 - 12
13 - 46
47 - 122
The introduction (mm. 1-12) begins with all four instruments who take turns in each measure,
or even within the same measure, stating the motifs.
Texturally linear, the introduction creates
a cold, dry, and ghostly atmosphere in a pp dynamic level.
The instruction in certain measures
to play sul ponticello adds even more tension and uneasiness.
In section A, only motifs a, b, and d are treated contrapuntally.
section is an extended canon.
In fact, the entire
Starting in measure 13 with two voices (violin and cello), Knight
gradually increases tension by adding one instrument at a time: the piano in measure 21, then the
clarinet in measure 25.
This section can be divided into four subsections (Table 5):
34
Table 5 Subsections in A, Exile
Subsection
i
ii
iii
iv
Measures
13-19
20-30
30-38
39-46
Motif
b+d
b+d
a+b+d
a+d
Texture
(canonic
order)
2 parts
(Vln, Vc)
3 parts
(Vc,Vln, Pno)
4 parts
(Pno, Cl, Vln, Vc)
4 parts
(Vc, Cl, Pno, Vln)
As section A progresses, the dynamic level gradually builds and eventually reaches its
high-point in measure 38 with accents, emphasizing the last four sixteenth notes.
measure 39 abruptly breaks off the climactic moment.
acts as a transition to Section B.
Subito pp in
Subsection iv closes Section A, and also
Measures 39-40 briefly introduce a modified fusion of the
motifs—a hybrid—before unfolding into motif d starting in measure 41 (Ex. 13).
It is essential
to match the length of staccato and the articulation of slurred two-sixteenth-notes by the four
instruments (m. 43 ff.) and to maintain a sense of urgent, yet controlled, energy.
35
EXAMPLE 13 Exile, mm. 39-43
A surprising climactic arrival in measures 44-45, where all four instruments are in
unison on motif a, emphatically concludes Section A (Ex. 14).
36
EXAMPLE 14 Exile, mm. 44-45
Marked “Relentless,” Section B begins with motif a in measure 47.
The composer
utilizes the familiar motifs as individual solo lines, accompanied by a modified blues pattern.
This “funky bass” accompaniment36 is a transformation of the first group of the four-sixteenthnote motif in measure 39.
The structure of the “funky bass” can be found embedded in the
intervallic contour in measures 39-40 (see Ex. 13).
The accompaniment, played by the piano,
cello, and violin, follows a 12-bar blues progression (I-IV-I-V-IV-I) in measures 47-82 with
variations. Right and left hands of the piano part play the accompanimental figure (mm. 47-58)
in “follow-the-leader” fashion, a canon four octaves apart (Ex. 15); the cello plays the
accompanimental figure tremolo sul ponticello in measures 59-70, and the violin plays it
pizzicato in measures 71-82.
36
Ibid.
37
EXAMPLE 15 Exile, mm. 47-58
The composer points out that the piano accompaniment needs a sparkling quality like
“stars,” with a detached articulation.
In addition, both the cello and violin should punctuate the
38
change of notes within their accompanimental figures in measures 59-70 and 71-82 respectively,
in order to be heard clearly.
The violin, clarinet, and cello each take a turn as soloist,
developing the main motifs from the A section.
The piano then takes a turn as soloist in measures 83-94 in a somewhat eccentric
manner.
Casual, seemingly improvised augmented patterns are cut short by rapid interruptions
(Ex. 16).
EXAMPLE 16 Exile, mm. 83-88
In measures 95-106, the piano takes over the octave accompanimental figuration, which
the strings presented earlier in measures 83-94.
motifs canonically.
The other three instruments play fragments of
Eventually, the four instruments interweave and contribute to a
39
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Following this, in measure 107, all instruments repeat their solo lines simultaneously,
except for the piano, which provides the accompaniment.
Because the texture becomes
contrapuntally dense, attention from all four performers is required in order to balance all the
lines.
