tag:blogger.com,1999:blog-59236614695262597272024-02-19T16:16:07.708-08:00Composing, Performing, CreatingComposing, Performing, CreatingJon Liechtyhttp://www.blogger.com/profile/17580616359049772746noreply@blogger.comBlogger32125tag:blogger.com,1999:blog-5923661469526259727.post-29775641801243266692022-12-30T16:10:00.000-08:002022-12-30T16:10:03.156-08:00Goldberg Variations: finishing up<p> My Goldberg Variations project is done, for now. Recordings have been made for each track, and the collection has been mastered by a kind friend. I've listened to the whole set, and made some small adjustments. Eventually I'll make a few CDs for friends who are especially interested. But this was not particularly intended for wide distribution, so that will be the extent of it.</p><p>The main thing I've learned through this experience is what a beautiful work this is. There is something to love on every page, something to linger over, enjoying again and again. While many players tend to take some of the variations at very fast tempos, probably for the virtuoso show-off effect, there are wonders to be discovered by taking them more slowly, and the result is not necessarily less interesting.</p>I've gotten to know my limitations, and those of the keyboard I'm playing. The keyboard worked much better for this project than I expected; while there were a few places where I had to do some careful thinking about tempo and dynamics, my ideas about how the work would sound could usually be realized.<p>I didn't always reach my goals. There are places where my hands did not produce what my ear wanted to hear. For now, I'm continuing to work on the set, still hoping someday to be able to play from start to finish. This was the "lite" version, without repeats; someday I'd love to be able to play the whole thing with all the repeats taken. But for now, this recording will do.</p><br />Jon Liechtyhttp://www.blogger.com/profile/17580616359049772746noreply@blogger.com0tag:blogger.com,1999:blog-5923661469526259727.post-4888696414304308822022-09-17T09:26:00.003-07:002022-09-17T09:26:25.079-07:00The Goldberg Variations: How it's going<p>My quest to record the<i> Goldberg Variations</i> continues. I'm about to begin work on Variation 9, having started from Variation 30 and working backwards. The work is going slowly, but there's no hurry.<br /></p><p>Each variation seems to have its own special "thing" that needs extra work. Variation 16, the French Ouverture, for instance, has at least two issues to be considered. One is over-dotting. By convention, in this music, a dotted note is held longer than the written value, and the short note following is correspondingly shorter. Here's the question: sometimes the right and left hands both have dotted rhythms at the same time, with different written lengths of the dotted note, and different written lengths of the following shorter value. Here's an example, from the first edition published by Balthasar Schmid:<br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjo9XYX--Ojy08H38D3u_110gd3-nn3BgI9vK0a0C0r_DSfAajKGGpXznn1nvoWoyDD6j0ahzG_n3BKAr6gFA3pdv74fU3KkPpB2TF2Cn8NWHkcEBEIehy1qSkoy_aUK_OlKtHrJ5XxJzE-AdEHU2yHcc3y2aYaL-2tBbxwcWBsX8CwRMT3sgvTkIZ/s484/Screenshot%20from%20GBV16%202022-07-17%2012-04-09.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="216" data-original-width="484" height="143" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjo9XYX--Ojy08H38D3u_110gd3-nn3BgI9vK0a0C0r_DSfAajKGGpXznn1nvoWoyDD6j0ahzG_n3BKAr6gFA3pdv74fU3KkPpB2TF2Cn8NWHkcEBEIehy1qSkoy_aUK_OlKtHrJ5XxJzE-AdEHU2yHcc3y2aYaL-2tBbxwcWBsX8CwRMT3sgvTkIZ/s320/Screenshot%20from%20GBV16%202022-07-17%2012-04-09.png" width="320" /></a></div><p></p><p>In the first measure, the right hand has a dotted quarter followed by an eighth note; the left hand, on the second beat, has a dotted eighth note followed by a sixteenth note. Should the eighth note in the right hand be played as written, or should it be shortened to the same value as the sixteenth note in the left hand? A similar situation appears in the second bar, where the left hand has a dotted quarter followed by an eighth note, and the right hand, on the second beat, has a dotted eighth followed by a sixteenth. <br /></p><p>I've heard it done both ways, but in this recording I'm choosing to over-dot the quarter notes, and play the eighth notes that follow them as sixteenth notes.<br /></p><p>Another issue with this variation has to do with the ornaments in the second section. Here's the Schmid edition:</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvh-XQsb7h4r8o5b1VcTrFsaDEjFgKITfY1BxdgMUWtOifAnApSoxpz5g9PAfKUAQKSUJGCY7ji5RjSGn5bB5xsg4xAm2C-gLWG8i1EXHxjQ101tifjkgQP_s7dCD4La4MQn2fHYmeG7wE-RAjhwQcg3_PUWH-npa1_FGldPNFEZgWOH35oEChNK7f/s428/Screenshot%20from%20GBV16-2%202022-07-17%2012-15-42.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="109" data-original-width="428" height="81" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvh-XQsb7h4r8o5b1VcTrFsaDEjFgKITfY1BxdgMUWtOifAnApSoxpz5g9PAfKUAQKSUJGCY7ji5RjSGn5bB5xsg4xAm2C-gLWG8i1EXHxjQ101tifjkgQP_s7dCD4La4MQn2fHYmeG7wE-RAjhwQcg3_PUWH-npa1_FGldPNFEZgWOH35oEChNK7f/s320/Screenshot%20from%20GBV16-2%202022-07-17%2012-15-42.png" width="320" /></a></div><p>In the second measure after the double bar, the turn appears on the <i>first</i> eighth note, not the second, and that is where I'm playing it.</p>In Variation 13, I'm thinking a lot about phrasing and fingering. Originally I'd been playing things mostly legato, but I've discovered it helps to break the right hand into shorter groups, and play some parts of the left hand somewhat detached, especially the last three eighth notes of the bar in the lower voice. Endurance is also a concern; the right hand needs occasional moments to rest from the flowery ornamentation, more so in my case because of the spring-loaded keys. Where can the line breathe?<br /><p>Variation 12, the Canon at the Fourth, is one of my favorites. Here the relationships between the voices are the focus, as they feed into each other, alternately singing out and accompanying.<br /></p><p>Variation 11 has been one of the toughest, largely because of choreography and fingering. The hands often overlap, and it's necessary to decide exactly which hand plays what when. Slow practice is the key here.</p><p>The ornaments in Variation 10 have needed some TLC. When one hand plays two voices at once, and one of those voices has a trill, with or without a termination or a lead-in, some decisions have to be made. How many repetitions will the trill have? Will the notes in the other voice be held through the ornament, or cut short at some point? Which fingers will do what? Will repetitions of the Fughetta subject be ornamented the same way as the original, or will they be different?</p>One way or another, I'm learning a lot with this project!<br />Jon Liechtyhttp://www.blogger.com/profile/17580616359049772746noreply@blogger.com0tag:blogger.com,1999:blog-5923661469526259727.post-30320508486601570622022-07-17T08:57:00.000-07:002022-07-17T08:57:46.481-07:00The Goldberg Variations: The Music<p>The <a href="https://en.wikipedia.org/wiki/Goldberg_Variations" rel="nofollow" target="_blank"><i>Goldberg Variations</i></a> (the link is to the Wikipedia article, which has much worthwhile detail) show one example of the way Bach took a simple form and added additional structure to it to create something much larger and more complex. The only requirement of a theme and variations is that the variations should have a clear relationship to the theme, and usually there's an obvious progression from one variation to the next in terms of rhythmic activity and complexity. Here is a <a href="https://www.youtube.com/watch?v=FYGCKuqaEWo">link</a> to a YouTube video of a variation set by Bernardo Pasquini, on a theme known as <i>La Folia</i>, performed by organist George Becker, MD.<br /></p><p>In Bach's set, though, the variations take a much wider variety of forms, which helps sustain interest for the immense length of the work. The variations can be subdivided into groups of three; each group consists of a dance movement or genre piece, an arabesque, and a canon. Among the genre movements are a French Ouverture and a Fughetta; the final variation is a Quodlibet.<br /></p><p>The canons begin at the unison, and proceed by steps up to a ninth (an octave and a second). By convention, all of the canonic voices should use similar articulations and ornamentation, though players don't always observe this rule.</p><p></p><p>One of the problems with Bach, which is also one of his great advantages, is that he does not write in as much detail as one might expect to find in a modern score. Articulations, tempo marks, and dynamics are much less frequent, and, at least in some cases, have different meanings than they would have in a work by a modern composer. Ornaments (e.g. trills) may have changed their meanings somewhat. This is a problem because different people interpret Bach in different ways, and each of us tends to be attached to our own way of doing things. One teacher told me never to play Bach for an audition, because no matter how you choose to play it, you will most likely offend someone on the committee. But the lack of detail is also an advantage, because as a performer you don't have the option simply to play what is written; it demands interpretation. You have to express yourself when playing Bach, because you have no other choice. You can (and, in my view, should) use relevant historical sources available to you to guide your choices, but that does not change the fact that you are making choices.<br /></p><p>Historical performance has tended to be a moving target, with each new generation of scholarship challenging the conventional (but perhaps less well founded) practice of its day. Unfortunately, those of us who are not experts get left behind; we may use older editions, may not be familiar with all of the relevant sources, and may have missed out on developments such as <a href="http://www.larips.com/" rel="nofollow" target="_blank">the rediscovery of Bach's preferred tuning system</a>. This makes it intimidating to write about Bach's music; the odds are high that you are showing off your ignorance. An important project to know about is the <a href="https://www.opengoldbergvariations.org/" rel="nofollow" target="_blank">Open Goldberg Variations</a>, which includes a fine recording by Kimiko Ishizaka, and <a href="https://imslp.org/wiki/Goldberg-Variationen%2C_BWV_988_(Bach%2C_Johann_Sebastian)" rel="nofollow" target="_blank">an open edition of the score</a>; you will need to scroll down the page after clicking the link, in order to find the link to download it from IMSLP.</p><p>Another worthwhile source, also on IMSLP, is the first edition proof with Bach's corrections. This is the edition published in 1741 by Balthasar Schmid. It's quite readable, and there are some notable differences between it and, say, the Bach Gesellschaft edition.<br /></p><p>I make no representations about following historical practice in my home recording. I've certainly done some reading and listening on the subject, and will continue to do so, but for the last word in historically informed practice, select another recording.</p><p>This blog is mainly about personal experience. While there will certainly be links to historical/musicological information at times, the best sources for that are historians and musicologists.<br /></p><p>A quick check of various websites found 81 recordings of the Goldbergs
on piano, 23 on harpsichord,and one on clavichord. As of this writing,
the "Goldberg Variations Discography" article in the English
Wikipedia mentions 101 recordings on piano (including one on jazz
piano), 53 on harpsichord (including one on harpsichord and
clavichords), and 6 on organ. There are probably many more. The two
lists don't entirely coincide; I included some non-commercial recordings in my
count, and missed a lot of the ones Wikipedia includes. Many of these recordings are wonderful. Some are more historically informed than others. A few are cringe-worthy. <b>All</b> of the
