TEXTURES: A PERFORMANCE GUIDE TO PAUL LANSKY’S WORK FOR TWO PIANISTS AND TWO PERCUSSIONISTS

Abstract

In Paul Lansky’s 2013 work for two pianos and two percussionists, Textures, the two percussionists are presented with challenging technical passages and asked to transform otherwise mundane sounds into effective music. This document will examine these particular challenges and provide solutions to facilitate accurate performance. Additionally, pieces for two pianos and two percussion instruments, beginning with Bartok's Sonata for Two Pianos and Percussion, represent an important turning point in the art form of percussion. As composers in the twentieth century took note of both the sonic and expressive capabilities of percussion, as demonstrated by Bartok in the Sonata, began to utilize the percussionist frequently in chamber music. This document aims to recognize and discuss the historical significance of works for two pianos and two percussion instruments while also serving as a resource for future performances of Paul Lansky’s Textures. It is the goal of this document to demonstrate that the elevation of percussion performance in the twentieth century is due in part to works written for two pianos and two percussionists. In addition, that trajectory of this innovation is continued and embraced by Paul Lansky in his work Textures.