Additionally, it is worth noting that the dynamic marking for this section is pp.
Measures 119-120 recollect the dreamy, misty atmosphere from the previous movement, Two
Hearts.
37
A bitter dissonant chord fiercely breaks off the lovers’ momentary reminiscence (Ex.
Ibid.
40
18).
The author interprets this final chord as the heartbreaking moment when Kyun-woo and
Jiknyeo realized the Silver River was too deep and wide to cross and embrace one another, after
waiting eagerly for a whole year until the seventh day of the seventh month finally came.
119
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EXAMPLE 18 Exile, mm. 119-122
IV. Bridge of Wings
Finally, the day arrived; both of them walked a long way to the Silver River. As
they neared the river, they were heartbroken to realize how deep and wide the
river was, so much so that it was impossible for them to cross it and embrace one
another. Kyun-woo and Jiknyeo cried and cried—helplessly—and their tears
became heavy rain, causing a severe flood on earth.
The tears of the heartbroken lovers caused a life-threatening flood on earth.
All the
animals gathered together to look for a good solution to help cease the lovers’ crying.
Knight chose a theme and double-variations to portray the recurring conversations
among the animals, as well as the characteristics of the cat, elephant, rabbit, and birds. The
animal conversation variations are indicated in the score by capital letters, and the specific
animal characteristics are notated with Roman numerals (Table 6).
41
Table 6 Formal Diagram of Bridge of Wings
Theme
(mm. 1-11)
Variation
Set I
Variation
Set II
Var. A
(mm. 12-21)
Var. I
(mm. 22-47)
Cat (clarinet)
Var. B
(mm. 48-63)
Var. II
(mm. 64-81)
Elephant (cello)
Var. C
(mm. 82-101)
Var. III
(mm. 102-132)
Rabbit (violin)
Var. D
(mm. 133-150)
Var. IV
(mm. 151-172)
Birds (piano)
Two sets of variations share the same thematic material, introduced in the opening by
the piano (Ex. 19).
EXAMPLE 19 Bridge of Wings, mm. 1-8
Variation Set I is written for the ensemble, whereas Variation Set II is written for only
one instrument at a time in the form of cadenzas that allow individuals to become more virtuosic.
Even though the two sets of variations alternate, there is no interruption of flow because of the
thematic connections.
The theme becomes more lively and active in Variation A.
The chromatic, descending
perfect fourths in the cello accompaniment bounce along with the violin playing the up-beat
melody.
The piano punctuates the violin’s lively melody here and there by imitating sounds of
pizzicato (Ex. 20).
42
EXAMPLE 20 Bridge of Wings, mm. 12-15
A cat sneaks in quietly in measure 22.
The theme is rhythmically augmented, and
gradually increases its motion as the cat “stalks and bolts up a tree” (Ex. 21a, b, and c).
EXAMPLE 21a Bridge of Wings, m. 22
EXAMPLE 21b Bridge of Wings, m. 25
EXAMPLE 21c Bridge of Wings, m. 27
43
The composer vividly paints the cat’s movements with frequent alternation of ritardando and
accelerando, a dynamic range from pp to f, and a much wider and more extensive register.
It is
important to retain the fluidity and not to make a big pause at the rests.
In Variation B, the violin and clarinet begin the theme a minor third apart with the piano
playing chromatically descending major triads underneath (Ex. 22).
Variation B, q = 108
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The piano continues the theme in a canon at the octave between the two hands, when the
cello suddenly interrupts, anticipating the entrance of the next animal—the elephant.
The
tempo slows down when the elephant enters in measure 45 (Variation II), as the cello portrays
the elephant’s clumsy, heavy steps.
The short glissandi imitate the dragging of the elephant’s
feet which are almost too heavy to pick up and take even small steps forward (Ex. 23).
EXAMPLE 23 Bridge of Wings, m. 48
In Variation C, the accompaniment, now in the violin, becomes much more active than
44
the accompaniments in the previous two variations. The cello transforms the chubby elephant
sound into a joyful melody.
