Nostalgia for piano (Preview)
by Vincent Ho | Piano
by Vincent Ho | Piano
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PROMETHEAN EDITIONS<br />
VINCENT HO<br />
<strong>Nostalgia</strong><br />
Piano
Vincent Ho<br />
<strong>Nostalgia</strong><br />
Piano<br />
PROMETHEAN EDITIONS<br />
WELLINGTON
<strong>Nostalgia</strong> (PE161), <strong>for</strong> Piano by Vincent Ho (2011) dedicated to<br />
Evelyn Glennie.<br />
© Promethean Editions 2011<br />
First edition © 2013 Promethean Editions Limited<br />
Series Editor: Ross Hendy<br />
Editor: Ben Woods<br />
ISBN: 978-1-877564-56-7 (print)<br />
ISBN: 978-1-77660-161-5 (ebook)<br />
ISMN: 979-0-67452-185-7<br />
Promethean Editions Limited<br />
PO Box 10-143<br />
Wellington<br />
NEW ZEALAND<br />
http://www.promethean-editions.com<br />
No part of this publication may be reproduced in any <strong>for</strong>m or by<br />
any means without permission in writing from the Publisher.<br />
PE161 – 2
Vincent Ho (1975)<br />
Born in Ontario, Canada, Vincent Ho began his musical training at Canada’s Royal<br />
Conservatory of Music in Toronto, where he received an Associate Diploma in Piano<br />
Per<strong>for</strong>mance in 1993. Mentored by a series of composers including Allan Bell, David<br />
Eagle, Christos Hatzis, Walter Buczynski, and Stephen Hartke, Ho gained degrees from the<br />
University of Calgary and the University of Toronto, and a Doctor of Musical Arts from the<br />
University of Southern Cali<strong>for</strong>nia. While still an undergraduate student, Ho was awarded<br />
a scholarship to attend the Schola Cantorum Summer Composition Program in Paris,<br />
France, where he received tuition from faculty of the Juilliard School of Music and the Paris<br />
Conservatoire.<br />
Ho sprang to prominence in 1999, when he received prizes <strong>for</strong> his first string quartet and his<br />
<strong>piano</strong> work Three Scenes of Childhood, and an audience prize <strong>for</strong> the latter in the Toronto New<br />
Music Festival. String Quartet No.1 received further recognition nearly a decade later when<br />
it was nominated ‘Best Classical Composition of the Year’ in the Western Canadian Music<br />
Awards following its release on CD.<br />
Ongoing commissions have provided opportunities <strong>for</strong> Ho to produce many notable works<br />
<strong>for</strong> orchestra, including Nighthawks (2000), Dragon Realms (2006), Red Zen (2008) and<br />
Fallen Angel: In Memoriam Richard D’Amore (2008). Most significant is his Arctic Symphony<br />
(2010), a work inspired by a trip to the Arctic, which has been described as ‘a mature and<br />
atmospheric work that firmly establishes Ho among North American composers of note’<br />
(Winnipeg Free Press). Additionally, Ho began a tenure as Composer in Residence with the<br />
Winnipeg Symphony Orchestra in 2007.<br />
Ho’s music is rich and energetic—a unique integration of influences. His work often<br />
demonstrates the capacity to coherently synthesise and convey the felt inspiration incited<br />
by a multitude of artistic mediums. This amalgamation of influences is evidenced in<br />
Four Paintings by Leestemaker (2005), which musically construes the ‘murky,’ unsettling<br />
PE161 – 3
qualities communicated in the paintings of Leestemaker, and Arctic Symphony (2010), where<br />
electroacoustic material is utilised in order to more effectively allow the listener to intuit<br />
the natural soundscapes from which the work emerged, as well as the sense of wonder<br />
experienced by the composer. Additionally, traditional classical music <strong>for</strong>ms and the physical<br />
properties of the instruments and ensembles <strong>for</strong> which Ho writes are all inherent influences<br />
in his diverse and creative output. His music is sensual, sonorous and richly textured, and Ho<br />
