2023 Edinburgh Fringe Piano Recital
Piano Masterworks 2023
Piano Sonata in F K. 533 (1788) Wolfgang A. Mozart (1756-1791)
I. Allegro II. Andante
Romanian Dance Op.8a No. 1 (1910) Bela Bartok (1881-1945)
La Valse (1920) Maurice Ravel (1875-1937)
Fantasie-Impromptu Op.66 (1834) Frédéric François Chopin (1810-1849)
Turnaround (1959) Ornette Coleman (1930-2015)
Giant Steps (1960) John Coltrane (1926-1967)
Waltz for Debby (1956) Bill Evans (1929-1980)
PROGRAMME NOTES
Piano Sonata in F major K. 533 (1788) Wolfgang A. Mozart (1756-1791)
I. Allegro II. Andante
The opening Allegro movement begins with a theme in the manner of a Bach 2-Part Invention. Like many of Mozart’s later works, this Piano Sonata is rich with the influence of Bach and Handel in its abundance of imitative counterpoint, free use of dissonance and harmonic richness. The overall character is cheerful, sweet and open to discovery. Mozart creates musical dialog between voices in a texture that often resembles a string quartet. The unison arpeggios closing the opening and ending sections add an element of excitement and movement to conclude this Allegro. Contrasting this, the middle section begins in the key of C minor, suddenly creating a serious, threatening undertone.
The Andante in 3/4 time begins simply in the key of Bb-major, but already by the second measure Mozart’s use of unexpected harmony hints that he is about to take the listener on a journey of unusual musical turns. There is rich lyricism but a dramatic harmonic undercurrent directing the musical flow. The development of the middle section becomes desperately tense with dissonance and chromatic sequences building to a powerful climax. Mozart counters this in the final section with music that gains repose and grace even after all the musical drama before it. The structural and expressive balance he achieves was part of the aesthetic of the Classical Era but Mozart is already showing tendencies of musical freedom that moves towards a 19th Century musical style.
Romanian Dance Op.8a No. 1 (1910) Bela Bartok (1885)
Bartok’s 2 Romanian Dances, Op. 8a were composed in 1910. They incorporate a Romanian folk-music idiom into a highly stylized modern piano composition. The first of these dances is rhythmic and percussive, making effective use of the piano’s low register. Bartok imitates the sounds of Romanian drums and bagpipes. The haunting theme of the slower middle section is followed by a transitional section that is almost in a vocal style. The main theme returns heroically but with rising tension of great power. Bartok plays by alternating the musical character between serious and playful in an urgent push to the ending. The composer, also a fine pianist, recorded this composition in 1929.
La Valse (1920) Maurice Ravel (1875-1937)
La Valse is an extended composition that is an original “waltz-fantasy” conception. Originally composed as an homage to the music of Johann Strauss II for a ballet, La Valse has become best known as an orchestral concert work. The expressive scope of the work is impressive, beginning full of mystery with snippets of melody emerging until the waltz character finally reveals itself. Ravel takes the listener on a fantastic journey of romance, intrigue and suspense. By the end, the heartbeat of the music has become so wild that the dance suggests a whirlwind of movement. The solo piano transcription is a challenge for the pianist to suggest the colors of different instruments and hold the structure and flow of the entire piece together.
Fantasie-Impromptu Op.66 (1834) Frédéric François Chopin (1810-1849)
Chopin’s Fantasie-Impromptu was composed in 1834. One of his most popular compositions, the piece is a thrilling musical poem, taking flight like the night wind in upward moving arpeggios and then with melody that expresses pathos and inner desires. A powerful climax gives way to a lyrical middle episode of tranquility and reflection before the return of the agitated opening music. In addition to finger dexterity and developing a convincing poetic interpretation, Fantasie-Impromptu is a study of shaping a poly-rhythmic musical texture – bringing out embedded melodic lines, while de-emphasizing other parts, and using the sustaining pedal to create variety in color, articulation and the harmonic rhythm.
Turnaround (1959) Ornette Coleman (1930-2015)
Ornette Coleman’s “Turnaround” is a blues tune that made its appearance on the 1959 jazz album, “Tomorrow Is The Question!” It featured a piano-less quartet album with the Fort Worth, Texas leader on tenor, Don Cherry on trumpet, Red Mitchell on bass and Shelley Manne at the drums. This format pushed the musicians towards greater harmonic and rhythmic freedom even though the bass player and drummer play in a much more “straight-ahead” manner than the freer Cherry or Coleman. The ending phrase - the “turnaround” - is the quirky aspect of the tune. “Turnaround” is a jazz standard and has been recorded by Michel Petrucciani (“100 Hearts”) and Marian McPartland (“Maybeck Recital”) among solo piano versions.
Giant Steps (1960) John Coltrane (1926-1967)
“Giant Steps” is a landmark composition by John Coltrane that was recorded on the 1959 quartet album of the same name. The record also included another famous original tune, “Naima”. In the key of B-major, “Giant Steps” is a test for musicians to play because of its speed through cyclic tonal centers a third apart, instead of the usual fourths or fifths. It has been recorded numerously by artists including Kenny Garrett (“Triology”), Mulgrew Miller (“Solo”) and Tete Montoliu (“That’s All”).
Waltz for Debby (1956) Bill Evans (1929-1980)
Bill Evans’ composition, “Waltz for Debby” was composed for Evans’ niece in 1953 shortly after completing his service in the US Army. With lyrics by Gene Lees, it is Evans’ best-known tune. “Waltz for Debby” was featured on the 1961 “Complete Sunday at the Village Vanguard” recordings and in vocal versions by Monica Zetterlund (“Waltz for Debby” 1964) and the “Tony Bennett/Bill Evans Album” from 1975. Bill Evans’ 1978 radio interview with Marian McPartland on “Piano Jazz” opened with a solo piano rendition after which Evans discusses the tune’s genesis.