Piano
Vanessa McClintock
Bballerina // Chopinhauer // Crystal //
Emily’s Piano Album
En Mouvement // Harp Chaconne // Nocturne // …of a Child // Paris Portraits
Pure Heart & Quiet Voice // A Rose In My Heart
Primary Mailbox Theme & Variations
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Miniature portrait based on imagery of Sacramento ballet dancer with initials "BB". Imagine a porcelain ballerina dancing atop a crystal music box. Delicate, refined, fragile.
Composition finished on August 09, 1974, and performed on my Senior Graduate Recital for my Bachelor of Music degree in Theory/Composition, 1985. For my Master of Arts degree, I composed “Railroad Suite,” which was performed inside the California State Railroad Museum.
Interpretation can be toward Chopin or Schopenhauer, if desired. The title suggests a pun on the Polish pianist/composer Frédéric Chopin, and the 19th century German philosopher Arthur Schopenhauer.
The work is not at all an adherent or homage to Schopenhauer’s philosophical pessimism; I just like the sound of the title, "Chopinhauer," and I like puns. Nevertheless, there is a sense of Brahms lurking within the harmonic textures.
That said, pianists have at least two choices in their interpretation: to play as they would a work of Chopin: gracefully and with a sense of rhythmic freedom and emotional abandonment, or with a rather Germanic approach, even though there was no conscious influence by Brahms at the time. Or Chopin—just a decade and a half into our new a year of transition for me in many ways and fronts. This song came rather spontaneously, and I went
Composed in 1983 for my niece (through marriage) Crystal Canon when she was 8 years old.
This set of short piano pieces and two short songs comprises a musical portrait of my daughter, Emily, from her very early childhood.
The first piece composed, Emily's Lullaby, is placed at the last in the set; I expanded it from a simple tune I would sing to her at bedtime. When Emily entered kindergarten, she saw a poster advertising and promoting the school's (K-6) talent show and asked to be in it. The poster clearly stated the minimum class age as 1st grade. Emily was determined. I pursued without relent and the teacher in charge, choosing to both appease me and not hurt the child's feelings, allowed her to audition. When Emily finished, the teacher exclaimed through her tears, "If she isn't in the show, nobody is!" Emily performed the lullaby at both performances of the talent show, much to the astonishment of her class and the school.
Soon thereafter, I began work on the other pieces. Each has its unique perspective, as each portrays a different part of Emily's day and life. The last piece—and the one that gave me the most challenge—appears as the first in the set, Emily's Morning Song. I debated whether to compose the piece, and after its composition questioned whether I should include it in the set. Ultimately, I believed it gave the entire set a balance.
The set I completed in 1996, six years after the lullaby. The final typo corrections and minor alterations I completed in February 2023.
For more information, see the "guide" in the complete score download.
This short piano work (about 3’00”) came to me during my visit to my daughter, Emily, at Lehi, Utah in August of 2024. I was inspired by watching the seemingly unrelenting vitality and goodness of her daughter (my only granddaughter), Avery Corene Ekins. Avery was in continuous motion (with few exceptions) from first light to just moments before bedtime when her energy would gracefully subside like a deflating balloon.
And, she is a very sweet person.
Harp Chaconne was conceived as the first part in a series of études on harmony and technique. The title may be misleading in that this is not a work necessarily for harp; rather, the title is in reference to the progression of chords that are played with arpeggios.
The chaconne is used for the "...of a Child" set.
The entire work is based on the very first four single notes. This simple motif then passes through extensive and evolutionary permutations, before a development section, which leads to a rapid and conclusive climax.
One likely will hear the influence of Béla Bartók, Frank Martin, and even a touch of Leoš Janáček. This was not intentional, although the work certainly was influenced strongly at the time by the work of Bartók.
The "flavor" of the piece is due in part by intermittent use of extensive chromaticism, bi tonality, cross (relationship)-harmonies, and 1/2 tone–whole tone scales. The work does not consider traditional major and minor keys, but tonal centricities: e.g., a section might draw focus to a single note, such as "G," but not necessarily its associated harmony (chords: G major or g minor). "Dissonance to Resolution" has become "dissidence to agreement.".
Originally composed in 1973. Performed on my recital for Master of Arts in Music, 1986. Dedicated to Pixie J. Bean. Likely influenced by Frank Martin's "Petite symphonie concertante" and by Bela Bartok. Substantial expanstion internally and at the conclusion in February, 2019.
Each of these short and somewhat simple piano pieces begins with a chordal progression—the chaconne—that is used in the Harp Chaconne (Harmonic Études). Each piece then continues, almost uninterruptedly with that chaconne, allowing for key changes and preparation for the modulations. Each has its own personality and imagination.
Four “scenes” of Paris, as seen through my imaginary eyes. Depicting the four seasons, this is possibly the first set, with more to come should I ever visit that great city. Another work, da Camera for flute, viola, and harp, includes a movement about Provence–yet another place I hope to visit.
The purpose of this short work for solo piano is to expressly commemorate the marriage of Crystal Cannon to Brent Jeffrey Slade. I composed the original version in the late fall of 1994, in anticipation for their May, 1995 wedding, twelve years after "Crystal."
Inspired by the fictional character Rose, in the 1997 movie Titanic. Whatever happened to her from the shipwreck to the discovery of the Titanic? Did she spit off the Santa Monica pier?
Primary Mailbox Theme & Variations
The theme is easy to play, as are the next few variations that follow. From there the music becomes increasingly more complex and challenging to perform. This progression can be a good growth project for the developing pianist.
For more information, see the notes in the complete score download.
Over the years, I have made several sets of variations, often amending, cutting, and adding new material. This is the final set