performers can say they have recorded the <i>Goldberg Variations</i>.<br /></p><p> </p>Jon Liechtyhttp://www.blogger.com/profile/17580616359049772746noreply@blogger.com0tag:blogger.com,1999:blog-5923661469526259727.post-9990616193458458332022-04-05T16:01:00.004-07:002022-04-05T16:01:58.476-07:00The Goldberg Variations: The Instrument<p>There's little question that the <a href="https://en.wikipedia.org/wiki/Goldberg_Variations" rel="nofollow" target="_blank">Goldberg Variations</a> were written for a French double harpsichord, that is, one having two manuals. Both the range (going down to the G two octaves and a fourth below middle C) and the instructions about using one or two keyboards make that reasonably clear.</p><p>Pianists, however, have appropriated them, exactly as they've done with Bach's other keyboard works. In the early to mid 18th century the distinctions between the repertoire for the harpsichord, clavichord, organ, early fortepiano, and so on weren't set in stone, and a player could play pretty much any keyboard piece on any keyboard instrument on which it was possible to play it. This could include some tasteful editing and arranging if necessary. I suspect, however, that the interest of some pianists in this work is much more tied to the fancy hand-crossing and the opportunities for virtuoso display provided by some of the variations.<br /></p><p>There have been a number of arrangements and transcriptions made of the <i>Variations</i>, for organ, string trio, recorder consort, and saxophone quartet among others.<br /></p><p>So, for my project, I'll be recording the <i>Goldberg Variations</i> on ... a Yamaha DGX-505 keyboard. This is an old keyboard, top of the line in its day, with spring-loaded keys, and lots of features that don't interest me. It has many voices, and I ignore most of them. Its piano sound is only an approximation of an acoustic piano, of course, but I still like it, and for this project it's the only voice I will use. I don't like the harpsichord voice. Yamaha never forgets they are making musical instruments, and one result is a keyboard I can use, even twenty or thirty years after it was made, without being constantly distracted by its shortcomings. I have done some recordings (not of the Goldbergs) using the organ voices, and I've played through a variation or two using the harp voice.<br /></p><p>The spring-loaded keys present a challenge. They demand a different approach to technique than a standard piano action. A standard piano action requires more force to press a key down than to hold it. Spring-loaded keys, however, take much more energy to hold down a key. This can lead to injury when holding a note with one of the little fingers while playing something else with the same hand. So far, I've been able to get the results I was hoping for; we'll see how that holds up as the project goes along.<br /></p><p>One advantage of a digital keyboard for home recording is the total lack of room noise. No key clicks, creakings of the chair, or swear words from the keyboardist need interrupt. In addition, there's no need to be concerned about housemates who might be disturbed by early-morning recording sessions: the headphones keep the sound right where it belongs.</p><p>Recording on a digital keyboard does dictate some artistic choices. For instance, every trill has to be measured, because you will clearly hear every repetition, whether you like it or not. When your hand has to jump from one place to another, on time is late; you have to be in position before it's time to play the note, because otherwise you may get an unwanted accent. Accuracy matters; a piano can be somewhat forgiving of a finger that hits two keys at once, as long as only the right one sounds. On this digital instrument, forget it: if you touch a key, you will probably get a sound. There's less margin for error.</p><p>While there is a pedal that can be used with this keyboard, it's basically a foot switch, and it tends to move around too easily. I don't use it. That calls for some careful thought about articulation, and taking some hints from my harpsichordist friends, because there's simply no way to play some of the legatos many pianists like. This means sometimes a note won't be held its full value, and often the final note of a tie will be replaced with a rest. That also helps protect the little fingers from the chance of injury mentioned above. </p><p>To date, I have at least one recording made of each variation from 16 through 30. Variation 16 poses some special issues; maybe I'll write about them later. I've been working backwards through the set to help build the ability to play Variation 28 after having gone through all of the other ones. For now, I'm recording them without repeats. Once I have a complete recording of the whole set, I'll think about whether to go back and do one with the repeats taken.<br /></p><p>Progress.<br /></p>Jon Liechtyhttp://www.blogger.com/profile/17580616359049772746noreply@blogger.com0tag:blogger.com,1999:blog-5923661469526259727.post-38692572387917640112022-01-23T13:41:00.003-08:002022-02-19T14:12:23.018-08:00The Goldberg Variations: Recording<p>This post is mainly about (primitive) recording technology. Professional recording technicians will certainly cringe; I'll make a long story short, and say there are good reasons to pay for a studio and an expert engineer if you have the money. If you don't, my experience might interest you.<br /></p><p>I take a very practical view of recording technology. Ever since I found, in an issue of <i>Maximum Rock & Roll</i> many years ago, a statement to the effect that bands have released CDs which were recorded using the Voice Recorder on Windows(tm), I've been intrigued by the possibilities. Today, I'm using Audacity under Linux Mint; while there are other options available, this is the easiest at the moment. To record the audio to begin with, I use a Zoom H1 digital recorder, plugged into the headphone jack via a splitter.</p><p>Here are some lessons learned so far: <br /></p><p>It's been tempting to edit to a "final" take right away, but I've learned the hard way it's not a good idea. For one thing, dynamics are important not only within a variation, but from one to the next. When you amplify the takes as they are made, you can't make that comparison; the computer will amplify a "softer" track up to a level similar to the "louder" one before or after it. While you can re-amplify the tracks when you put them all together, that will change the level of the background noise, too, which will be distracting. So, while I'll do basic editing (cutting out the unwanted stuff) early on, adding amplification and other effects will have to wait until the whole set is done. I had added noise removal on the recordings of several variations before I realized it was making my keyboard sound bad. I'll re-record them. Lesson learned. <br /></p><p>There's a recording-studio adage that says everything that happens in a studio should be recorded. I've found it's true. At first, I used to record each take as a separate file, constantly getting up to start and stop the recording device. Now, I just let it run, and if I need to go over a section slowly, or repeat something, I record that too. Most of it will be deleted after the final take(s) is(are) done, but there's less chance of missing something good. It's also easier to concentrate on the music.<br /></p><p>Usually I leave some blank space before beginning to record a section, which will make it easy to find when I'm editing. It's a test of patience; usually after messing something up I want to dive right back in and play it again. But counting off a few blank measures in the tempo of the piece helps to keep some perspective.<br /></p><p>A home recording can be many things, and before anything else it's a way to hear my own playing. Does it sound the way it should? Are the rhythms right? What about the ornaments? The articulations? Do I like it at this tempo, or would it be better faster (or slower)? While there is an understandable urge to produce something and publish it, a home recording is first and foremost a practice tool. While I'm playing, my ear can lie to me about what I'm doing. An unedited recording, however, comes closer to the truth.</p><p>Will you ever hear what I'm creating? I'm not sure. But if <i>I</i> don't hear it, there won't be much worth sharing.</p><p> <br /></p><p><br /></p>Jon Liechtyhttp://www.blogger.com/profile/17580616359049772746noreply@blogger.com0tag:blogger.com,1999:blog-5923661469526259727.post-13954539368584163302022-01-15T11:14:00.000-08:002022-01-15T11:14:23.301-08:00The Goldberg Variations: The Project<p>I've had my eye on the <a href="https://en.wikipedia.org/wiki/Goldberg_Variations" target="_blank"><i>Goldberg Variations</i></a> by J. S. Bach for some time. I have recordings of individual variations that I made in 2013, and I was working on the Quodlibet as far back as 1998. </p><p>Right now, when there's so much general craziness, and I'm staying home more than I otherwise might, is a great time to go back to them, and you're invited along for the ride. Hopefully, the journey will be entertaining and instructive; you'll learn from some of my mistakes.</p><p>The Goldberg Variations are, among other things, a big piece; a complete performance, with repeats, takes around an hour and a half. These days, it seems to be common to leave out one or both repeats in the Aria and some, or all, of the variations. This is a practical move; an intermission really doesn't work with this piece, and an hour and a half is a long time to sit without a break. If none of the repeats are taken, the piece becomes a manageable forty-five minutes long, more or less. Getting through the whole thing is still a feat of endurance. My athletically-inclined friends fill my social media feeds with accounts of the marathons they run and the weights they lift, and exhortations to take on big projects. Here's mine.</p><p>A big project needs a work plan, and I'm tackling this in stages.</p><ul style="text-align: left;"><li>Locate, and listen to, a number of recordings of the work, on piano and on harpsichord. </li><li>Beginning from the end, more or less, make individual recordings of each variation, and two of the Aria. For now, I'm recording them without repeats.</li><li>Put my recordings onto a CD and listen to the whole set several times, taking note of things such as the relative loudness of the different tracks, the effectiveness (or not) of using noise reduction and other recording technology, the relative tempos of the different variations, and so on.</li><li>Re-record anything that seems to need it at this point, using the best-practice information from the previous step.</li><li>At this point, there will be an end product: a CD. But it won't be done.</li><li>Record the variations in sets of two or three, and gradually increase the numbers of variations in each set.<br /></li><li>Eventually, play the whole thing start to finish.</li><li>Then do the whole thing over with the repeats. Or not.</li></ul><p>There is considerable overlap between stages. Right now I'm on the first two.</p><p>These are some of the results I'm hoping for:</p><ul style="text-align: left;"><li>Better playing, especially on this keyboard</li><li>A recording I can give to my family, friends, etc.</li><li>Thorough knowledge of this wonderful work</li><li>Improvements in my recording technique, especially editing with Audacity</li></ul><p>So far, I have recordings of Variations 21-22 and 25-30, and I'm working on 23 and 24.</p><p>More news as it happens.</p><p><br /></p><div><p><br /></p><p><br /></p></div>Jon Liechtyhttp://www.blogger.com/profile/17580616359049772746noreply@blogger.com0tag:blogger.com,1999:blog-5923661469526259727.post-4939535820463852472019-08-01T13:59:00.000-07:002019-08-01T13:59:01.194-07:00Decomposing
<div style="margin-bottom: 0in;">
<span style="font-size: small;">Today I did something I
never expected to do. I pulled out all of my old notebooks,
including compositions from my very first scribbles (I was five) all
the way through my first two years of college. I went through each
of them, carefully tore out most of the pages, and tore them in half.
Then I delivered them to the recycle bins downstairs.</span></div>
<div style="margin-bottom: 0in;">
<br />
</div>
<div style="margin-bottom: 0in;">
<span style="font-size: small;">Every composer in the
Western tradition, loosely speaking, writes every note with at least
one eye on posterity. Even if no one other than us values our work,
we have to assume that, at some point, they might. We imagine our
leavings treated the way we treat those of the composers who've gone
before us: diligently preserving them, eagerly searching them for
clues to the development of talent and mastery, including them in
beautifully printed and bound editions of the complete works.</span></div>
<div style="margin-bottom: 0in;">
<br />
</div>
<div style="margin-bottom: 0in;">
<span style="font-size: small;">Most of us realize, on
some level, that's a fantasy. It would be, if not impossible, at
least not easy, for every composer's complete output to be saved, let
alone treated with any special reverence. Libraries and archives
have limited capacity, and “the cloud” (i.e. other people's
computers) may have other ideas about what it wants to store. In any
case, it makes no promises unless it's paid to, and sometimes not
even then.</span></div>
<div style="margin-bottom: 0in;">
<br />
</div>
<div style="margin-bottom: 0in;">
<span style="font-size: small;">Going through those
notebooks has been a complex process. A small part of it has been,
“Wow … I don't remember writing that; it's not bad!” A lot of
it has been, “Wow … that belongs in the recycle bin!” And a
lot of it has involved saying goodbye, not just to a big pile of
paper with musical notation scribbled on it, but to the childhood and
young adulthood during which that musical notation was put onto that
paper.</span></div>
<div style="margin-bottom: 0in;">
<br />
</div>
<div style="margin-bottom: 0in;">
<span style="font-size: small;">A few of the pieces are
tied to events, like the one I wrote when my grandfather died. A
very few of the pieces were performed; a song or two, and an Easter
Cantata some of my cousins kindly sang through for me one afternoon.
A collection of short pieces was published; they were written with
Leonard Kilmer, my piano teacher at the time, and performed at the
summer music camp at the local college. I was younger than most of
the kids at that camp. I also gave a talk about aleatory music there
that year.</span></div>
<div style="margin-bottom: 0in;">
<br />
</div>
<div style="margin-bottom: 0in;">
<span style="font-size: small;">Leonard introduced me to
modern techniques by way of Vincent Persichetti's harmony book. I
was in junior high school, and the modal melody and quartal-secundal
harmony I learned from him have been important ever since. This<span style="font-style: normal;">
was the time the </span><span style="font-style: normal;">school
</span><span style="font-style: normal;">orchestra performed a piece
of mine, for violin and strings. Playing the solo was a thrill, </span><span style="font-style: normal;">a
happy time in a tough stretch, and I'm grateful to the kind friends who made it happen</span><span style="font-style: normal;">.</span>
During that period, I wrote my first music worth keeping. A <i>Lament</i><span style="font-style: normal;">
for voice and piano survives in an arrangement for soprano saxophone
and piano. </span></span>
</div>
<div style="font-style: normal; margin-bottom: 0in;">
<br />
</div>
<div style="margin-bottom: 0in;">
<span style="font-size: small;"><span style="font-style: normal;">But
a lot of the music </span><span style="font-style: normal;">just shows</span><span style="font-style: normal;">
me trying, and failing, to reproduce the grand pieces I admired.
