Browsing by Author "Koh, Tse-Ying"

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    COMPOSERS' FORUM Monday, March 8, 1993 8:00 p.m. Lillian H. Duncan Recital Hall
    (Shepherd School of Music, Rice University, 1993-03-08) Rychwicki, Pawel; Davis, Nathan, 1973-; Scurria, Amy, 1973-; Adamczyk, Peter; Koh, Tse-Ying; Yin, Feng; Tripp, John (tenor); Braid, Allison (cello); Stein, Joel (vibraphone); Frank, Gabriela (piano); Zhou, Xin-Yang (clarinet); Scurria, Amy (piano); Adamczyk, Peter (piano)
    Playlist: Three essays for piano -- Peter Adamczyk / Variations in one frequency -- Pawel Rychwicki / As it was -- Amy Scurria (1973-) / For Li Po -- Feng Yin / Four discovery pieces -- Tse-Ying Koh / The song of the wandering Aengus -- Nathan Davis (1973-).
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    The twelve-tone method and the classical tradition in Roger Session's Symphony No. 3
    (1995) Koh, Tse-Ying; Burt, George
    Premiered by the Boston Symphony Orchestra on December 6, 1957, Sessions' Third Symphony was the first of his orchestral works to employ twelve-tone procedures. But while expressing the harmonic and melodic vocabulary of a twentieth-century non-tonal composer, Sessions also demonstrates an allegiance to classical tradition by employing classical forms and devices. The first and last movements approach a classic sonata form, the second movement is akin to a minuet or scherzo and trio, while the third consists of a theme and two variations. By integrating twelve-tone principles with traditional procedures, Sessions created a work that not only penetrated the future (of his time) but also paid homage to the past.