All instruments continue to enjoy trading the thematic material
back and forth, until the piano angrily “knocks the music back on track” in measure 79, and once
again in measure 81, this time with a striking chord cluster (Ex. 24).
EXAMPLE 24 Brid of
n , mm. 76-81
The violin takes over in Variation III, acting as the rabbit.
As if the rabbit were
hopping from one place to another ever so lightly, Knight varies the thematic material by adding
grace-notes and staccati to the bouncy eighth-notes, intending to “tickle” the listeners’ ears (Ex.
25).
EXAMPLE 25 Bridge of Wings, mm. 82-85
The rabbit’s hopping movement is further depicted with chromatic broken sixths and widely
spread sextuplet arpeggios (Ex. 26a and 26b).
45
EXAMPLE 26a Bridge of Wings, m. 92
EXAMPLE 26b Bridge of Wings, m. 104-105
Variation D consists of two distinct four-measure phrases that alternate between a bold
statement of the theme by the piano and a lighthearted, almost frivolous, comment by the strings
(Ex. 27).
46
EXAMPLE 27 Bridge of Wings, mm. -1
Finally, the birds make their appearance in Variation IV, written as a piano solo.
Swiftly alternating seconds and thirds portray little birds flying on their way to the Silve ver.
Gradually, the birds gather around and spread their wings widely.
The pianist gradually adds
more notes to the alternating chords, expanding the outer notes until they become full-hand
clustersÓ in measure x. 28).
47
143
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EXAMPLE 28 Bridge of Wings, mm. 143-145
In measure 145, both the violin and cello play glissandi that merge with the piano to symbolize
the “birds connecting [their] wings [and] forming [a] bridge (see also Ex. 28).”
V. Once a Year
Finally, Kyun-woo and Jiknyeo stop crying and run to each other on the feathery
bridge. They embrace and spend all night talking about how much they missed
each other and how happy they had been during those days when they lived
together. As dawn breaks, they are forced to part and go their separate ways,
returning to the East and the West respectively, wishing each other well until the
next time they would meet again.
The birds continue to form their feathery bridge.
The musical “bridge” is not only
symbolic, but serves to bind the fourth movement to the final one.
The composer remarks:
As far as the bird bridge is concerned, I originally placed it in a different part of the
piece, but it didn’t work. I thought for a long time about how to use it (the bridge). I
finally came upon the idea to literally use it as a bridge between the fourth and fifth
movements.38
38
Knight, interview by author, tape recording, Oklahoma City, OK. January 30, 2011.
48
In ternary form, this movement brings back all the familiar thematic material that was introduced
in the first and second movements, but now in an even more joyous and elaborate way (Table 7).
Table 7 Ternary Form, Once a Year
Section
A
B
A!
Measure
2-4
5-119
119-145
Theme
Brief unfolding of
love theme from the 2nd
movement
Fairy tale: thematic
materials from the 1st
movement
Mixing & echoes of the
primary themes
In measures 2-3, the piano tremolo expands its territory as both tempo and dynamics
increase, erupting into a wild glissando that imitates the harp in measure 4 (Ex. 29).
49
EXAMPLE 29 Once a Year, mm. 2-4
This is the moment where Kyun-woo and Jiknyeo are “walking, then running toward each other
across the bridge of wings.” The violin and cello bring back the love theme from movement II,
Two Hearts (mm. 9-12).
They are walking toward each other in seemingly different tempos as
they move towards a unison G-sharp, portraying the two lovers finally embracing one another at
the height of the crescendo.
Section B opens with Theme 1 from the first movement (On the Banks of the Silver
River), played by the strings over a G Major seventh harmony in the piano.
higher than it was in the beginning of the piece.
It is now a fifth
Unlike the first movement, the accompaniment
is more active and elaborate, using a fast broken-chord figuration to support the lovers’
50
exuberant embrace (Ex. 30).