It's too bad, in a way, that I didn't </span><span style="font-style: normal;">look
at</span><span style="font-style: normal;"> other models; today I'd
suggest, for instance, that someone wanting to write a cantata take a
look at </span><span style="font-style: normal;">one by</span><span style="font-style: normal;">
Buxtehude (“</span><i>Alles, was Ihr tut”</i><span style="font-style: normal;">,
</span><span style="font-style: normal;">perhaps</span><span style="font-style: normal;">);
someone wanting to write a piano concerto </span><span style="font-style: normal;">could
</span><span style="font-style: normal;">check out the pasticcio
concertos of Mozart … and begin by writing a sonata in the style of
the ones he </span><span style="font-style: normal;">used. But in
those days, I wasn't big on taking advice from anyone. </span><span style="font-style: normal;">To
be fair, a lot of the young musicians whose work I find online fall
into the same trap, trying to run before they can walk properly.</span></span></div>
<div style="font-style: normal; margin-bottom: 0in;">
<br />
</div>
<div style="margin-bottom: 0in;">
<span style="font-size: small;"><span style="font-style: normal;">But
the biggest realization during the whole process of creative
destruction has been that the future I'd been imagining, the one in
which my works could be gathered, treasured, and preserved, is most
likely not the future to which we are headed. There are too many
problems facing the human race right now, and the genesis of my
musical language </span><span style="font-style: normal;">isn't a
priority</span><span style="font-style: normal;">.</span></span></div>
<div style="font-style: normal; margin-bottom: 0in;">
<br />
</div>
<div style="margin-bottom: 0in;">
<span style="font-size: small;"><span style="font-style: normal;">A
few pages</span><span style="font-style: normal;"> have been saved,
for now, but the reprieve is likely temporary. After watching (and
being part of) the process of cleaning up after the deaths of a
number of friends, and after a number of house moves, mine </span><span style="font-style: normal;">and</span><span style="font-style: normal;">
others', it's clear the choice is only whether I want to put these
things into the recycle bin now, when I can do so with my own two
hands, or whether I want them put there (or into the trash), by
someone else. Today I'm choosing to take action on my own behalf.</span></span></div>
Jon Liechtyhttp://www.blogger.com/profile/17580616359049772746noreply@blogger.com0tag:blogger.com,1999:blog-5923661469526259727.post-29936749044131924052019-01-01T07:12:00.000-08:002019-01-01T07:12:30.815-08:00End of one year, beginning of anotherRecently I've been thinking a lot about this blog, and what I'm hoping
to accomplish. Ultimately it's about <b>you</b>: if what you find here doesn't make your life better in some way, what's the point? How can I make it easier for you to find what you are looking for, and make use of what you find? I'm posting about my experiences, but hoping you'll find some value, even if only to shake your head at my pratfalls.<br />
<br />
So, what has this year been for me, musically speaking?<br />
<br />
This has been a year to reconsider and re-evaluate. What am I doing? Why?<br />
<br />
I didn't play in public often in 2018. The vast majority of my music-making has been at home, or in small gatherings. Right now, that's for the best.<br />
<br />
This year I've been working on chorale preludes by Telemann, various organ pieces by Pachelbel, a sonatina by Clementi (Op. 36, No. 3<i> </i>in C Major), a suite by Buxtehude (F Major), and so on. This was also a year full of <i>The Well-Tempered Clavier</i>, book I; I've been working on memorizing the first several preludes and fugues (numbers 1-3 basically done, 4-6 in progress). Underlying all of this has been a re-examination of technique. It's been about thinking, and listening, as much as playing.<br />
<br />
I've been going, slowly, through Clara Bell's translation of Philipp Spitta's biography of Bach, and matching his descriptions, where possible, with the pieces they're about. While Spitta's opinions can't always be accepted without question, this three-volume set (formerly bound as two) does cover a large number of composers and pieces, and, in the age of the internet, you can hear most of them pretty easily, on YouTube, SoundCloud, or elsewhere. This makes a great introduction (or re-introduction, if you already knew some music history) to some fine music, the people who made it, and the times and places they lived. It's also a way to approach questions of what makes good music, and what makes music good. Spitta doesn't hide his opinions, and even disagreeing with him is a learning experience. He's dated, of course; comparing his work with more recent writing is part of the experience.<br />
<br />
Composing? 2018 was a pretty dry year. A goal for 2019 is to write more.<br />
<br />
But the biggest goal for 2019? Finding my way again, figuratively speaking. Right now I feel lost.<br />
<br />
Wishing you and those you care about health, happiness, and success for the coming year.<br />
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<br />Jon Liechtyhttp://www.blogger.com/profile/17580616359049772746noreply@blogger.com0tag:blogger.com,1999:blog-5923661469526259727.post-9171599698242062772018-06-19T06:26:00.000-07:002018-06-19T15:56:57.907-07:00Seventy Solos for the Hammond Organ or Reed OrganI'm a big fan of anthologies, especially older ones. They almost always have worthwhile things I haven't heard of, and even if the music doesn't turn out to be particularly exciting, there are things to learn. An anthology speaks to the historical moment when it was made, to the taste of the compiler(s), performers and audiences of the time.<br />
<br />
<i>Seventy Solos for the Hammond Organ or Reed Organ</i>, compiled by <a href="https://en.wikipedia.org/wiki/Frederic_Archer" target="_blank">Frederic Archer</a> and published by G. Schirmer in 1944, is worth browsing. The <a href="https://en.wikipedia.org/wiki/Hammond_organ" target="_blank">Hammond Organ</a>, as its Wikipedia entry makes clear, got a much higher profile for its use in jazz and popular music than it did in the Classical world, yet from this anthology it's clear that, at the same time as <a href="https://en.wikipedia.org/wiki/Ethel_Smith_(organist)" target="_blank">Ethel Smith</a> and others were using the instrument in popular genres and styles, the Hammond Organ was still being thought of as a cheaper alternative to a pipe organ. Apparently many churches agreed; thousands bought them.<br />
<br />
Many of the composers represented are familiar: <a href="https://en.wikipedia.org/wiki/Johann_Sebastian_Bach" target="_blank">J. S. Bach</a>, <a href="https://en.wikipedia.org/wiki/Ludwig_van_Beethoven" target="_blank">Beethoven</a>, <a href="https://en.wikipedia.org/wiki/Muzio_Clementi" target="_blank">Clementi</a>, <a href="https://en.wikipedia.org/wiki/Charles_Gounod" target="_blank">Gounod</a>, <a href="https://en.wikipedia.org/wiki/L%C3%A9o_Delibes" target="_blank">Delibes</a>, <a href="https://en.wikipedia.org/wiki/Jean-Baptiste_Lully" target="_blank">Lully</a> (here spelled "Lulli"), <a href="https://en.wikipedia.org/wiki/Felix_Mendelssohn" target="_blank">Mendelssohn</a>, <a href="ttps://en.wikipedia.org/wiki/Wolfgang_Amadeus_Mozart" target="_blank">Mozart</a>, <a href="https://en.wikipedia.org/wiki/Pietro_Domenico_Paradies" target="_blank">Paradisi (Paradies)</a>, <a href="https://en.wikipedia.org/wiki/Carl_Reinecke" target="_blank">Reinecke</a>, <a href="https://en.wikipedia.org/wiki/Gioachino_Rossini" target="_blank">Rossini</a>, <a href="https://en.wikipedia.org/wiki/Franz_Schubert" target="_blank">Schubert</a> and <a href="https://en.wikipedia.org/wiki/Louis_Spohr" target="_blank">Spohr</a> are all included. A fair number of these are transcriptions. The Clementi piece, "<a href="https://www.youtube.com/watch?v=htoIPBnEYoI" target="_blank">Andante con espressione</a>", is from the <a href="https://www.youtube.com/watch?v=naAzi1D2L9M" target="_blank">Sonatina in F Major, Op. 36, No. 4</a>, originally for piano. The anthology doesn't announce the fact. Beethoven is represented by an "Adagio", which is a brief excerpt from the "<a href="https://www.youtube.com/watch?v=U7byobgGTvs" target="_blank">Adagio molto</a>" of Piano Sonata No. 5 in C Minor, Op. 10 No. 1. Again, no reference is made to the original. "<a href="https://www.youtube.com/watch?v=IRrBvUCFVUI" target="_blank">Andante cantabile</a>" by Mozart is from Piano Sonata No. 10 in C Major, K. 330. "Marche de la cloche" by Leo Delibes is from <i>Coppelia</i>. If a collection like this one were published today, mention of the sources of the transcriptions would be expected.<br />
<br />
A four-part arrangement of "Liebster Jesu, wir sind hier" by Bach carries no mention of the name of the chorale. Again, someone who wanted to compile a similar collection today would hopefully include that information.<br />
<br />
Other pieces in the collection are clearly marked as transcriptions, and the sources are (at least partly) identified: a chorus from <i>William Tell</i> by Rossini, a quartet from <i>Woman of Samaria</i> by <a href="https://en.wikipedia.org/wiki/William_Sterndale_Bennett" target="_blank">W. S. Bennett</a>, a trio from <i>Athalie</i> by Mendelssohn, "Funeral March" from the cantata, <i>The Legend of St. Cecilia</i>, and a duet from the opera, <i>The Lady of Killarney</i> by <a href="https://en.wikipedia.org/wiki/Julius_Benedict#Choral_and_vocal" target="_blank">Julius Benedict</a>.<br />
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<a href="https://www.youtube.com/watch?v=-6hMhq2fxsw" target="_blank">August Reinhard</a> had a particular interest in the harmonium, so while a registration for the Hammond Organ is provided, it's likely the "Marcia" here was originally a harmonium piece.<br />
<br />
Paradisi is best known for his <a href="https://www.youtube.com/watch?v=nT_FLOjps2U" target="_blank">Toccata</a> (from Sonata VI); the <a href="https://www.youtube.com/watch?v=WFXn5DZu_yA" target="_blank">Andante</a> in this collection is new to me.<br />
<br />
A lot of the composers are new to me. I hadn't heard of <a href="https://en.wikipedia.org/wiki/Th%C3%A9odore_Salom%C3%A9" target="_blank">Théodore Salomé</a>, L. Mourlan, J. Schlute, <a href="https://en.wikipedia.org/wiki/Gustav_Merkel" target="_blank">Gustav Merkel</a>, J. B. Jaillet, A. Justin, Hubert Ferdinand Kufferath, <a href="https://en.wikipedia.org/wiki/William_Vincent_Wallace" target="_blank">William Vincent Wallace</a>, <a href="https://en.wikipedia.org/wiki/Ignace_Leybach" target="_blank">Ignace Leybach</a>, or several others. J. Wanaus, represented here by the "<a href="https://www.youtube.com/watch?v=VrhEOT2w7N0" target="_blank">Choeur de Pelerin</a>", was another new name.<br />
<br />
<a href="https://en.wikipedia.org/wiki/Louis_James_Alfred_Lef%C3%A9bure-W%C3%A9ly" target="_blank">Louis Lefébure-Wely</a> is the best-represented composer in the anthology, with eight different selections. No other composer comes close.<br />
<br />
Archer also included four of his own pieces; I wasn't able to find them on YouTube or SoundCloud.<br />
A few other pieces of his are on <a href="http://imslp.org/wiki/Original_Compositions_for_the_Organ_(Archer%2C_Frederic)" target="_blank">IMSLP</a>.<br />
<br />
Here, perhaps, is a point worth remembering: keyboard instruments have always been pretty generous about sharing their repertoire. Organ pieces can be, and have been, played on the piano, and vice versa. When new instruments (or new versions of older instruments, depending on your view) were developed, they took over repertoire from their predecessors. Pianists play material originally written for the harpsichord and clavichord without batting an eyelash, though not all harpsichord music works well on the piano, and harpsichord-lovers may cringe.<br />
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If you're in a situation where you need a lot of short pieces of moderate difficulty, this collection will serve. It also contains enough pieces for many enjoyable evenings of reading through things.<br />
<br />
Thanks to YouTube user <a href="https://www.youtube.com/channel/UCii5yTh6bwgCxKYtCkT0J6g" target="_blank">Chris S</a>, some of whose videos are linked above. Want to hear more music for reed organ? Click over to his channel.<br />
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The notes of some of Chris's videos mention earlier collections by Archer, including <i>Reed Organ Album</i> (1914) and <i>Complete Method for the American Reed Organ</i>.<br />
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<br />Jon Liechtyhttp://www.blogger.com/profile/17580616359049772746noreply@blogger.com0tag:blogger.com,1999:blog-5923661469526259727.post-58933491288094893202018-04-07T14:31:00.001-07:002018-04-07T14:31:29.958-07:00Crossing Bridges: Book and Arts Fair, and starting a new piece!<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQI_nZTFCa2R929QubnsqCf9IZScbKbUuOepBet-exaZp1SgGkoOCQPiAgu6dZAltW6jI6XID1kRV2adUfCJTsuIx3pM_4wVEVJ0KeB6iyDmPnnnCP44jAzCuYtO6Oxn0UchyDm0eXVLI/s1600/CartelFeriaMayomed.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="850" data-original-width="1100" height="494" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQI_nZTFCa2R929QubnsqCf9IZScbKbUuOepBet-exaZp1SgGkoOCQPiAgu6dZAltW6jI6XID1kRV2adUfCJTsuIx3pM_4wVEVJ0KeB6iyDmPnnnCP44jAzCuYtO6Oxn0UchyDm0eXVLI/s640/CartelFeriaMayomed.png" width="640" /></a></div>
