Sharp Hills Nocturne
for piano
by Mark Winges
Sharp Hills Nocturne is based on a specific textural idea: a melody in the middle register with accompaniment both above and below. Its title was suggested by the rugged hills of Mojácar, Spain and the setting sun above those hills, which I saw when I had a residency at Fundación Valparaíso in 2010.
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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 piano | 7' | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| The Sonata for piano (1989) is written as a single movement divided into sections. Andantino – Allegro molto – Meno allegro – Tempo primo – Allegro molto – Meno allegro An introductory Andantino directly leads into an Allegro molto which contains the main theme and the transition to a more quiet secondary theme (Meno allegro). […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
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" | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 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 […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||