La Recoleta: Milonga Fantasiosa
for solo piano
by R.A. Moulds
The fifth in the series Leyendas Místicas (Mystic Legends), this moody little tango-milonga fantasy was commissioned by the talented Brighton pianist, Johan de Cock, to be premiered at the 2016 Brighton Fringe Festival. The title refers to one of the most picturesque and moving places in Buenos Aires, the ‘City of the Dead,’ Cementario de la Recoleta. The piece, in accordance with its fantastical nature, does not follow strict dance forms or rhythms, and performers are encouraged to use their imaginations freely.
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for piano | 2' 40" | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Jazz Ground is a brief fairly simple piano solo, Gershwin-like in feeling. A third or fourth year student could manage it. It would serve as a break or change of pace in a heavier, classical recital. It is appealing and likable. | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
for solo piano | 4' | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| This impressionistic impromptu is a depiction of a slow, rain-filled day. It is a series of mostly still moments defined by the steady rhythmic fall of the rain on the trees and rooftops. The rich, accessible harmonies, simple melodic ideas and pace of the music combine within an unfolding form to depict this observational beauty. […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
for solo piano | 7' | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| These small doodles, or ‘paper improvisations,’ if you will, began as just that—scribbles that went down in one sitting, without the usual planning devoted to so much of my preceding music for solo piano. As such, they probably sound much different from the Aquarelles or even the more ‘open’ Piano Set, and the player may […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
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" | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| The Sonata for Piano was composed expressly for Beth Levin in the early weeks of January 2013 during a residency at the Edward MacDowell Colony in New Hampshire. Movement one is dominated by a satirical character of extreme contrasts in dynamics, abrupt gestures, and pauses. Its organization might be described as “quasi sonata form”, since […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||