EXAMPLE 30 Once a Year, mm. 5-7
Theme 2 enters in measure 22 (Ex. 31).
Here, Knight wants the entire theme to be
played by a single instrument, whereas in the first movement, fragments of the theme are shared
among the four instruments (See Ex. 2).
51
EXAMPLE 31 Once a Year, mm. 22-25
In measures 22-34, the clarinet, violin, and cello each state Theme 2 in turn, while the
piano plays a lively, yet rhythmically more complex accompaniment (Ex. 32).
EXAMPLE 32 Once a Year, mm. 30-34
52
EXAMPLE 32 (continued) Once a Year, mm. 30-34
In measure 44, the “closing theme” reaches its climax at the downbeat of measure 48
and calms down almost immediately.
The piano recollects the contrapuntal “Subsection I” in
the development from the first movement in measures -7 ee Ex. 4), which is subsently
followed by imitation in the violin and cello.
This canon section is varied rhythmically on a
very small scale in comparison to what is introduced in the first movement (mm -7
fore the lovers’ “chasing” theme reappears in measure 77 hemes 1 and 2
intermingle whimsically, celebrating Kyun-woo and Jiknyeo’s happiest moments in the past
(movement I).
ginning in measure he cello recollects the rising “love theme” from the second
movement, Two Hearts (mm -20), which is now rhythmically augmented.
The violin and
piano hint at the “chasing theme” from the first movement, On the Banks of the Silver River, and
portray, in an intervallically softened way, the rhythmic motif a from the third movement, Exile
(Ex. 33).
53
EXAMPLE 33 Once a Year, mm. 119-130
The piano sounds a B Major chord against C in the bass (BM/C), starting in measure
133, and functions as a pedal point all the way to the end of the piece with the use of the
sostenuto pedal (Ex. 34).
54
EXAMPLE 34 Once a Year, mm. 133-137
At first, the sonority (BM/C) is somewhat discomforting, though this feeling is diffused slowly
but surely as it is repeated four times.
The cello doubles the B major triad with a triplet figure
while the violin begins the “love theme,” immediately echoed by the clarinet an octave lower
(see also Ex. 34).
The piano right hand nostalgically recalls the opening theme of the
development section (see Ex. 4) from the first movement.
Knight notes on his formal sketch of Section A´:
“Love theme” enters in slow motion. The slow melding of the two worlds creates a
breathtaking effect. As if a film of the two lovers running through a field gradually
slowed and melted and melded backwards into the sky; preserved forever as a beautifully
cherished moment in time.39
By unfolding all the familiar thematic material from both the first and second movements in
varying augmented ways, Knight carries off the “breathtaking effect” until the final chord
ambiguously ends the whole piece as its sound evaporates into the air.
toward the end, the violin remembers, haltingly, Theme 1 once more.
As the music softens
Finally, the piano
concludes the story of Kyun-woo and Jiknyeo, adding an unexpected E-sharp to the sonority of
BM/C in measure 144, which leaves a question hanging in mid-air: “Are they in Heaven? A
faded dream, a distant memory—is the fairy tale over, or is it just beginning?” (Ex. 35)
39
Knight. Unpublished formal sketch of Seventh Day of the Seventh Moon, 2010.
55
EXAMPLE 35 Once a Year, mm. 142-145
56
CONCLUSION
The first American composer to win the Sir Arthur Bliss Memorial Award for
outstanding postgraduate composer at the Royal College of Music in London, Edward Knight is
an accomplished composer and educator.
Knight, having a tremendous passion for
collaboration with performers, has recently focused on chamber music.
His particular
collaboration with the author of this treatise resulted in a new quartet, Seventh Day of the Seventh
Moon, for clarinet, violin, cello, and piano in the spring of 2010.
The work consists of five
movements based on a popular Korean legend, Kyun-woo and Jiknyeo.