gives considerable attention to the audience’s experience of his intricate sound-worlds.<br />
Latest in<strong>for</strong>mation about the composer may be found at www.vinceho.com.<br />
PE161 – 4
<strong>Nostalgia</strong> (2011)<br />
<strong>Nostalgia</strong>—in its original <strong>for</strong>m scored <strong>for</strong> vibraphone and orchestra—constitutes part<br />
of the second movement of The Shaman (a concerto <strong>for</strong> percussion and orchestra).<br />
The arrangement <strong>for</strong> solo <strong>piano</strong> herein was originally conceived as an encore piece <strong>for</strong><br />
The Shaman. However, it is now also considered a stand-alone work, and an alternate<br />
arrangement <strong>for</strong> solo vibraphone is also available (PE154).<br />
Catalysed by Ho’s affinity with various artistic mediums (such as photography, painting and<br />
poetry), <strong>Nostalgia</strong> is a work which invites the listener to traverse moments of the composer’s<br />
past. It opens with maudlin melodic gestures supported by sparse chordal material which<br />
convey a sense of longing and wistful sentiment instilled in the composer by Barber and<br />
Leestemaker. As the underlying harmonic activity increases rhythmically, the idiosyncrasies<br />
of the vibraphone are exhibited and contribute to a gradual thickening in texture. The<br />
tempo gently escalates which sees the work give way to a series of rhythmically nonspecific<br />
flourishes. These flourishes culminate in a brief senza misura section, be<strong>for</strong>e notes<br />
reminiscent of the tender opening motions ‘drift away’ at the works close.<br />
The composer writes:<br />
<strong>Nostalgia</strong> was initially inspired by three things: a photo taken by Doug Barber of an old<br />
man looking out of a window during sunset, a painting by Luc Leestemaker (Voyager<br />
#3), and an accompanying poem to the painting by the same artist titled Voyager (about<br />
an endearing childhood memory). These three works shared a nostalgic quality that<br />
warranted musical interpretation. However, in order <strong>for</strong> me to capture this emotion, I had<br />
to search through my own personal history to find the one memory that brought me the<br />
same bittersweet longing; a moment in my life that I have treasured and kept close to<br />
my heart. Once I had found it, I was brought back to that sacred emotional space and the<br />
music soon wrote itself.<br />
<strong>Nostalgia</strong> has been taken from The Shaman, which was commissioned by the Canadian<br />
National Arts Centre, the Winnipeg Symphony Orchestra and the Manitoba Arts Council. The<br />
PE161 – 5
work is dedicated to Dame Evelyn Glennie, who premiered the work during the opening gala<br />
of the Winnipeg Symphony Orchestra’s 20th New Music Festival at the Centennial Concert<br />
Hall, Winnipeg, Canada on January 29, 2011.<br />
Per<strong>for</strong>mance notes<br />
• ° is indicated at m. 1, however, the specific degree of pedal used throughout the work is<br />
at the discretion of the per<strong>for</strong>mer.<br />
• The indicated durations associated with notes grouped together by feathered beaming are<br />
approximate.<br />
• Grace notes throughout are to be per<strong>for</strong>med be<strong>for</strong>e the beat.<br />
PE161 – 6
PE161 – 7
d<br />
?<br />
?<br />
NOSTALGIA <strong>Nostalgia</strong> [DEDICATED TO TO DAME EVELYN EVELYN GLENNIE GLENNIE]<br />
Vincent Ho<br />
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<strong>Nostalgia</strong> © 2011 Promethean Editions Ltd Limited<br />
This Edition © 2013 Promethean Editions Ltd Limited PE161 – 28<br />
ISMN: 979-0-67452-185-7<br />
979-67452-XXX-X
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PE161 9<br />
PE161 – 3
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PE161 10<br />
PE161 – 4
PE161 – 11
PROMETHEAN EDITIONS