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An intercultural arts festival, <i>Crossing Bridges</i>, will take place in New York City from Saturday, May 19, 2018 through Tuesday, May 22, 2018, and I've been invited to write and perform a new piece at the opening event! The event will take place at the Brooklyn Public Library at 240 Division Ave. in Williamsburg, Brooklyn, from 11:00 AM to 6:00 PM. <br />
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I'm excited. Events like this are a big deal for me, because there's a chance to meet so many wonderful people, and hear and read so much fine writing of all kinds. Being invited to perform a piece of mine is icing on the cake!<br />
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This, however, requires a new piece, and that takes thought and work. I've decided to take you along on the journey. <br />
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At an event in 2016, I presented a song I'd written, about a gardener who separates the fallen leaves (this was in fall/winter) carefully by color. Of course, the wind comes along and mixes them up again, and the gardener thinks, "Isn't it more beautiful this way?" The song is in Esperanto, and it's written in a mode known in Persian music as <i>Avaaz-e Bayaat-e Isfahaan</i>, in Azerbaijani music as <i>Şüştər (Shushtar)</i>, and by other names in other musics of the general area. You probably already know this mode, even if you know nothing about Central Eurasian or Middle Eastern music, because it has the familiar augmented second, much like the Western harmonic minor scale. When anyone from the West first tries to write Middle Eastern-sounding music, this mode is the one they usually fall into. It's probably about as intercultural as you can get.<br />
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For this event, I'd like to do something different. I've been given a poem for inspiration, but I'm planning a keyboard piece. The poem is called "Cruzando Puentes" ("Crossing Bridges"), and it's by Juan Navidad. On a quick reading, the line that captures my attention is about "the most beautiful dreams" being "written from rage and injustice" (my translation). I think I can work with that.<br />
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<br />Jon Liechtyhttp://www.blogger.com/profile/17580616359049772746noreply@blogger.com0tag:blogger.com,1999:blog-5923661469526259727.post-71499157926503431392016-12-31T09:41:00.011-08:002022-12-18T10:13:08.737-08:00Fun with Five Octaves<br />
<h2>
<span style="font-family: "times" , "times new roman" , serif;"><u><b>Partial list of music that can be played on a 61-key keyboard:</b></u></span></h2>
<div class="western" style="margin-bottom: 0in;">
<b><span style="font-family: "times" , "times new roman" , serif;">Johann Georg Albrechtsberger: </span></b><span style="font-family: "times" , "times new roman" , serif;">Andante for organ in F Major</span><b><span style="font-family: "times" , "times new roman" , serif;"> </span></b><br />
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<b><span style="font-family: "times" , "times new roman" , serif;">Carl Philipp Emanuel Bach</span></b></div><div class="western" style="margin-bottom: 0in;"><span style="font-family: "times" , "times new roman" , serif;">Piece in G Minor for a Barrel Organ, Wq 193-28</span><b><span style="font-family: "times" , "times new roman" , serif;"> <br /></span></b></div>
<div class="western" style="margin-bottom: 0in;">
<span style="font-family: "times" , "times new roman" , serif;">Sonata in B Minor, Wq 62-22<br />Sonata in D Minor, Wq 65-15<br />Sonata in G Minor, Wq 65-27<br />Sonata in C Minor, Wq 65-31</span><br />
<span style="font-family: "times" , "times new roman" , serif;">among others; the famous "Solfeggietto" won't fit
</span></div>
<div class="western" style="margin-bottom: 0in;">
<span style="font-family: "times" , "times new roman" , serif;"><br /></span></div>
<div class="western" style="margin-bottom: 0in;">
<b><span style="font-family: "times" , "times new roman" , serif;">Johann Sebastian Bach:</span></b></div>
<div class="western" style="margin-bottom: 0in;">
<span style="font-family: "times" , "times new roman" , serif;">Most of
the <a href="https://en.wikipedia.org/wiki/The_Well-Tempered_Clavier" target="_blank">Well-Tempered Clavier Books I and II</a>, and the <a href="https://en.wikipedia.org/wiki/Inventions_and_Sinfonias_(Bach)" target="_blank">Inventions and Sinfonias</a> (Sinfonia #6 doesn't fit)</span><br />
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<span style="font-family: "times" , "times new roman" , serif;"><a href="https://en.wikipedia.org/wiki/English_Suites_(Bach)#The_six_English_Suites" target="_blank">"English" Suites</a>: </span><br />
<ul>
<li><span style="font-family: "times" , "times new roman" , serif;">I in A Major, BWV 806: Prelude, Sarabande</span></li>
<li><span style="font-family: "times" , "times new roman" , serif;">II in A Minor, BWV 807: the whole suite</span></li>
<li><span style="font-family: "times" , "times new roman" , serif;">III in G Minor, BWV 808: Allemande, Courante, Sarabande, Gavottes I and II, Gigue</span></li>
<li><span style="font-family: "times" , "times new roman" , serif;">IV in F Major, BWV 809: the whole suite</span></li>
<li><span style="font-family: "times" , "times new roman" , serif;">V in E Minor: the whole suite</span></li>
<li><span style="font-family: "times" , "times new roman" , serif;">VI in D Minor: the whole suite</span></li>
</ul>
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;"><a href="https://en.wikipedia.org/wiki/French_Suites_(Bach)" target="_blank">"French" Suites, BWV 812-817:</a></span><br />
<span style="font-family: "times" , "times new roman" , serif;">All of Suites I, II, III, IV and V; all but the Bourée from Suite VI</span></div>
<div class="western" style="margin-bottom: 0in;">
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<a href="https://en.wikipedia.org/wiki/Partitas_for_keyboard_(Bach)" target="_blank"><span style="font-family: "times" , "times new roman" , serif;">Partitas:</span></a><br />
<ul>
<li><span style="font-family: "times" , "times new roman" , serif;">I in B-flat major, BWV 825: Sarabande, Menuet I and II, Gigue</span></li>
<li><span style="font-family: "times" , "times new roman" , serif;">II in C Minor, BWV 826: Courante, Saraband, and Rondeau</span></li>
<li><span style="font-family: "times" , "times new roman" , serif;">III in A Minor, BWV 827: Fantsia, Sarbande, Burlesca, Scherzo, Gigue</span></li>
<li><span style="font-family: "times" , "times new roman" , serif;">IV in D Major, BWV 828: Allemande, Courante, Aria, Sarabande, Menuet, Gigue</span></li>
<li><span style="font-family: "times" , "times new roman" , serif;">V in G Major, BWV 829: Tempo di Minuetto, Passepied</span></li>
<li><span style="font-family: "times" , "times new roman" , serif;">VI in E Minor, BWV 830: Toccata, Allemande, Courante, Sarabande, Tempo di Gavotta, Gigue</span></li>
</ul>
<span style="font-family: "times" , "times new roman" , serif;"></span>
<span style="font-family: "times" , "times new roman" , serif;"><a href="https://en.wikipedia.org/wiki/Goldberg_Variations" target="_blank">Goldberg Variations, BWV 988:</a> Variations 6 and 18 require transposing the keyboard down an octave; Var. 24 contains a high d''' which will be out of range if the keyboard is transposed down to reach the G' at the low end.</span><br />
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;">Chorale preludes from Kirnberger's collection:</span><br />
<ul>
<li><span style="font-family: "times" , "times new roman" , serif;">"Wer nur den lieben Gott lässt walten"</span></li>
<li><span style="font-family: "times" , "times new roman" , serif;">"Ach Gott und Herr" a 2 klav.</span></li>
<li><span style="font-family: "times" , "times new roman" , serif;">"Christ lag in Todesbanden" Fantasia a 3 Canto fermo in alto (but how will you bring out the chorale tune?)</span></li>
<li><span style="font-family: "times" , "times new roman" , serif;">"Christum wir sollen loben schon" Fughetta</span></li>
<li><span style="font-family: "times" , "times new roman" , serif;">"Gelobet seist du, Jesu Christ" Fughetta</span></li>
<li><span style="font-family: "times" , "times new roman" , serif;">"Herr Christ, der ein'ge Gottes Sohn" Fughetta</span></li>
<li><span style="font-family: "times" , "times new roman" , serif;">"Nun komm'' der Heiden Heiland" Fughetta</span></li>
<li><span style="font-family: "times" , "times new roman" , serif;">"Vom Himmel hoch, da komm' ich her" Fughetta</span></li>
<li><span style="font-family: "times" , "times new roman" , serif;">"Gottes Sohn ist kommen" Fughetta</span></li>
<li><span style="font-family: "times" , "times new roman" , serif;">"Lob sei dem allmächt'gen Gott" Fughetta</span></li>
<li><span style="font-family: "times" , "times new roman" , serif;">"Durch Adams Fall ist ganz verderbt" (separating the voices will require some work)</span></li>
<li><span style="font-family: "times" , "times new roman" , serif;">"Liebster Jesu, wir sind hier" (1 and 2)</span></li>
<li><span style="font-family: "times" , "times new roman" , serif;">"Ich hab' mein' Sach' Gott heimgestellt"</span></li>
<li><span style="font-family: "times" , "times new roman" , serif;">"Wir Christenleut'" (may be possible; definitely not easy)</span></li>
<li><span style="font-family: "times" , "times new roman" , serif;">"Allein Gott in der Höh' sei Ehr'"</span></li>
<li><span style="font-family: "times" , "times new roman" , serif;">"In dich hab' ich gehoffet, Herr"</span></li>
<li><span style="font-family: "times" , "times new roman" , serif;">"Jesu, meine Freude" Fantasia</span></li>
</ul>
<span style="font-family: "times" , "times new roman" , serif;"></span></div>
<div class="western" style="margin-bottom: 0in;">
<span style="font-family: "times" , "times new roman" , serif;">Other pieces:</span><br />
<span style="font-family: "times" , "times new roman" , serif;">Canzona, BWV 588</span><br />
<br />
<b><span style="font-family: "times" , "times new roman" , serif;">Béla Bartók: </span></b><br />
<ul><b>
</b>
<li><span style="font-family: "times" , "times new roman" , serif;">All of <i>Mikrokosmos, vol. II</i></span></li>
<li><span style="font-family: "times" , "times new roman" , serif;">All of <i>Mikrokosmos, vol. III</i> <u>except</u> Variations and the second Chromatic Invention</span></li>
<li><span style="font-family: "times" , "times new roman" , serif;">These
pieces from <i>Mikrokosmos, vol. IV:</i> Notturno, Thumb Under,
Crossed Hands, In the Style of a Folk Song, Diminished Fifth, Major
and Minor, Through the Keys, Playsong, Children's Song, Clashing
Sounds, Intermezzo, Variations on a Folk Tune, Bulgarian Rhythm (1
and 2), Theme and Inversion, Triplets in 9/8 Time, Dance in 3/4 Time,
Fifth Chords, Two-Part Study</span></li>
<li><span style="font-family: "times" , "times new roman" , serif;">These pieces from <i>Mikrokosmos, vol. V:</i> Chords Together and Opposed, Staccato and Legato, Boating, Change of Time, New Hungarian Folk Song, Major Seconds Broken and Together, Studies in Double Notes, Perpetuum Mobile, Whole-tone Scale, Merry Andrew (this one has some held tones that may not work well)</span></li>
<li><span style="font-family: "times" , "times new roman" , serif;">These pieces from <i>Petite Suite</i>: Whirling Dance, Bag Pipe</span></li>
<li><span style="font-family: "times" , "times new roman" , serif;"> </span><span style="font-family: "times" , "times new roman" , serif;"><i>Rumanian Christmas Carols</i> 1st Series: </span><span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times" , "times new roman" , serif;">Number 10 is the only one that won't fit.</span></span></li>
<li><span style="font-family: "times" , "times new roman" , serif;"><i>Rumanian Christmas Carols</i> 2nd Series<i> </i></span></li>
<li><span style="font-family: "times" , "times new roman" , serif;"><i>Rumanian Folk
Dances</i>, nos. 2-5</span></li>
</ul>
</div>
<div class="western" style="margin-bottom: 0in;">
<span style="font-family: "times" , "times new roman" , serif;"></span></div>
<div class="western" style="margin-bottom: 0in;">
<b><span style="font-family: "times" , "times new roman" , serif;">Ludwig van Beethoven:</span></b></div>
<ul><b>
</b>
<li><span style="font-family: "times" , "times new roman" , serif;"><i>6 L</i><span style="font-family: "times new roman" , serif;"><span style="font-size: small;"><i>ändlerische
Tänze</i></span></span></span></li>
<li><span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times new roman" , serif;"><span style="font-size: small;">Rondo
in A Major</span></span></span></li>
<li><span style="font-family: "times" , "times new roman" , serif;">Menuett in E-flat Major</span></li>
<li><span style="font-family: "times" , "times new roman" , serif;">Allegretto quasi
andante, from <i>Seven Bagatelles </i>Op. 33, No. 2</span></li>
<li><span style="font-family: "times" , "times new roman" , serif;">Two Preludes through all the major keys, Op. 39</span></li>
<li><span style="font-family: "times" , "times new roman" , serif;">Tempo di Menuetto from <i>Sonata in G Major</i>, Op. 49, No. 2 </span></li>
<li><span style="font-family: "times" , "times new roman" , serif;">Rondo in C Major, Op. 51, No. 1</span></li>
<li><span style="font-family: "times" , "times new roman" , serif;">Bagatelles, Op. 119, Nos. 4, 5, 8, and 9 </span></li>
<li><span style="font-family: "times" , "times new roman" , serif;">Six Minuets for piano, WoO 10, Nos. 1, 3 and 4 </span></li>
<li><span style="font-family: "times" , "times new roman" , serif;">Seven Ländler for piano, WoO 11 </span></li>
<li><span style="font-family: "times" , "times new roman" , serif;"><span style="font-style: normal;">Ecossaise in G Major, WoO 23</span></span></li>