The story of love
between Kyun-woo, the cowherd, and Jiknyeo, the Princess of the Kingdom of Heaven who is
praised for her excellent weaving skills, is one of the best known bedtime stories for children in
Korea.
Knight tells the Korean folktale with his own unique musical language, without
incorporating Korean influences, maintaining a strong belief that one can write his best music
when he is himself, not pretending to be someone else.
Within the quartet can be found many
facets of his musical language including lyricism, descriptive and vivid images of the story,
humor, and a well-organized and cohesive approach to structure.
John von Rhein, a classical music critic at The Chicago Tribune, once said about Edward
Knight’s music, “... [it] seizes and holds your imagination and makes you want to hear it
again.”40 It is this author’s hope that the audience will agree with Rhein after listening to
Seventh Day of the Seventh Moon.
Moreover, the author hopes that the new quartet will
intrigue and motivate musicians to seek out Knight’s other works and make them part of their
own repertoire.
40
Knight, http://edwardknight.com (accessed December 10, 2010).
57
APPENDIX A
LIST OF QUARTETS FOR CLARINET, VIOLIN, CELLO, AND PIANO
Thomas Adès, Catch
Claude Baker, Divertissement
Mason Bates, Red River
Derek Bermel, Shadowing (with percussion)
Cesar Bresgen, Klarinettenquartett, “Umrem, Umrem”
Steven Burke, Spring Fever
Murray F. Cohen, Quartet
Leon Dallin, Divertimento
Peter Maxwell Davies, Economies of Scale
Albert Delvaux, Cassazione
Ross Lee Finney, Divertissement
Jacqueline Fontyn, Musica a Quatro
Stefan Freund, Dodecaphunphrolic
Harald Genzmer, Quartett
Paul Hindemith, Quartet
Sukhi Kang, Légende
Joopoong Kim, Intrinsic Delight
Volker David Kirchner, Exil
Tatiana Komarova, Kalenderblätter Quartett
Zygmunt Krauze, Quatuor pour la naissance
Ezra Laderman, Scenes from an Imagined Life, Books I and II
Libby Larsen, Rodeo Queen of Heaven
Fred Lerdahl, Marches
Peter Lieuwen, Gulfstream
Jihee Han, My Daily Routine
Robert Hall Lewis, Combinazioni I: for violin, cello, clarinet and piano
Joseph Hallman, Lullaby Suite
Steve Hicken, enhak!
Theo Loevendie, Cycles
John Mackey, Breakdown Tango
James Matheson, Buzz
Haruna Miyake, Quartet
Paul Moravec, Tempest Fantasy
H. Mouton Ma, Mère L’Oye (5 Pièces Enfantines de Maurice Ravel)
Paul Müller-Zürich, Quartett in c-moll
58
Tamar Muskal, Harold and the Purple Crayon (quartet plus flute, percussion and video)
Maria Newman Terpsichore, Dance Variations
Kevin Puts, Simaku
Carter Pann, Antares
Ned Rorem, Nine Episodes for Four Players
Timothy Salter, Rippled Surface: after M.C. Escher
Leonard Salzedo, Tres modos ritmicos
Paul Schoenfield, Sparks of Glory (Quartet and narrator)
Peter Schickele, Quartet
David Schiff, Divertimento from Gimpel the Fool
Oliver Schneller, Topoi
Gunther Schuller, Sonata serenata
Ralph Shapey, Discourse encore
Allen Shawn, Cabaret music
József Soproni, Musica da Camera No. 2
Toru Takemitsu, Quatrain II
Dimitri Terzakis, Seelenbilder
Boris Ivanovich Tishchenko, Concerto for clarinet and piano trio, Op. 109
George Tsontakis, Eclipse
Chinary Ung, Spiral VI
Dan Visconti, Psychedelic Rainbow Blues
Christopher M. Wickes, Quartet
John Woolrich, A Presence of Departed Acts
Charles Wuorinen, TASHI
59
APPENDIX B
AUTHORIZATION
To Whom It May Concern:
I, Edward Knight, hereby authorize Eun-Hee Park to use any manuscripts of or pertaining to my
compositions for the purpose of complementing and/or inscribing parts of the pieces in her
treatise entitled Seventh Day of the Seventh Moon by Edward Knight as part of the requirements
for her doctoral degree at Florida State University.
