Mystics Duo for two pianos - Ian Percy (2014/15)

Percy, Ian (2016) Mystics Duo for two pianos - Ian Percy (2014/15). [Composition] (Unpublished)

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Other (Original Music Score)
Mystics A4 Reference Score & Preface DrIPercy.pdf - Other

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[img] Audio (Live Recording 210416)
Mystics 1 & 3 Live 210416 Buckle & Casey DrIPercy.mp3

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Text (Pitch Organisation Document)
Mystics Pitch Organisation March 2016 Percy.pdf

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Text (Mystics Pitch Matrices)
Mystics Pitch Matrices March 2016 Percy.pdf

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Mystics Mvt1 Piano Duo ReSonos Live 20Feb2015 Percy 2015-16 16bit.wav

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Abstract

To celebrate Alexander Scriabin’s (1872-1915) anniversary year, his Mystic Chord was used as the primary pitch material within this work. A Mystic Complement completed the total chromatic and provided secondary pitch material used for contrast and balance. This duo for two pianos carries the listener through two movements of succinct and focused musical form. Both pianos begin playing the primary atonal material: the Mystic Chord and then the 2nd piano plays the Mystic Complement, combining to create a 12-tone soundworld, but effectively playing in two different atonalities. Before the movement ends with a final statement of the opening theme, both pianos play the six pitches of the Mystic Complement at figure N in a relaxed and melodic passage with a modal ‘quasi-blues’ feel to the atonal pitch collection. The first thematic statement holds a reference to an invisible G (Jazz melodic minor) and the final statement is in an atonal A. The melodic material at figure N outlines a clear reference to an Ab ‘atonal modality’, and so the form passes through two semi-tone modulations before resolving a whole-tone above where it started. Whilst one could not help but consciously notice references to Lutosławski’s semi-tonal formal modulations, the form (and eventual pitch-scheme) was a natural consequence of working with the Mystic Chord. Rotating through predetermined elements of the pitch matrix, the lyrical and expressive final movement starts in Chord material and ends in the Complement after passing through the total chromatic twice along the way. The form is fluid and linear with energetic crescendos and similar semi-tone modulations as the first movement. The pitch organisation produced a clear contrast between flats and naturals in the primary and secondary material and provided the catalyst for the opening (and closing) piano clusters, where syncopated rhythms separate pentachords (pentaclusters), playing all five flat notes from diatonic clusters playing all seven natural notes. There was also a notable conflict between E flat and E natural in the primary and secondary (Chord and Complement) material. This pair of notes (and similar semi-tone conflict and resolution) can be heard at pivotal formal landmarks within the movement and the pitch-scheme, it is also used to flavour the melodic contour of the writing.

Item Type: Composition
Keywords: Composition, Piano Duo, Mystic Chord
Faculty / Department: Faculty of Arts & Humanities > Music
Depositing User: Ian Percy
Date Deposited: 30 Nov 2017 15:16
Last Modified: 30 Nov 2017 15:16
URI: http://hira.hope.ac.uk/id/eprint/2283

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