Sonata no. 1 : Gamba / Johann Sebastian Bach -- Four pieces. Andante, op. 1 ; Valse miniature : op. 1, no. 2 ; Chanson triste : op. 2 ; Humoresque : op. 4 / Serge Koussevitzky -- Monk's mood / Thelonious Monk ; arr. Buell Neidlinger -- Sonata for double bass and piano (1996) / David Anderson. / text

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Pierre Jodlowski's Works Based on Colour consist of three pieces: Série Noire (2005), Série Blanche (2007), and Série Rose (2012) pour piano et dispositif électroacoustique. According to the composer, "each colour provides an opportunity to investigate a particular link of music with imagery." The pieces serve as a musical representation of cinematic elements through the synchronization of music and sound effects. The musical language of the cycle draws influences from various sources including the music of expressionism, musique concrète, as well as standard soundtrack scoring. The intermingling of various melodies, harmonies, and rhythms creates a synthesis between the piano and the electroacoustic soundtrack (tape).In Pierre Jodlowski's Works Based on Colour, he seeks to form an interdisciplinary collaboration between music and visual multimedia. The composer's interest in cinematography and mental processes is evident through his selective mixing of audio effects, sounds (real sounds versus synthesized sounds), and piano. According to Jodlowski the visual aspects, or mise-en-scène, of cinema should surface in the minds of the listener after hearing each of the works. Jodlowski's method of mixing involves several techniques: the insertion of fragments of dialogue from various films, tinkering with inanimate objects, pre-recorded sounds of nature, and the distortion of sonic effects and instrumentation. Aside from the use of color as a symbol, Jodlowski's cycle contains extra-musical ideas that cover a wide range of cinematic themes, including atmospheric elements of film noir, the gradual shifts and changes in our mental processes, as well as love discourse and sex from erotic cinema and pornography. Jodlowski's Works Based on Colour stirs the listener's imagination through the clear delineation of contrasting sections, the dialogue-like interaction between the tape and the piano, and the inclusion of dialogue and sound effects from various films. A performer should have knowledge of cinematic elements, understand the purpose of cinematic concepts and their significance for a cinematic viewer, and recognize their function in Jodlowski's works before performing the Works Based on Colour.

Note: / Karol Szymanowski's music has fascinated me for a long time. The first time I encountered his name was in Artur Rubinstein's autobiography, which recounts how they first met and narrates many anecdotes about their friendship. At the time, I was living in Brazil, and was unable to find any recordings of his music. Nonetheless, Rubinstein's ardent praise of him (“a master!”, “a great Polish composer!”, “a powerful, original personality”) made me very curious, and I did not abandon my desire to keep looking for his music. Then, when I moved to Montreal in order to start my undergraduate degree at McGill University, I was finally able to find many recordings of his works at the school's library.[...]

John Corigliano's Etude Fantasy (1976) is a significant and challenging addition to the late twentieth century piano repertoire. A large-scale work, it occupies a particularly important place in the composer's output of music for piano. The remarkable variety of genres, styles, forms, and techniques in Corigliano's oeuvre as a whole is also evident in his piano music. This profusion of sources and its application to the Etude Fantasy are explored in the introduction, which is a general discussion o f the composer's background and aesthetic stance. The intriguing title of the Etude Fantasy implies the coexistence of two genres and raises the issue of the role of each genre in the thematic and structural organization o f the work. It is this issue which is the principal subject of inquiry in the thesis. Chapter I examines the historical background o f the etude genre, discussing similarities between the pianistic techniques employed in Corigliano's work and those found in specific historical instances of the etude genre over two centuries. Chapter II focuses on the historical background of the fantasia genre, emphasizing contrasting characters, textures, and keys as the main indicators o f a free form, and at the same time drawing attention to thematic transformation as a device of structural unification. Chapter III concentrates on elements that produce structural and formal coherence in John Corigliano's Etude Fantasy. These elements are motivic, intervalic, melodic, and harmonic in nature.