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…Expansions of Light, for piano (2023) Arietta I Caprice Arietta II …Expansions of Light, for piano (2023) is a triptych piece in response to Winter Light (1979), a painting by American abstract expressionist Helen Frankenthaler. The composition, like the artwork, is deeply contemplative in nature, providing a meditative and ethereal atmosphere in which the music flows through. While studying the canvas, it became apparent to me that the essence of Winter Light is one of great concern to the expansion and development of a singular visual motive. Hues of bright golden bronze in the upper left of the canvas sweep in a downward fashion gradually to the right; this amorphous, draping background is influenced by muted dark shades of brown, green, and orange. In addition to this, a deep, yet vibrant blue (of the Yves Klein fashion) impacts the bronze, bleeding into it, mutating itself into various turquoise greens. The metamorphosis of these hues, along with the manner in which they interact with one another, lead this work to explore subtle manipulation of musical gesture and material within my composition. The name “Expansions of Light” comes from the ideas previously stated as well my continuous, literal “expansion” of the musical ideas I did in my sketches for the work. The gently flowing lyricism, along with the subtly frozen aspects of Frankenthaler’s canvas are the origin for the movement titles of Arietta I and Arietta II. These movement titles, belonging to the operatic tradition meaning “short aria”, were introduced into instrumental writing by Beethoven in his later piano sonatas (most notably Opus 111). The Caprice provides textural contrast for the composition’s preoccupation with pensive and vocal qualities. Helen Frankenthaler’s canvases have led me to create several compositions reflecting the nature of her aesthetic concepts. There are currently five “Studies on Frankenthaler” and there are plans for several more in the future. …Expansions of Light (2023), was commissioned by the Terezin Music Foundation for pianist Jonathan Biss and is dedicated to Ara Guzelimian with admiration and gratitude. —Tyson Gholston Davis (11.16.23)