This is the premiere performance from April 29, 2017 with Dani and the orchestra at Tsai Performance Center in Boston, conducted by Richard Pittman. The concerto is published and © by CF Peters.
Saturday, September 9, 2017
Violin Concerto No. 2
Violin Concerto 2 is from 2015-16 and was written for Danielle Maddon, the concertmistress of the New England Philharmonic, which commissioned the piece. In the first movement, both the soloist and all the string sections play only pizzicato, and apparently this is the first time that was done in a string instrument concerto (I could be wrong). The second movement is a chewy slow movement, and the third is a fast scherzo in compound time.
This is the premiere performance from April 29, 2017 with Dani and the orchestra at Tsai Performance Center in Boston, conducted by Richard Pittman. The concerto is published and © by CF Peters.
This is the premiere performance from April 29, 2017 with Dani and the orchestra at Tsai Performance Center in Boston, conducted by Richard Pittman. The concerto is published and © by CF Peters.
Saturday, July 29, 2017
Préludes Book 8
The eighth book of piano préludes was begun in May, 2017. It is in progress. Each title is the name of a spice.
#71 Paprika is a prélude on a syncopated falling figure, and was written for Talia Amar.
#72 Mustard is a prélude on broken octaves in both hands, sometimes with extra notes, culminating in competing strands of parallel fifths at the end. Here is the crapfest MIDI.
#73 White Pepper takes off on the texture of the B-flat major prélude in WTC 1. Here's the rather wooden MIDI.
#74 Asafetida is about triplet upbeat figures to repeated notes that are approximately at the tempo of my walks around the lakes at Yaddo. Helen O'Leary suggested the title.
#75 Cayenne develops an uneven repeated note figure in octaves that uses swing eighths. Sometimes it feels jazzy, sometimes not.
#76 Jalapeño is about uneven rising lines that eventually incorporate and combine with repeated notes.
#77 Salt is only B-flats. It can be played a half step higher or lower, or a major second higher. In the last case, the name becomes Sea Salt.
#78 Coarse Ground Black Pepper develops a falling figure and uneven repeated notes. Here is the crappola MIDI.
#79 Black Garlic is about flourishes that spawn chords via finger-pedaling. No crap midi offered here, since the finger pedaling doesn't happen in it.
#80 Oregano is the slow one of the book that I can play. L.H. plays dyads in quarter notes, R.H plays dyads in dotted quarters, and eventually a minor thirdy melody emerges on top. The MIDI sounds awful as it always does in slow piano pieces.
#71 Paprika is a prélude on a syncopated falling figure, and was written for Talia Amar.
#72 Mustard is a prélude on broken octaves in both hands, sometimes with extra notes, culminating in competing strands of parallel fifths at the end. Here is the crapfest MIDI.
#73 White Pepper takes off on the texture of the B-flat major prélude in WTC 1. Here's the rather wooden MIDI.
#74 Asafetida is about triplet upbeat figures to repeated notes that are approximately at the tempo of my walks around the lakes at Yaddo. Helen O'Leary suggested the title.
#75 Cayenne develops an uneven repeated note figure in octaves that uses swing eighths. Sometimes it feels jazzy, sometimes not.
#76 Jalapeño is about uneven rising lines that eventually incorporate and combine with repeated notes.
#77 Salt is only B-flats. It can be played a half step higher or lower, or a major second higher. In the last case, the name becomes Sea Salt.
#78 Coarse Ground Black Pepper develops a falling figure and uneven repeated notes. Here is the crappola MIDI.
#79 Black Garlic is about flourishes that spawn chords via finger-pedaling. No crap midi offered here, since the finger pedaling doesn't happen in it.
#80 Oregano is the slow one of the book that I can play. L.H. plays dyads in quarter notes, R.H plays dyads in dotted quarters, and eventually a minor thirdy melody emerges on top. The MIDI sounds awful as it always does in slow piano pieces.
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