<li><span style="font-family: "times" , "times new roman" , serif;"><span style="font-style: normal;">Rondo in A Major, WoO 49</span></span></li>
<li><span style="font-family: "times" , "times new roman" , serif;"><span style="font-style: normal;">Piano Sonata in C Major, WoO 51 </span></span></li>
<li><span style="font-family: "times" , "times new roman" , serif;"><span style="font-style: normal;">Nine Variations on a March by Dressler, WoO 63</span></span></li>
<li><span style="font-family: "times" , "times new roman" , serif;"><span style="font-style: normal;">Six Easy Variations on a Swiss Song, WoO 64</span></span></li>
<li><span style="font-family: "times" , "times new roman" , serif;"><span style="font-style: normal;">Variations on "Nel cor piu non mi sento", WoO 70</span></span></li>
<li><span style="font-family: "times" , "times new roman" , serif;"><span style="font-style: normal;">Waltz in D Major, WoO 85</span></span></li>
<li><span style="font-family: "times" , "times new roman" , serif;"><span style="font-style: normal;">Ecossaise in E-Flat Major, WoO 86</span></span></li>
<li><span style="font-family: "times" , "times new roman" , serif;"><span style="font-style: normal;">Sonatinas in G Major and F Major, Anh. 5, 1 and 2 (possibly not by Beethoven) </span></span></li>
</ul>
<div class="western" style="margin-bottom: 0in;">
<span style="font-family: "times" , "times new roman" , serif;"><b>Johannes Brahms:</b></span><br />
<span style="font-family: "times" , "times new roman" , serif;">Waltz, Op. 39/3 (piano solo version)<br />Waltzes, Op 39/2, 3, 6, 9, 10, 11, 12, 15, and 16 (simplified piano version by Brahms)</span><br />
<br />
<b style="font-family: times, "times new roman", serif;">Dietrich Buxtehude:</b><span style="font-family: "times" , "times new roman" , serif;"> All of the
</span><a href="http://store.doverpublications.com/0486420450.html" style="font-family: times, "times new roman", serif;" target="_blank">keyboard suites</a></div>
<div class="western" style="margin-bottom: 0in;">
<br />
<span style="font-family: "times" , "times new roman" , serif;"><b>Cecile Chaminade:</b> These
pieces from <i>Children's Album, First Series, Op. 123:</i></span></div>
<div class="western" style="margin-bottom: 0in;">
<span style="font-family: "times" , "times new roman" , serif;">Prélude, Intermezzo,
Canzonetta, Rondeau, Gavotte, Gigue, Romance, Barcarolle, Air de
Ballet, March Russe
</span></div>
<div class="western" style="margin-bottom: 0in;">
<br /></div>
<div class="western" style="margin-bottom: 0in;">
<span style="font-family: "times" , "times new roman" , serif;"><b>Frédéric Chopin:</b> the following
Mazurkas:</span></div>
<ul>
<li><span style="font-family: "times" , "times new roman" , serif;">Op. 6, no. 2</span></li>
<li><span style="font-family: "times" , "times new roman" , serif;">Op. 7, nos. 1, 4, and 5</span></li>
<li><span style="font-family: "times" , "times new roman" , serif;">Op. 17, nos. 3 and 4</span></li>
<li><span style="font-family: "times" , "times new roman" , serif;">Op. 24 no. 3 contains a
long note but is otherwise playable</span></li>
<li><span style="font-family: "times" , "times new roman" , serif;">Op. 33 no. 3</span></li>
<li><span style="font-family: "times" , "times new roman" , serif;">Op. 50 no. 2</span></li>
<li><span style="font-family: "times" , "times new roman" , serif;">Op. 67 no. 3</span></li>
<li><span style="font-family: "times" , "times new roman" , serif;">Op. 68 nos. 3 and 4</span></li>
<li><span style="font-family: "times" , "times new roman" , serif;">Op. posth. B-flat
major, D Major (two of them), and C Major
</span></li>
</ul>
<div class="western" style="margin-bottom: 0in;">
<span style="font-family: "times" , "times new roman" , serif;"> Waltz Op. 69/1 "L'adieu"</span><br />
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<b><span style="font-family: "times" , "times new roman" , serif;">Muzio Clementi:</span></b><br />
<ul><b>
</b>
<li><span style="font-family: "times" , "times new roman" , serif;">Sonatina in C Major, Op. 36, No. 1</span></li>
<li><span style="font-family: "times" , "times new roman" , serif;">Sonatina in C Major, Op. 36, No. 3</span></li>
</ul>
</div>
<div class="western" style="margin-bottom: 0in;">
<span style="font-family: "times" , "times new roman" , serif;"></span></div>
<div class="western" style="margin-bottom: 0in;">
<b><span style="font-family: "times" , "times new roman" , serif;">François Couperin:</span></b></div>
<div class="western" style="margin-bottom: 0in;">
<span style="font-family: "times" , "times new roman" , serif;">from <i>Ordre II</i>:</span></div>
<ul>
<li><span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times" , "times new roman" , serif;">M</span>enuet</span></li>
<li><span style="font-family: "times" , "times new roman" , serif;">La
Charoloise</span></li>
<li><span style="font-family: "times" , "times new roman" , serif;">La
Diane</span></li>
<li><span style="font-family: "times" , "times new roman" , serif;">Fanfare
pour la Suitte de la Diane</span></li>
<li><span style="font-family: "times" , "times new roman" , serif;">La
Florentine</span></li>
<li><span style="font-family: "times" , "times new roman" , serif;">La
Babet</span></li>
<li><span style="font-family: "times" , "times new roman" , serif;">Les
Papillons</span></li>
</ul>
<div class="western" style="margin-bottom: 0in;">
<span style="font-family: "times" , "times new roman" , serif;"><span style="font-style: normal;">from
</span><i>Ordre III</i></span></div>
<ul>
<li><span style="font-family: "times" , "times new roman" , serif;">Gavotte</span></li>
<li><span style="font-family: "times" , "times new roman" , serif;">L'Espagnolette</span></li>
<li><span style="font-family: "times" , "times new roman" , serif;">Les
Matelotes Provencales</span></li>
</ul>
<div class="western" style="margin-bottom: 0in;">
<span style="font-family: "times" , "times new roman" , serif;"><span style="font-style: normal;">from
</span><i>Ordre VI</i></span></div>
<ul>
<li><span style="font-family: "times" , "times new roman" , serif;">Les
Moissonneurs</span></li>
<li><span style="font-family: "times" , "times new roman" , serif;">Les
Langueurs-Tendres</span></li>
<li><span style="font-family: "times" , "times new roman" , serif;"><span style="font-style: normal;">Le
Gazo</span><span style="font-family: "times new roman" , serif;"><span style="font-style: normal;">ü</span></span><span style="font-style: normal;">illement</span></span></li>
<li><span style="font-family: "times" , "times new roman" , serif;">La
Bersan</span></li>
<li><span style="font-family: "times" , "times new roman" , serif;">Les
Bergeries</span></li>
<li><span style="font-family: "times" , "times new roman" , serif;"><span style="font-style: normal;">La
Comm</span><span style="font-family: "times new roman" , serif;"><span style="font-style: normal;">é</span></span><span style="font-style: normal;">re</span></span></li>
<li><span style="font-family: "times" , "times new roman" , serif;">La
Moucheron</span></li>
</ul>
<div class="western" style="margin-bottom: 0in;">
<b><span style="font-family: "times" , "times new roman" , serif;">Louis Couperin:</span></b></div>
<ul><b>
</b>
<li><span style="font-family: "times" , "times new roman" , serif;">Chaconne, C Major</span></li>
<li><span style="font-family: "times" , "times new roman" , serif;">Passacaille, C Major</span></li>
<li><span style="font-family: "times" , "times new roman" , serif;">Sarabande, C Major</span></li>
<li><span style="font-family: "times" , "times new roman" , serif;">Menuet, C Major</span></li>
<li><span style="font-family: "times" , "times new roman" , serif;">Chaconne, C Minor</span></li>
<li><span style="font-family: "times" , "times new roman" , serif;">Chaconne, G Major</span></li>
<li><span style="font-family: "times" , "times new roman" , serif;">Branle de Basque, F
Major</span></li>
</ul>
<div class="western" style="margin-bottom: 0in;">
<span style="font-family: "times" , "times new roman" , serif;"><b>Jean-François Dandrieu:</b> most of the <a href="http://store.doverpublications.com/0486296962.html" target="_blank">25 Noëls</a></span><br />
<span style="font-family: "times" , "times new roman" , serif;"> (but you will have to do some thinking about changes of registration and contrasts of color)</span><br />
<br />
<span style="font-family: "times" , "times new roman" , serif;"><b>Louis-Claude Daquin:</b> Le
Coucou</span></div>
<div class="western" style="margin-bottom: 0in;">
<br />
<span style="font-family: "times" , "times new roman" , serif;"><b>Antonín Dvořák:</b> <i>Humoresque</i></span></div>
<div class="western" style="margin-bottom: 0in;">
<br /></div>
<div class="western" style="margin-bottom: 0in;">
<span style="font-family: "times" , "times new roman" , serif;"><b>Elizabeth Jacquet de la
Guerre:</b> Rondeau</span></div>
<div class="western" style="margin-bottom: 0in;">
<br />
<span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times" , "times new roman" , serif;">Many of the pieces in The <b>Fitzwilliam
Virginal Book</b></span></span><br />
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<b><span style="font-family: "times" , "times new roman" , serif;">César Franck:</span></b><br />
<ul>
<li><span style="font-family: "times" , "times new roman" , serif;">L'Organiste, vol. 1 (59 pieces), FWV 41</span></li>
<li><span style="font-family: "times" , "times new roman" , serif;">5 Pieces for harmonium, FWV 26</span></li>
</ul>
</div>
<div class="western" style="margin-bottom: 0in;">
<b><span style="font-family: "times" , "times new roman" , serif;">Girolamo Frescobaldi:</span></b></div>
<ul>
<li><span style="font-family: "times" , "times new roman" , serif;">Gagliarda, G Minor</span></li>
<li><span style="font-family: "times" , "times new roman" , serif;">Passacaglia, B-flat
Major</span></li>
<li><span style="font-family: "times" , "times new roman" , serif;">Fugue in G Minor </span></li>
</ul>
<div class="western" style="margin-bottom: 0in;">
<b><span style="font-family: "times" , "times new roman" , serif;">Johann Jakob Froberger:</span></b></div>
<div class="western" style="margin-bottom: 0in;">
<span style="font-family: "times" , "times new roman" , serif;">Most of the <a href="http://store.doverpublications.com/0486280934.html" target="_blank">organ music</a>
(occasional chords have to be re-written because they require the
pedal)</span><br />
<span style="font-family: "times" , "times new roman" , serif;">Toccatas 3-15 from the collection linked above </span></div>
<div class="western" style="margin-bottom: 0in;">
<span style="font-family: "times" , "times new roman" , serif;">Note that Toccata #17 is actually by Johann Caspar Kerll</span><br />
<span style="font-family: "times" , "times new roman" , serif;"><br /></span></div>
<div class="western" style="margin-bottom: 0in;">
<span class="x193iq5w xeuugli x13faqbe x1vvkbs x1xmvt09 x1lliihq x1s928wv xhkezso x1gmr53x x1cpjm7i x1fgarty x1943h6x xudqn12 x3x7a5m x6prxxf xvq8zen xo1l8bm xzsf02u" dir="auto"><b>Giovanni Gabrieli:</b> </span></div><div class="western" style="margin-bottom: 0in;"><span class="x193iq5w xeuugli x13faqbe x1vvkbs x1xmvt09 x1lliihq x1s928wv xhkezso x1gmr53x x1cpjm7i x1fgarty x1943h6x xudqn12 x3x7a5m x6prxxf xvq8zen xo1l8bm xzsf02u" dir="auto">Ricercar noni toni, Ch. 226 <br /></span></div><div class="western" style="margin-bottom: 0in;"><span class="x193iq5w xeuugli x13faqbe x1vvkbs x1xmvt09 x1lliihq x1s928wv xhkezso x1gmr53x x1cpjm7i x1fgarty x1943h6x xudqn12 x3x7a5m x6prxxf xvq8zen xo1l8bm xzsf02u" dir="auto">Ricercare dell’ 8vo tono (a 3 soggetti)</span></div><div class="western" style="margin-bottom: 0in;"><span class="x193iq5w xeuugli x13faqbe x1vvkbs x1xmvt09 x1lliihq x1s928wv xhkezso x1gmr53x x1cpjm7i x1fgarty x1943h6x xudqn12 x3x7a5m x6prxxf xvq8zen xo1l8bm xzsf02u" dir="auto"> </span><b><span style="font-family: "times" , "times new roman" , serif;"> <br /></span></b></div><div class="western" style="margin-bottom: 0in;"><b><span style="font-family: "times" , "times new roman" , serif;"> Alberto Ginastera:</span></b></div>
<div class="western" style="margin-bottom: 0in;">
<span style="font-family: "times" , "times new roman" , serif;">“In the First
Pentatonic Minor Mode”, No. 5 from <i>Doce Preludios Americanos</i></span></div>
<div class="western" style="margin-bottom: 0in;">
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;"><b>Lodovico Giustini:</b> </span><i>Sonate da cimbalo di piano e forte detto volgarmente di
martelletti,</i> Op. 1<br />
<span style="font-family: "times" , "times new roman" , serif;">(the first known published music specifically for the fortepiano)</span><br />
<span style="font-family: "times" , "times new roman" , serif;"><br /></span></div>
<div class="western" style="margin-bottom: 0in;">
<span style="font-family: "times" , "times new roman" , serif;"><b>Edvard Grieg:</b> These pieces
from <i>Lyric Pieces</i>:</span></div>
<ul>
<li><span style="font-family: "times" , "times new roman" , serif;">"Arietta",
Op. 12, No. 1</span></li>
<li><span style="font-family: "times" , "times new roman" , serif;">"Watchman's song",
Op. 12, No. 3</span></li>
<li><span style="font-family: "times" , "times new roman" , serif;">"Elfin Dance",
Op. 12, No. 4</span></li>
<li><span style="font-family: "times" , "times new roman" , serif;">"Album-Leaf",
Op. 12, No. 7</span></li>
</ul>
<div class="western" style="margin-bottom: 0in;">
<span style="font-family: "times" , "times new roman" , serif;">These pieces from Op.
38:</span></div>
<ul>
<li><span style="font-family: "times" , "times new roman" , serif;">"Skipping Dance",
Op. 38, No. 5</span></li>
<li><span style="font-family: "times" , "times new roman" , serif;">"Elegy", Op.
38, No. 6</span></li>
<li><span style="font-family: "times" , "times new roman" , serif;">"Waltz", Op.
