Neoromantic Contemporary Music


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Three New Piano Pieces

Artigo 07.07.2012 00:35

Volume three is off with a bang.

The third volume of my piano work is taking shape finally, with the addition of these three new pieces.

Etude No. 7

This etude, seventh on the series so far, is an experiment in strengthening the rhythmic dexterity of the index and middle fingers. The intent was to develop not only rhythmic precision, but understated harmonic support of the melody. Being a student of Chopin's etude techniques, I also couldn't help but inject a somewhat somber but stately secondary melody for a brief debut, at measure 39 (Lento). You don't get much a break, though, because the etude fairly quickly picks up again (measure 54) to it's original tempo, a prettly spritely vivace, finishing with some big chord stabs to it's abrupt end. A tendon pounder, for sure.


I have always been a huge fan of the Mazurka dance form, not only for it's pace and passion but for the natural breaks that allow for so much experimentation and interpretation. In this, my first forray into Mazurka territory, I take a lot of liberties pushing this piece firmly into the modern realm. It is almost multi-movement, taking several side trips. A visit to a minuet at measure 52 pauses and revisits the opening signature in another key, riding a storm to land at a slower, wistful waltz (Andante) at measure 98. A soft, "water torture" rhythm passage at measure 142 resolve to a pianissimo dissonance and then sneaking back into the Allegro at the beginning of the piece.

This one is definitely for the adventurous. Traditionalists might want to sit it out.

Ruminatus No.2

The second of a type of piece I came to call a "Ruminatus" (pondering, ruminating thought) begins almost as a Bacarolle, but wanders into some serious right hand work (Allegro, measure 25). My usual habits kick in at measure 43 (Lento) with the addition of a secondary melodic phrase making it's introduction and working into two iterations before landing back to the Bacarolle-ish attitude, albeit slower, that we found at the head of the piece.  As with the Mazurka, it is a composition that hints at multiple movements, but only long enough to avoid using them in earnest.


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