If any questions may occur I am willing to answer by email at [email protected].
Edward Knight
March 25, 2011
60
APPENDIX C
EDWARD KNIGHT’S FORMAL SKETCH OF SEVENTH DAY OF THE SEVENTH MOON
61
62
63
64
65
BIBLIOGRAPHY
Books and Articles:
Adams, Edward B., ed., and Dong Ho Choi, illustrations. Herdboy and Weaver. Seoul, Korea:
Seoul International Tourist Publishing Co., 1981.
Bauer, Helen & Sherwin Carlquist. Japanese Festivals. Garden Ciy, NY: Doubleday &
Company, Inc., 1965.
Carman, Judith E. “Knight, Edward (b. 1961). Life is Fine.” Journal of Singing: The Official
Journal of the National Association of Teachers of Singing, Inc. Volume 66, No. 1,
September/October, 2009, 110-114.
Casal, U.A. The Five Sacred Festivals of Ancient Japan: Their Symbolism & Historical
Development. Sophia University, Tokyo: Charles E. Tuttle Company, Inc., 1967.
Choi, Nam-Sun and Choi Sang-Jin. !"# $% (The General Knowledge of Chosun). Seoul,
Korea: !"#$ %& '() (Doseo Chulpan Duri Media), 2007.
Hinson, Maurice and Wesley Roberts. The Piano in Chamber Ensemble: An Annotated Guide.
Second Edition. Bloomington, IN: Indiana University Press, 2006.
Incheon Metropolitan City Museum*+, -./ 012 34.” 56789:;<2
=>?" @ 3 A (Beliefs and Traditions of Buddhists in an Open Port Area, Incheon
Metropolitan City Museum Journal Series 3), 2008.
Knight, Edward. Unpublished formal sketch of Seventh Day of the Seventh Moon, 2010.
Leeming, David Adams. The Oxford Companion to World Mythology. New York: Oxford
University Press, 1995.
McDaniel, Catherine. “I offer a dance of joy…” The Intersection of Genealogy and Genre in
Edward Knight’s Tales Not Told.” D.M.A. diss., University of Oklahoma, 2009.
Park, Janie Jaehyun. The Love of Two Stars: A Korean Legend. Toronto, Ontario: Groundwood
Books, 2005.
Online Sources:
Enhak!. http://www.enhake.com (accessed January 1, 2011).
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International Trumpet Guild. ITG 2006 Conference Coverage.
http://www.trumpetguild.org/2006conference/sat/508.html (accessed December 10,
2010).
Knight, Edward. http://edwardknight.com (accessed December 15, 2010).
Malde, Melissa. “The Songs of Walter Rabl.” Ph.D. diss., University of Cincinnati, 1998.
ProQuest Dissertation and Treatise. Retrieved from
http://search.proquest.com/docview/304428166?accountid=4840 (accessed March 8,
2011).
State Symbols USA. http://www.statesymbolsusa.org/Oklahoma/Oklahomanameorigin.html
(accessed February 15, 2011).
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http://www.subitomusic.com/composers/composers.cfm?composer=11 (accessed
December 10, 2010).
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2010).
WorldLingo. http://www.worldlingo.com/ma/enwiki/en/Chilseok (accessed December 25, 2010).
Sound Recordings:
Knight, Edward. When the Sunsets Bleed: Chamber Music of Edward Knight. Troy 757 © by
Albany Records, 2005.
Scores:
Knight, Edward. Acela for flute/piccolo, clarinet, violin, cello, marimba/vibes, and piano/celesta.