38, No. 7</span></li>
</ul>
<div class="western" style="margin-bottom: 0in;">
<b style="font-family: times, "times new roman", serif;">Alexandre Guilmant:</b><span style="font-family: "times" , "times new roman" , serif;"> Noël Écossais</span><br />
<b><span style="font-family: "times" , "times new roman" , serif;"><br /></span></b>
<b><span style="font-family: "times" , "times new roman" , serif;">Georg Frideric Handel:</span></b><br />
<span style="font-family: "times" , "times new roman" , serif;">almost everything in <a href="https://store.doverpublications.com/0486243389.html" target="_blank">this</a> collection, including:</span><br />
<span style="font-family: "times" , "times new roman" , serif;">Fugues in G Minor (G. 264, HG II/iv/1 and G. 231, HG II/iv/2), </span><span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times" , "times new roman" , serif;">B-flat Major (G. 37, HG II/iv/3), </span></span><span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times" , "times new roman" , serif;">B Minor (G. 27, HG II/iv/4), </span></span>A Minor (G. 17, HG II/iv/5), and C Minor (G. 83, HG II/iv/6) <i> </i></span><br />
<span style="font-family: "times" , "times new roman" , serif;">Suites:</span><br />
<ul>
<li><span style="font-family: "times" , "times new roman" , serif;">B-Flat Major<i> </i>(G. 30-33, HG II/ii/7), </span></li>
<li><span style="font-family: "times" , "times new roman" , serif;">D Minor (G. 108-111, HG II/ii/4, G. 112-117, HG II/i/3, G. 118-122, HG II/ii/3 and G. 123-126, HG II/iii/1)</span></li>
<li><span style="font-family: "times" , "times new roman" , serif;">E Minor (G. 160-162, HG II/ii/5, G. 163-167, HG II/1/4) </span></li>
<li><span style="font-family: "times" , "times new roman" , serif;">The Prelude and Allemande from the suite in E Major (G. 145-146, HG II/i/5)</span></li>
<li><span style="font-family: "times" , "times new roman" , serif;">Suite/Sonata in F Major, G. 175-179, II/i/2</span></li>
<li><span style="font-family: "times" , "times new roman" , serif;">F Minor (G. 193-197, HG II/1/8)</span></li>
<li><span style="font-family: "times" , "times new roman" , serif;">F-Sharp Minor (G. 204-207, HG II/i/6)</span></li>
<li><span style="font-family: "times" , "times new roman" , serif;">Suite (Partita) G Major, (G. 211-217, HG II/ii/8)</span></li>
<li><span style="font-family: "times" , "times new roman" , serif;">G Minor (G. 26-249, HG II/ii/6, G. 250-255, HG II/i/7 (all but the Gigue and Passacaille), G. 260-263, HG II/iii/2)</span></li>
</ul>
<span style="font-family: "times" , "times new roman" , serif;">Sonatina, B-Flat Major, G. 40, HG II/iii/10</span><br />
<span style="font-family: "times" , "times new roman" , serif;">Sonata, C Major, G. 56-58, HG II/iii/12</span><br />
<span style="font-family: "times" , "times new roman" , serif;">Sonata, C Major, G. 59, HG II/iii/11</span><br />
<span style="font-family: "times" , "times new roman" , serif;">Fantasia, C Major, G. 60, HG II/iii/4</span><br />
<span style="font-family: "times" , "times new roman" , serif;">Capriccios in F Major (G. 183, HG II/iii/8) and G Minor (G. 270, HG II/ii/3)</span><br />
<span style="font-family: "times" , "times new roman" , serif;">Chaconnes in F Major (G. 184, HG II/iii/5) and G Major (G. 228, HG II/ii/2 and G. 229, HG II/ii/9)</span><br />
<span style="font-family: "times" , "times new roman" , serif;">Minuet, G Minor (G. 242, part of HG II/ii/1)</span><br />
<span style="font-family: "times" , "times new roman" , serif;">... and many others</span><br />
<br />
<br />
<b><span style="font-family: "times" , "times new roman" , serif;">Franz Joseph Haydn:</span></b><br />
<ul><b>
</b>
<li><span style="font-family: "times" , "times new roman" , serif;"><i>Sonata in D Major</i> (1767)</span></li>
<li><span style="font-family: times;"><i>Sonata in C Major, </i>Hob. XVI/1: Allegro</span></li>
<li><span style="font-family: times;"><i>Sonata in G Major,</i> Hob. XVI/8</span></li>
</ul>
<span style="font-family: "times" , "times new roman" , serif;">Pieces for Mechanical Clocks (Flötenuhr), Hob. XIX:1-32 </span></div><div class="western" style="margin-bottom: 0in;"><span style="font-family: times, times new roman, serif;"><br /></span></div><div class="western" style="margin-bottom: 0in;"><span style="font-family: times, times new roman, serif;">From <i>Twelve Minuets</i>, Hob. IX:8: </span><span style="font-family: times, "times new roman", serif;">Minuet No. 12 in F Major</span></div><div class="western" style="margin-bottom: 0in;"><span style="font-family: times, "times new roman", serif;"><br /></span></div><div class="western" style="margin-bottom: 0in;"><span style="font-family: times, "times new roman", serif;">From <i>12 German Dances,</i> Hob. IX:10:</span></div><blockquote style="border: medium none; margin: 0px 0px 0px 40px; padding: 0px; text-align: left;"><div class="western" style="margin-bottom: 0in; text-align: left;"><span style="font-family: times, "times new roman", serif;">1. Deutscher Walzer</span></div><div class="western" style="margin-bottom: 0in; text-align: left;"><span style="font-family: times, "times new roman", serif;">2. Tanz in G Major</span></div><div class="western" style="margin-bottom: 0in; text-align: left;"><span style="font-family: times, times new roman, serif;">4. Deutscher Tanz</span></div></blockquote><p>From <i>10 Minuets,</i> Hob. IX:22: No. 2, German Dance in D Major </p><div class="western" style="margin-bottom: 0in;"><span style="font-family: times;"><b>Stephen Heller:</b> Preludes, Op. 81/4, 12, 15, and 18</span></div><div class="western" style="margin-bottom: 0in;">
<br />
<span style="font-family: "times" , "times new roman" , serif;"><b>Fanny Hensel:</b> M<span style="font-family: "times new roman" , serif;">é</span>lodie
(Op. 4, No. 2)</span></div>
<div class="western" style="margin-bottom: 0in;">
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<b><span style="font-family: "times" , "times new roman" , serif;">Johann Nepomuk Hummel: </span></b><span style="font-family: "times" , "times new roman" , serif;">Piano Sonatina in C Major</span></div><div class="western" style="margin-bottom: 0in;"><span style="font-family: "times" , "times new roman" , serif;"> </span><b><span style="font-family: "times" , "times new roman" , serif;"> <br /></span></b></div><div class="western" style="margin-bottom: 0in;"><b><span style="font-family: "times" , "times new roman" , serif;">Johann Caspar Kerll:</span></b><br />
<span style="font-family: "times" , "times new roman" , serif;">Toccata VII (it was included, incorrectly, in the Froberger collection above, where it's number XVII.)</span><br />
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<b><span style="font-family: "times" , "times new roman" , serif;">Edward MacDowell:</span></b><br />
<span style="font-family: "times" , "times new roman" , serif;">from <i>Woodland Sketches</i>, Op. 51:</span><br />
<span style="font-family: "times" , "times new roman" , serif;">"To a Wild Rose", "Will o' the Wisp", "In Autumn", "From Uncle Remus"</span><br />
<span style="font-family: "times" , "times new roman" , serif;">Transpose the keyboard down an octave to play "At an old Trysting Place", and "A Deserted Farm"</span><br />
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;">from <i>Sea Pieces</i>, Op. 58:</span><br />
<span style="font-family: "times" , "times new roman" , serif;">Transpose the keyboard down an octave to play "A.D. 1620" and "Song"</span><br />
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;">from <i>New England Idylls</i>, Op. 62, transpose the keyboard down an octave to play "With Sweet Lavender"</span><br />
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;"><b>Ursula Mamlok:</b> Number 2 from <i>Three Bagatelles</i> for harpsichord or piano</span><br />
<span style="font-family: "times" , "times new roman" , serif;"><br /></span></div>
<div class="western" style="margin-bottom: 0in;">
<span style="font-family: "times" , "times new roman" , serif;"><b>Marianne Martinez:</b><i> Sonate No. 3</i></span></div>
<div class="western" style="margin-bottom: 0in;">
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;"><b>Padre Martini Giambattista:</b> Fugue in E Minor</span><br />
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;"><b>Etienne Louis Méhul:</b> Elevation in A flat</span><br />
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;"><b>Leopold Mozart:</b></span><br />
<ul>
<li><span style="font-family: "times" , "times new roman" , serif;"><i>Geheime Liebe</i></span></li>
<li><span style="font-family: "times" , "times new roman" , serif;">Menuet in D Minor</span></li>
<li><span style="font-family: "times" , "times new roman" , serif;">Menuett in F Major (from the <i>Notebook for Anna Maria (Nannerl) Mozart</i>)</span></li>
<li><span style="font-family: "times" , "times new roman" , serif;">Polonaise (Allegro) in C Major</span></li>
<li><span style="font-family: "times" , "times new roman" , serif;">Sonata in C Major</span></li>
<li><span style="font-family: "times" , "times new roman" , serif;">Sonata in F Major</span></li>
<li><span style="font-family: "times" , "times new roman" , serif;">Sonata in B-flat Major</span></li>
</ul>
<br />
<b><span style="font-family: "times" , "times new roman" , serif;">W. A. Mozart:</span></b></div>
<div class="western" style="margin-bottom: 0in;">
<span style="font-family: "times" , "times new roman" , serif;">complete sonatas</span></div>
<ul>
<li><span style="font-family: "times" , "times new roman" , serif;">Sonata in E-Flat Major,
K. 282</span></li>
<li><span style="font-family: "times" , "times new roman" , serif;">Sonata in C Major, K.
545</span></li>
</ul>
<div class="western" style="margin-bottom: 0in;">
<span style="font-family: "times" , "times new roman" , serif;">individual movements</span></div>
<ul>
<li><span style="font-family: "times" , "times new roman" , serif;">Sonata in F Major, K.
280, II. Adagio</span></li>
<li><span style="font-family: "times" , "times new roman" , serif;">Sonata in B-Flat Major,
K. 281, III. Rondo. Allegro</span></li>
<li><span style="font-family: "times" , "times new roman" , serif;">Sonata in G Major, K.
283, II. Andante</span></li>
<li><span style="font-family: "times" , "times new roman" , serif;">Sonata in D Major, K.
284, II. Andante [Polonaise en Rondeau]</span></li>
<li><span style="font-family: "times" , "times new roman" , serif;">Sonata in D Major, K.
311, II. Andante con espressione</span></li>
<li><span style="font-family: "times" , "times new roman" , serif;">Sonata in C Major, K.
330, I. Allegro moderato</span></li>
<li><span style="font-family: "times" , "times new roman" , serif;"> Sonata in C Major, K.
330, III. Allegretto</span></li>
<li><span style="font-family: "times" , "times new roman" , serif;">Sonata in A Minor, K.
331, III. Alla Turca. Allegretto</span></li>
<li><span style="font-family: "times" , "times new roman" , serif;">Sonata in F Major, K.
332, II. Adagio</span></li>
<li><span style="font-family: "times" , "times new roman" , serif;">Sonata in F Major, K.
332, III. Allegro assai</span></li>
<li><span style="font-family: "times" , "times new roman" , serif;">Sonata in B-Flat Major,
K. 333, II. Andante cantabile</span></li>
<li><span style="font-family: "times" , "times new roman" , serif;">Sonata in F Major, K.
