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Hai Jin, has performed over 200 recitals throughout United States and Asia. She has received numerous awards and prizes in competitions, including the Liszt competition in the 2013 Art of Piano festival in Cincinnati, and the Cincinnati Concerto Competition in 2014. She has appeared as a soloist throughout China and has been engaged with several Chinese orchestras such as China Conservatory orchestra, Shanxi string Chamber orchestra and Yanbian symphony orchestra. She made her United States debut in 2010 upon the invitation of Boston University. She has recorded and collaborated with violinist Haoli Lin on his debut CD Romantic Journey, and previously recorded with Violinist Yabing Tan on her CD Yabing Tan published by Great Wall Classics. Jin has also appeared as faculty in Music festivals such as Great wall Music Academy and Cleveland International Music Festival, giving master classes at Norfolk State university, Nanjing Xiaozhuang University, China Conservatory of Music, participating as Jury at Washington Universal Piano competition, Water Cube Competition and Talent CCTV Competition. She has worked with renowned artists such as Rohan De Silva, Hiram Diaz, Erinn Frechette, Heather Verbeck Harrison, Gao Can, Yi li etc. She is a D.M.A. candidate at the University of Cincinnati College- Conservatory of Music in Piano Performance with cognate area in Orchestral Conducting. At the same institution, her A.D. and M.M. in Piano Performance were completed under guidance of pianists Awadagin Pratt and James Tocco. Her B.M. in Piano Performance is from China Conservatory. She has worked at the Preparatory Department of University of Cincinnati College-Conservatory of Music, University of Cincinnati College-Conservatory of Music, and as Assistant Professor in Minzu University (Beijing, China), Assistant Conductor at the Maryland Lyric Opera. Currently, she appears mostly in DC area as solo pianist.
This lecture recital examines how Toru Takemitsu’s musical language in his piano music shows influence from Messiaen and Debussy. Takemitsu has acknowledged that Messiaen and Debussy have both influenced his music, but the full extent of his influence has not been examined in detail. Through analysis of pitch, rhythm, and texture, I will highlight connections between Takemitsu, Messiaen, and Debussy.
I will compare Takemitsu and Messiaen’s music, focusing on Takemitsu’s Rain Tree Sketches I & II, dedicated to Messiaen, Messiaen’s “Première Communion de la Vièrge” from Vingt regards sur L’Enfant-Jésus, and Debussy’s “Ondine,” from Preludes, Book 2. The three composers’ musical language and how it makes use of the octatonic collection, rhythmic patterns and ostinatos, contrasting textural patterns, and formal structure to explore how Takemitsu absorbed Messiaen’s and Debussy’s musical styles. The study not only observes similarities in musical language between Messiaen and Debussy, but also shows how Takemitsu draws on the language of these composers to create his own style.
10:00 Business Meeting / Workshop
5164 Virginia Beach Boulevard, Virginia Beach, Virginia 23462