Long Island City, NY: Subito Music Publishing, Inc., 2003.
__________. Beneath a Cinnamon Moon for clarinet, viola, and piano. Long Island City, NY:
Subito Music Publishing, Inc., 2007.
__________. Bringer of Fire: Rhapsody for Contrabass & Piano. Long Island City, NY: Subito
Music Publishing, Inc., 2009.
__________. Colic Frolic: Notes From A Sleep-Starved Dad (piano trio; 1999). Manuscript from
the composer.
__________. Curve of Gold (tenor, clarinet, and piano; 2010). Manuscript from the composer.
__________. Inbox for flute, viola, and piano. Long Island City, NY: Subito Music Publishing,
Inc., 2010.
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__________. Romance for clarinet & piano, Long Island City, NY: Subito Music Publishing,
Inc., 2003.
__________. Seventh Day of the Seventh Moon. Manuscript from the composer.
__________. Sonata for Cello and Piano. Long Island City, NY: Subito Music Publishing, Inc.,
1993.
__________. Sonata Through Salt-Rimmed Glasses for trumpet/flugelhorn and piano. Long
Island City, NY: Subito Music Publishing, Inc., 2006.
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BIOGRAPHICAL SKETCH
Praised by The New York Concert Review for “a solid foundation of fluent pianism,”
Eun-Hee Park is frequently in demand as a soloist, chamber musician and collaborative pianist.
Park has been awarded prizes and numerous scholarships, including the Special Prize for
Performance of Contemporary Music at the Competition Internationale in Santa Fe, winner of
Oklahoma’s Young Artists Competition and Concerto Competition at Mesa State College in
Colorado, Graduate Student Academic Conference Grant, University Musical Associates Grant
at the Florida State University, and the James and Lola Faust Chamber Music Scholarship from
Mu Phi Epsilon Foundation.
As a founding member of enhak!, the prize-winning clarinet-violin-cello-piano quartet,
Park has given nearly 100 concerts throughout the US and abroad in various prestigious venues
such as NYC’s Weill Recital Hall, Costa Rica’s Promising Artists of the 21st Century Series
under the auspices of the US Department of State, the Seoul Arts Center in South Korea, and on
tour in Brazil.
Enhak! has received numerous awards and grants, including First Prize at the
Yellow Springs International Competition, Gold Medal at the International Chamber Music
Ensemble Competition at Carnegie Hall, Judges Special Prize at the Plowman Competition, and
an Encore Grant from the American Composers Forum.
Enhak!’s performances can be heard
on NPR stations across the country as well on commercial CDs on the Emeritus and Naxos
labels.
Having tremendous passion as an educator, Park has presented masterclasses at
universities throughout the US, South Korea, Costa Rica, and Brazil.
She serves on the faculty
of the annual Chapel Hill International Chamber Music Workshop and has held educational
residencies at Escape2Create at Seaside Institute Florida, the Tallahassee Youth Orchestras, and
the Costa Rican-North American Cultural Center.
Dr. Park has participated in the Corsi Internazionali di Musica (University of Urbino,
Italy) and performed in master classes for Margo Garrett, Warren Jones, Graham Johnson, Fred
Sherry, Ellen Zwilich, Daniel Pollack, David Korevaar, Tanya Bannister, Robert Marler, Peter
Miyamoto, Renato Premezzi, Brentano Quartet, and the Merling Trio.
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Dr. Park received the Bachelor of Arts in Music Performance at Mesa State College
(CO) where she graduated summa cum laude, the Master of Music in Piano Performance with
high honors at Wanda L. Bass School of Music at Oklahoma City University (OK), and the
Doctor of Music in Piano Performance: Chamber Music/Accompanying from the Florida State
University College of Music.
Her teachers include Carolyn Bridger, Amy I-Lin Cheng,
Ernestine Scott, and Michael Baron.
She is a member of Pi Kappa Lambda, Phi Kappa Phi, and
Mu Phi Epsilon.
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