533, I. Allegro</span></li>
</ul>
<div class="western" style="margin-bottom: 0in;">
<span style="font-family: "times" , "times new roman" , serif;">Other pieces:</span><br />
<span style="font-family: "times" , "times new roman" , serif;">Adagio for glass harmonica, K. 356/617a</span></div><div class="western" style="margin-bottom: 0in;"><span style="font-family: "times" , "times new roman" , serif;">Allegro in B-Flat, K. 3</span></div><div class="western" style="margin-bottom: 0in;"><span style="font-family: "times" , "times new roman" , serif;">Andantino, E-Flat Major, arranged from Gluck, K. 236/588b </span></div><div class="western" style="margin-bottom: 0in;"><span style="font-family: "times" , "times new roman" , serif;">Contradance "Das Donnerwetter", K. 534</span></div><div class="western" style="margin-bottom: 0in;"><span style="font-family: "times" , "times new roman" , serif;">Courante from Suite in C Major/Minor, K. 399/385i</span></div><div class="western" style="margin-bottom: 0in;"><span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times" , "times new roman" , serif;">Fugues in E-Flat, K. 153/375f, and G Minor, K. 154/385k (both completed by Simon Sechter)</span><br style="font-family: "Times New Roman";" /></span></div><div class="western" style="margin-bottom: 0in;"><span style="font-family: "times" , "times new roman" , serif;">Minuets in G Major, K. 1/1e, F Major, K. 2, F Major, K. 4, F Major, K. 5, C Major, K. 6, D Major, K. 94/73h, and D Major, K. 355/576b</span><br />
<span style="font-family: "times" , "times new roman" , serif;">Variations on "Laat ons juichen", by Graaf, K. 24</span><br />
<span style="font-family: "times" , "times new roman" , serif;">Variations on "Willem van Nassau", K. 25</span><br />
<span style="font-family: "times" , "times new roman" , serif;">Variations on a Minuet by Fischer, K. 179/189a</span><br /><br />
<span style="font-family: Times, Times New Roman, serif;"><b>Christian Gottlob Neefe:</b> Minuetto</span><br />
<span style="font-family: Times, Times New Roman, serif;">Allegretto in C</span><br />
<br />
<b><span style="font-family: "times" , "times new roman" , serif;">Johann Pachelbel:</span></b></div>
<div class="western" style="margin-bottom: 0in;">
<span style="font-family: "times" , "times new roman" , serif;">At least the following
chorale preludes:</span><br />
<span style="font-family: "times" , "times new roman" , serif;">(numbering and page numbers, where given, are from <a href="http://store.doverpublications.com/0486278581.html" target="_blank">this</a> collection)</span></div>
<ul>
<li><span style="font-family: "times" , "times new roman" , serif;">“Ach, Gott vom Himmel
sieh darein”, P. 1 (the shorter setting)</span></li>
<li><span style="font-family: "times" , "times new roman" , serif;">“Ach, Herr, mich
armen S<span style="font-family: "times new roman" , serif;">ü</span><span style="font-family: "times new roman" , serif;">nder”, P. 3 (the shorter setting)</span></span></li>
<li><span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times new roman" , serif;">"Christe, der du bist Tag und Licht", P. 63</span></span></li>
<li><span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times new roman" , serif;">"Da Jesus an dem Kreuze stund", P. 70</span></span></li>
<li><span style="font-family: "times" , "times new roman" , serif;">“<span style="font-family: "times new roman" , serif;">Durch
Adams Fall ist ganz verderbt”, P. 103 and P. 105</span></span></li>
<li><span style="font-family: "times" , "times new roman" , serif;">“<span style="font-family: "times new roman" , serif;">Es
spricht der unweisen Mund wohl”, P. 114 and P. 115</span></span></li>
<li><span style="font-family: "times" , "times new roman" , serif;">“<span style="font-family: "times new roman" , serif;">Es
woll' uns Gott gen</span><span style="font-family: "times new roman" , serif;">ä</span><span style="font-family: "times new roman" , serif;">dig
sein, P. 118</span></span></li>
<li><span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times new roman" , serif;">"Herr Gott, dich loben alle wir", P. 183 (the chorale tune in the pedals has to be played an octave higher) </span></span></li>
<li><span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times new roman" , serif;">"Gott Vater, der du deine Sonn'", P.. 178</span></span></li>
<li><span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times new roman" , serif;">"Ich hab' mein' Sach' Gott heimgestellt", P. 202</span></span></li>
<li><span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times new roman" , serif;">"Jesus Christus unser Heiland, der den Tod", P. 218</span></span></li>
<li><span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times new roman" , serif;"> </span></span><span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times new roman" , serif;"><span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times new roman" , serif;">"Jesus Christus unser Heiland, der den Tod", P. 219 (take the chorale tune up an octave)</span></span></span></span></li>
<li><span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times new roman" , serif;"><span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times new roman" , serif;"><span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times new roman" , serif;">"Jesus Christus unser Heiland, der von uns", P. 51</span></span></span></span></span></span></li>
<li><span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times new roman" , serif;"><span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times new roman" , serif;"><span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times new roman" , serif;"><span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times new roman" , serif;"><span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times new roman" , serif;"><span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times new roman" , serif;"> "Komm Gott Schöpfer, heiliger Geist", P. 223</span></span></span></span></span></span></span></span></span></span></span></span></li>
<li><span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times new roman" , serif;"><span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times new roman" , serif;"><span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times new roman" , serif;"><span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times new roman" , serif;"><span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times new roman" , serif;"><span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times new roman" , serif;">"Komm heiliger Geist, Herre Gott", P. 225</span></span></span></span></span></span></span></span></span></span></span></span></li>
<li><span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times new roman" , serif;"><span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times new roman" , serif;"><span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times new roman" , serif;"><span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times new roman" , serif;"><span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times new roman" , serif;"><span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times new roman" , serif;"><span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times new roman" , serif;"><span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times new roman" , serif;"><span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times new roman" , serif;">"Kommt her zu mir, spricht Gottes Sohn", P. 227 </span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span><span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times new roman" , serif;"><span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times new roman" , serif;"><span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times new roman" , serif;"><span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times new roman" , serif;"><span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times new roman" , serif;"><span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times new roman" , serif;"><span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times new roman" , serif;"><span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times new roman" , serif;"><span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times new roman" , serif;"><span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times new roman" , serif;"><span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times new roman" , serif;">(take the chorale tune up an octave)</span></span></span></span></span></span></span></span></span></span> </span></span></span></span></span></span></span></span></span></span></span></span></li>
<li><span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times new roman" , serif;"><span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times new roman" , serif;"><span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times new roman" , serif;"><span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times new roman" , serif;"><span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times new roman" , serif;"><span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times new roman" , serif;">"Lob sei Gott in des Himmels Thron", P. 237</span></span></span></span></span></span></span></span></span></span></span></span></li>
<li><span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times new roman" , serif;"><span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times new roman" , serif;"><span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times new roman" , serif;"><span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times new roman" , serif;"><span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times new roman" , serif;"><span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times new roman" , serif;">"Mag ich Ungluck nicht widerstahn", P. 241</span></span></span></span></span></span></span></span></span></span></span></span></li>
<li><span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times new roman" , serif;"><span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times new roman" , serif;"><span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times new roman" , serif;"><span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times new roman" , serif;"><span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times new roman" , serif;"><span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times new roman" , serif;">"Nun laßt uns Gott dem Herren", P. 388</span></span></span></span></span></span></span></span></span></span></span></span></li>
<li><span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times new roman" , serif;"><span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times new roman" , serif;"><span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times new roman" , serif;"><span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times new roman" , serif;"><span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times new roman" , serif;"><span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times new roman" , serif;">"Nun lob mein' Seel' den Herren", P. 47</span></span></span></span></span></span></span></span></span></span></span></span></li>
<li><span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times new roman" , serif;"><span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times new roman" , serif;"><span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times new roman" , serif;"><span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times new roman" , serif;"><span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times new roman" , serif;"><span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times new roman" , serif;">"O Lamm Gottes unschuldig", P. 393</span></span></span></span></span></span></span></span></span></span></span></span></li>
<li><span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times new roman" , serif;"><span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times new roman" , serif;"><span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times new roman" , serif;"><span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times new roman" , serif;"><span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times new roman" , serif;"><span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times new roman" , serif;">"Vater unser im Himmelreich", P. 48</span></span></span></span></span></span></span></span></span></span></span></span></li>
<li><span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times new roman" , serif;">"Vom Himmel hoch, da komm' ich her", P. 52 (take the chorale tune up an octave)</span></span></li>
<li><span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times new roman" , serif;">"Was mein Gott will, das gescheh' allzeit", P. 488</span></span></li>
<li><span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times new roman" , serif;"><span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times new roman" , serif;">"Was mein Gott will, das gescheh' allzeit", P. 489</span></span></span></span></li>
</ul>
<div class="western" style="margin-bottom: 0in;">
<span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times new roman" , serif;">Preludes:</span></span></div>
<div class="western" style="margin-bottom: 0in;">
<span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times new roman" , serif;">1 in D minor, 2 in E-flat major, 3 in G major, 4 in G minor, 5 in A major, 6 in A minor</span></span></div>
<div class="western" style="margin-bottom: 0in;">
</div>
<div class="western" style="margin-bottom: 0in;">
<span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times new roman" , serif;">Toccatas:</span></span></div>
<div class="western" style="margin-bottom: 0in;">
<span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times new roman" , serif;">1 in C major, 2 in D minor, 3 in D major, 4 in C major </span></span><span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times new roman" , serif;"><span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times new roman" , serif;">(take the pedal part up an octave)</span></span>,</span></span></div>
<div class="western" style="margin-bottom: 0in;">
<span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times new roman" , serif;">6 in D minor</span></span></div>
<div class="western" style="margin-bottom: 0in;">
<span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times new roman" , serif;"></span></span></div>
<div class="western" style="margin-bottom: 0in;">
</div>
<div class="western" style="margin-bottom: 0in;">
<span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times new roman" , serif;">Fantasias:</span></span></div>
<div class="western" style="margin-bottom: 0in;">
<span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times new roman" , serif;">E-flat major, p. 28, P. 127</span></span></div>
<div class="western" style="margin-bottom: 0in;">
<span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times new roman" , serif;">G minor, p. 29, P. 128</span></span></div>
<div class="western" style="margin-bottom: 0in;">
</div>
<div class="western" style="margin-bottom: 0in;">
<span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times new roman" , serif;">Ricercares in F-sharp minor (P. 421) and C major (P. 418)</span></span></div>
<div class="western" style="margin-bottom: 0in;">
</div>
<div class="western" style="margin-bottom: 0in;">
<span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times new roman" , serif;">Prelude and Fugue in E minor</span></span></div>
<div class="western" style="margin-bottom: 0in;">
<span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times new roman" , serif;">Toccata and Fugue in B-flat major </span></span></div>
<div class="western" style="margin-bottom: 0in;">
<span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times new roman" , serif;"><br /></span></span></div>
<div class="western" style="margin-bottom: 0in;">
<span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times new roman" , serif;">Fugues:</span></span></div>
<div class="western" style="margin-bottom: 0in;">
<span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times new roman" , serif;">1, 2 (P. 143), 3 (P. 144), 4 (P. 148), 5 (P. 149), 6 (P. 145), 7 (P. 146), 8 (P. 150), and 9 (P. 151) in C major, 10 in C minor, 11 in D major, 12 in F major, 13 in G major, </span></span></div>
<div class="western" style="margin-bottom: 0in;">
<span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times new roman" , serif;">14 in C major, 15 in G minor, 16 and 17 in A minor, 18 in D minor, and 19 in G minor</span></span></div>
<div class="western" style="margin-bottom: 0in;">
</div>
<div class="western" style="margin-bottom: 0in;">
</div>
<div class="western" style="margin-bottom: 0in;">
</div>
<div class="western" style="margin-bottom: 0in;">
</div>
<div class="western" style="margin-bottom: 0in;">
</div>
<div class="western" style="margin-bottom: 0in;">
</div>
<div class="western" style="margin-bottom: 0in;">
</div>
<div class="western" style="margin-bottom: 0in;">
</div>
<div class="western" style="margin-bottom: 0in;">
</div>
<div class="western" style="margin-bottom: 0in;">
</div>
<div class="western" style="margin-bottom: 0in;">
</div>
<div class="western" style="margin-bottom: 0in;">
</div>
<div class="western" style="margin-bottom: 0in;">
