three movements for solo piano
Three Movements for Solo Piano
Three Movements for Solo Piano (2007)
Instrumentation: piano
Duration: circa 12 minutes
Copyrights: work registered with BMI
Premiered by Tzimon Barto on March 16th, 2008, Eustis Florida.
Awarded the II International Barto Prize (2008).
Excerpts: Mov. I, Mov. II, Mov. III
Program Notes:
In this work, the opening of the first movement starts with the illusion of a classical sounding gesture. Such illusion is soon dissolved, dropping the listener into an energetic world of colorful, crossed arches, where musical time is perceived at certain moments as compressing, and at others, as distending. In contrast with the horizontal kinetics that traverse the first part of this movement, the second part starts by focusing on restricted areas of the keyboard; the repetition of blocks is progressively extended to larger, and larger keyboard ranges, until the block-type of material gets suddenly pulverized into single, spaced-out notes in a descending gesture. As time progresses, the single-note gesture crystalizes back into the original arched gestures, as heard earlier in this movement.
The second movement, nostalgic in character portrays, as Fernando Pessoa (1888-1935) wrote, "A sad melody with no weeping (...)", "(...) a morning to sense the soul as a song (...)", an introspective remembrance of past cycles as new cycles in life begin, colored with the use off simple, "(...) old fashioned (...) " melodic, harmonic, and rhythmic elements. His poem is published under "Poesias Inéditas".
The third movement surges as an eruption, a definite break from the mood set by the previous movement, setting an uncompromising drive, full of resilience, and with an unstoppable inner force until the end of the work. The different sections are outlined by contrasting keyboard demands, and the transitions between sections happen progressively as slow cross-fades between distinct contrapuntal gestures/materials.
Instrumentation: piano
Duration: circa 12 minutes
Copyrights: work registered with BMI
Premiered by Tzimon Barto on March 16th, 2008, Eustis Florida.
Awarded the II International Barto Prize (2008).
Excerpts: Mov. I, Mov. II, Mov. III
Program Notes:
In this work, the opening of the first movement starts with the illusion of a classical sounding gesture. Such illusion is soon dissolved, dropping the listener into an energetic world of colorful, crossed arches, where musical time is perceived at certain moments as compressing, and at others, as distending. In contrast with the horizontal kinetics that traverse the first part of this movement, the second part starts by focusing on restricted areas of the keyboard; the repetition of blocks is progressively extended to larger, and larger keyboard ranges, until the block-type of material gets suddenly pulverized into single, spaced-out notes in a descending gesture. As time progresses, the single-note gesture crystalizes back into the original arched gestures, as heard earlier in this movement.
The second movement, nostalgic in character portrays, as Fernando Pessoa (1888-1935) wrote, "A sad melody with no weeping (...)", "(...) a morning to sense the soul as a song (...)", an introspective remembrance of past cycles as new cycles in life begin, colored with the use off simple, "(...) old fashioned (...) " melodic, harmonic, and rhythmic elements. His poem is published under "Poesias Inéditas".
The third movement surges as an eruption, a definite break from the mood set by the previous movement, setting an uncompromising drive, full of resilience, and with an unstoppable inner force until the end of the work. The different sections are outlined by contrasting keyboard demands, and the transitions between sections happen progressively as slow cross-fades between distinct contrapuntal gestures/materials.