Piano Piece #4
For Solo Piano
Piano Piece #4 is the fourth movement of my piano cycle Set of Five, which takes its title from the wonderful Henry Cowell piece of the same name and serves as a gesture of homage for the New Albion CD recording that looped through my brain on a near-constant basis in my young twenties. An obviously pained work, it is the largest and “weightiest” in the set, and seems to defy title placement.
Performance Note: the work should be played with a maximum amount of sentiment and angst. This is not the type of piece that benefits from a cool and detached interpretation.
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Title | View | Duration | Composer | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
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for piano | 2' 40" | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
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for solo piano | 4' | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
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for piano | 7' | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
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for piano | 5' | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| The Three Preludes (1992) were originated from a series of improvisations which were later condensed and subjected to strict revision. Even if there aren’t “ad libitum” sections, the trait of improvisation should be maintained during the performance. The pieces are set in order of increasing complexity. – Allegro moderato – Andante – Allegretto – Allegro […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
for piano | 6' | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| The Improvvisazioni on a Prelude for piano (1991) belong to a new creative phase. It consists of a series of connected improvisations on a Prelude composed by a schoolmate of mine. Several elements of this Prelude are the root of each section, but the piece doesn’t resemble a theme with variations. Only a fragment of […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
for piano | 4' | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| This little Suite for piano (1990) is composed of six pieces with baroque flavour. The style is modal. After the completely diatonic Preludio in D, the dances become increasingly chromatic. Preludio (Andantino in D) Allemanda (Allegretto in C) Corrente (Allegro in B) Intermezzo (Allegro moderato in A, with Sarabanda’s rhythm on the bass, but lively) […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
for piano | 4' | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| The Sonatina for piano (1989) is composed of three movements in a clear neoclassical style: Allegro vivace (in sonata form) Andante (in ternary form) Presto (a sonata rondo) In order to allow the interpreter as much freedom as possible to express the music as he feels, I chose not to include metronome marks. Pedal is […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
for piano | 20' | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| A Piano Suite of five pieces that express something of the character and style of ancient dances, without adhering to their classical forms. The prelude establishes harmonic and melodic materials which are utilized throughout the suite. The following four pieces capture a generalized characteristic of their historical namesakes. A nine-tone scale is used in all […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
for Piano and Small Orchestra | 30' | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Cast in the traditional three movements — fast, slow, fast — influence and indebtedness to Bartók is noticeable in the two outer movements. In the meditative slow movement, there are allusions both to Beethoven’s 3rd concerto, with its dialogue-like alternation between soloist and orchestra, and in the main body of the movement, a nod to […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
16'30" | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
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