</div>
<div class="western" style="margin-bottom: 0in;">
<br />
<span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times new roman" , serif;"><b>Bernardo
Pasquini:</b> <i>Partite sopra l'aria della Folia d'Espagna</i></span></span></div>
<div class="western" style="margin-bottom: 0in;">
<span style="font-family: "times" , "times new roman" , serif;"></span><br />
<span style="font-family: "times" , "times new roman" , serif;"><b>Camille Saint-Saens:</b> Fugue, Op. 61, No. 2 </span><br />
<br />
<b><span style="font-family: "times" , "times new roman" , serif;">Domenico Scarlatti:</span></b><br />
<span style="font-family: "times" , "times new roman" , serif;">The Cat's Fugue</span><br />
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;">At least the following sonatas:</span><br />
<ul>
<li><span style="font-family: "times" , "times new roman" , serif;">E-flat Major, K 306</span></li>
<li><span style="font-family: "times" , "times new roman" , serif;">C Major, K. 308 and K. 309</span></li>
<li><span style="font-family: "times" , "times new roman" , serif;">B-flat Major, K. 310 and K. 311</span></li>
<li><span style="font-family: "times" , "times new roman" , serif;">D Major, K. 312 and K. 313</span></li>
<li><span style="font-family: "times" , "times new roman" , serif;">G Major, K. 314G Minor, K. 315</span></li>
<li><span style="font-family: "times" , "times new roman" , serif;">F Minor, K. 316</span></li>
<li><span style="font-family: "times" , "times new roman" , serif;">D Minor, K. 317</span></li>
<li><span style="font-family: "times" , "times new roman" , serif;">F-sharp Minor, K. 318 and K. 319</span></li>
<li><span style="font-family: "times" , "times new roman" , serif;">A Major, K. 320, K. 321, K. 322, and K. 323</span></li>
<li><span style="font-family: "times" , "times new roman" , serif;">G Major, K. 324 and K. 325</span></li>
<li><span style="font-family: "times" , "times new roman" , serif;">C Major, K. 329 and K. 330</span></li>
<li><span style="font-family: "times" , "times new roman" , serif;">B-flat Major, K. 331 and K. 332</span></li>
<li><span style="font-family: "times" , "times new roman" , serif;">D Major, K. 333</span></li>
<li><span style="font-family: "times" , "times new roman" , serif;">B-flat Major, K. 334</span></li>
<li><span style="font-family: "times" , "times new roman" , serif;">D Major, K. 335 and K. 336</span></li>
<li><span style="font-family: "times" , "times new roman" , serif;">G Major, K. 337 and K. 338</span></li>
<li><span style="font-family: "times" , "times new roman" , serif;">C Major, K. 339 and K. 340</span></li>
<li><span style="font-family: "times" , "times new roman" , serif;">A Minor, K. 341</span></li>
<li><span style="font-family: "times" , "times new roman" , serif;">A Major, K. 342, K. 343 and K. 344</span></li>
<li><span style="font-family: "times" , "times new roman" , serif;">D Major, K. 345 and K. 346</span></li>
<li><span style="font-family: "times" , "times new roman" , serif;">G Minor, K. 347</span></li>
<li><span style="font-family: "times" , "times new roman" , serif;">F Major, K. 349, K. 350, and K. 351</span></li>
<li><span style="font-family: "times" , "times new roman" , serif;">D Major, K. 352 and K. 353</span></li>
<li><span style="font-family: "times" , "times new roman" , serif;">F Major, K. 354 and K. 355 </span></li>
<li><span style="font-family: "times" , "times new roman" , serif;">E-flat Major, K. 474, L. 203</span></li>
</ul>
<b><span style="font-family: "times" , "times new roman" , serif;">Franz Schubert:</span></b><br />
<ul><b>
</b>
<li><span style="font-family: "times" , "times new roman" , serif;"><i>Moments Musicaux</i> Op. 94/2, Op. 94/3</span></li>
<li><span style="font-family: "times" , "times new roman" , serif;">Variation on a Waltz by Diabelli</span></li>
<li><span style="font-family: "times" , "times new roman" , serif;">Andante (C Major)</span></li>
<li><span style="font-family: "times" , "times new roman" , serif;">Allegretto (C Major)</span></li>
</ul>
</div>
<div class="western" style="margin-bottom: 0in;">
<span style="font-family: "times" , "times new roman" , serif;"><b>Clara Schumann:</b> Fugue, Op. 16, No. 1 </span><br />
<br />
<b><span style="font-family: "times" , "times new roman" , serif;">Robert Schumann: </span></b><br />
<span style="font-family: "times" , "times new roman" , serif;">These
pieces from <i>Kinderszenen</i>, <i>Op. 68:</i></span></div>
<div class="western" style="margin-bottom: 0in;">
<span style="font-family: "times" , "times new roman" , serif;">Von Fremden Länden und
Menschen, Kuriose Geschichte, Hasche-Mann, Bittendes Kind</span><br />
<span style="font-family: "times" , "times new roman" , serif;">Fugues No. 2 and No. 6, from <i>Seven Pieces in Fugal Form, Op. 126</i> </span></div>
<div class="western" style="margin-bottom: 0in;">
<span style="font-family: "times" , "times new roman" , serif;"><br /></span></div>
<div class="western" style="margin-bottom: 0in;">
<span style="font-family: "times" , "times new roman" , serif;"><b>Florent Schmitt:</b>
Prelude in G Minor</span></div>
<br />
<span style="font-family: "times" , "times new roman" , serif;"><b>Alexander Scriabin:</b> Preludes Op. 15/4 and 5, Op. 74/4</span><br />
<span style="font-family: "times" , "times new roman" , serif;"><br /></span><b><span style="font-family: "times" , "times new roman" , serif;">Jan Peterszoon Sweelinck: </span></b><br />
<span style="font-family: "times" , "times new roman" , serif;">At least the following chorale preludes and variations on chorale tunes:</span><br />
<ul>
<li><span style="font-family: "times" , "times new roman" , serif;">Allein zu dir, Herr Jesu Christ</span></li>
<li><span style="font-family: "times" , "times new roman" , serif;">Es spricht der unweisen Mnd voll</span></li>
<li><span style="font-family: "times" , "times new roman" , serif;">Nun freut euch, lieben Christen gemein (both sets, #47-48 in Seiffert) </span></li>
<li><span style="font-family: "times" , "times new roman" , serif;">Nun komm der Heiden Heiland</span></li>
</ul>
<span style="font-family: "times" , "times new roman" , serif;">Fantasia chromatica </span><br />
<span style="font-family: "times" , "times new roman" , serif;">Toccata in a (#29 in v. 1 of the collected works, ed. Seiffert)Toccata in C</span><br />
<span style="font-family: "times" , "times new roman" , serif;">Variation sets:</span><br />
<ul>
<li><span style="font-family: "times" , "times new roman" , serif;">Est-ce Mars</span></li>
<li><span style="font-family: "times" , "times new roman" , serif;">Paduana Hispana</span></li>
<li><span style="font-family: "times" , "times new roman" , serif;">Paduana Philippi </span></li>
<li><span style="font-family: "times" , "times new roman" , serif;">Unter der Linden grüne</span></li>
</ul>
<br />
<b><span style="font-family: "times" , "times new roman" , serif;">Pyotr Ilyich Tchaikovsky:</span></b><br />
<ul><b>
</b>
<li><span style="font-family: "times" , "times new roman" , serif;">Chant sans Paroles, Op. 2, No. 3</span></li>
<li><span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times" , "times new roman" , serif;">Humoresque, Op. 10, No. 2</span> </span></li>
<li><span style="font-family: "times" , "times new roman" , serif;">Feuillet d'Album, Op. 19, No. 3 (transpose the keyboard down an octave)</span></li>
<li><span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times" , "times new roman" , serif;">From <i>The Seasons</i>, Op. 37: November ("Troika")</span></span></li>
<li><span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times" , "times new roman" , serif;">Most of <i>Album for the Young</i>, Op. 39</span> </span> </span></li>
<li><span style="font-family: "times" , "times new roman" , serif;">Chanson Triste, Op. 40, No. 2 (transpose the keyboard down an octave)</span></li>
<li><span style="font-family: "times" , "times new roman" , serif;">Valse, Op. 40, No. 9 </span></li>
</ul>
<b><span style="font-family: "times" , "times new roman" , serif;">Georg Philipp Telemann:</span></b><br />
<ul><b>
</b>
<li><span style="font-family: "times" , "times new roman" , serif;">Twelve Easy Chorale Preludes</span></li>
<li><span style="font-family: "times" , "times new roman" , serif;">Fantasias for Harpsichord, TWV 33:1-36</span></li>
</ul>
<h3>
<span style="font-family: "times" , "times new roman" , serif;"><u><b>Things to think about:</b></u></span> </h3>
<ul>
<li><span style="font-family: "times" , "times new roman" , serif;">This is <b>NOT</b> a list of music that is easy to play!</span></li>
<li><span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times" , "times new roman" , serif;">These pieces range
from two octaves below middle C to three octaves above</span></span></li>
<li><span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times" , "times new roman" , serif;">Some of
the pieces require long held tones, which may die out too soon (in voices named "piano")</span></span></li>
<li><span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times" , "times new roman" , serif;">Some of these pieces were written for organ; use a voice named something like "church organ" (or maybe "chapel") to play them</span></span></li>
<li><span style="font-family: "times" , "times new roman" , serif;">Most of the important music for piano, harpsichord, and organ is <b>not</b> on this list</span></li>
</ul>
<span style="font-family: "times" , "times new roman" , serif;"></span>
<span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times" , "times new roman" , serif;">Note
added April 7, 2018: I've been expanding this list as I've run across
appropriate music. It would be good to know if anyone finds it at all
helpful.</span></span><br />
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times" , "times new roman" , serif;">Note added January 2, 2019: Shortening my comments, and moving them to the bottom of the list.</span></span>Jon Liechtyhttp://www.blogger.com/profile/17580616359049772746noreply@blogger.com0tag:blogger.com,1999:blog-5923661469526259727.post-34848398717006151762016-12-31T09:26:00.000-08:002016-12-31T09:26:17.231-08:00Happy New Year!It's been a long time since I've posted, which has been the product of two things. One, I prefer doing things to writing about them. Two, it's hard for me to come up with things to write that would actually justify the time I'd spend writing them.<br />
<br />
2016 has been a year of a lot of changes. Most of them aren't really on-topic for this blog; I'll leave writing about politics to others, and while it's attractive to write about the environmental, financial and humanitarian disasters both looming and in progress, it's not my purpose here. My own life has had a major upset or two, and as a result I've had to re-think a lot of plans.<br />
<br />
So, what has 2016 contained?<br />
<br />
Not as many new compositions as I'd like, but that's par for the course:<br />
<i>Forebodings, Too Easily Dispelled</i> for saxophone choir<br />
A companion piece, <i>Ignore the Clouds, the Droplets are not Rain,</i> is in the works<br />
<br />
The beginnings of a set of pieces for hatun kena and piano; two pieces basically done, unsure how many will follow.<br />
<br />
"The Gardener's Song," a short song in Esperanto about a groundskeeper who painstakingly sorts the autumn leaves into piles by color, and has to re-think when the wind comes along and mixes them up again.<br />
<br />
A number of performances, of which the most interesting are probably the ones at the Spanish Benevolent Society with a group of Spanish-language writers, artists, poets and musicians. It's an honor to share the stage with them, and I'm looking forward to more wonderful programs in 2017. Here's <a href="http://laovejitaebooks.com/eventosnuevayork/" rel="nofollow" target="_blank">where to find their upcoming events</a>.<br />
<br />
I also played some Azerbaijani music up at Lake George for the <a href="http://esperanto-me.org/ARE/Auxtuna%20Renkontigxo%20Esperanta.html" target="_blank">Autumn Esperanto Convention</a> <br />
in October; it was my first time attending that gathering, and already I can't wait for next year.<br />
<br />
In performing terms, 2016 has been the year of the 61-key keyboard; mine has a very different sound and feel from the pianos and 88-key digital keyboards I've played, and I've enjoyed getting to know its more intimate feel. I'm working on a list of music that can be played on such a keyboard; I was surprised to find pieces by Bartók, Chaminade, and Florent Schmitt that will fit. It's not a surprise that most of the important works of the piano repertoire need a bigger keyboard, of course.<br />
<br />
My wish list for 2017 is still in progress; the above-mentioned piece for saxophone choir heads the list, followed closely by some keyboard pieces.<br />
<br />
Happy New Year!<br />
<br />
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<br />Jon Liechtyhttp://www.blogger.com/profile/17580616359049772746noreply@blogger.com0tag:blogger.com,1999:blog-5923661469526259727.post-66425000328206290182016-05-01T14:02:00.000-07:002016-05-01T14:48:44.422-07:00Cultura SIN Límites, May 3, 2016 - POSTPONED<div class="separator" style="clear: both; text-align: center;">
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The event that had been scheduled for May 3, 2016, Culture with NO Limits, has been postponed. It will take place on June 7 at 7:00 PM at the same location (The Spanish Benevolent Society, La Nacional, 239 West 14th St., Manhattan, New York City). My apologies to everyone for the inconvenience.</div>
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I didn't know, two years ago, <a href="http://jonliechtyaboutmusic.blogspot.com/2014/02/300th-anniversary-of-birth-of-cpe-bach.html" target="_blank">when I posted about the 300th anniversary of the birth of C.P.E. Bach</a>, what kind of adventure would follow. I've discovered a rich collection of beautiful music, in which every page begs not only to be read, but repeated, savored, treasured. This coming Tuesday evening, March 3, 2016, I'll be continuing that exploration, by playing C.P.E. Bach's Sonata in D Minor, W. 6/15. Not all of his music works on a five-octave keyboard, but this piece certainly does.<br />
<br />
For those unfamiliar, Culture with NO Limits has been a place to cross boundaries. Previous events have included readings in Spanish, French, Portugese, English, and Esperanto, and songs in Spanish, Basque, Esperanto, Azerbaijani and Bengali. This event will extend the tradition.<br />
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<br />Jon Liechtyhttp://www.blogger.com/profile/17580616359049772746noreply@blogger.com0tag:blogger.com,1999:blog-5923661469526259727.post-65523388544587919872015-10-30T17:03:00.000-07:002015-10-30T17:03:00.912-07:00In Memoriam Gerald Ranck (1941-2015)Gerald Ranck was the Music Director of the <a href="http://nysec.org/" target="_blank">New York Society for Ethical Culture</a> for almost 30 years. <a href="https://www.youtube.com/watch?v=nTLu38sO6T8" target="_blank">He passed away in April</a>, and was a kind mentor and dear friend.<br />
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This post celebrates a few of the many wonderful things about his life.<br />
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Foremost, of course, he was a harpsichordist and pianist. He studied piano with Joseph Echaniz at the Eastman School of Music, and harpsichord with <a href="https://en.wikipedia.org/wiki/Sylvia_Marlowe" target="_blank">Sylvia Marlowe</a> at the Mannes College of Music.<br />
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Gerry was a Scarlatti expert, and performed many <a href="http://www.nytimes.com/1992/09/15/news/classical-music-in-review-844592.html" target="_blank">concerts</a> of his music. He was also well-known for his Bach; here's the <i>New York Times </i><a href="http://www.nytimes.com/1987/09/25/arts/goldberg-variations.html" target="_blank">announcement</a> of his performance of the Goldberg Variations at the Cathedral of St. John the Divine in New York City. <br />
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Here are some YouTube videos of his playing:<br />
<a href="https://www.youtube.com/watch?v=9vg97QR-Go4" target="_blank">Henry Purcell: Four Harpsichord Pieces: Z 655, ZT 682, Z 656, ZT 688</a><br />
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<a href="https://www.youtube.com/watch?v=WwHp7dk3YE8" target="_blank">Farewell performance at the Society for Ethical Culture</a> <br />
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J.S. Bach: Sonatas for Flute and Harpsichord (with Laurel Zucker, flute, and Samuel Magill, cello)<br />
Sonata in B Minor, BWV 1030<br />
<ul>
<li><a href="https://www.youtube.com/watch?v=FV4zRRqLO3M" target="_blank">I. Andante</a> </li>
<li><a href="https://www.youtube.com/watch?v=Gg5cwUDm6jU" target="_blank">II. Largo e dolce</a></li>
<li><a href="https://www.youtube.com/watch?v=cJEqnwRcTU4" target="_blank">III. Presto allegro</a></li>
</ul>
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Sonata in E-Flat Major BWV 1031,<br />
<ul>
<li><a href="https://www.youtube.com/watch?v=qOREazy91yI" target="_blank">I. Allegro moderato</a></li>
<li><a href="https://www.youtube.com/watch?v=RjTZAg0zk7c" target="_blank">II. Siciliana</a></li>
<li><a href="https://www.youtube.com/watch?v=ANhrqG8ILAw" target="_blank">III. Allegro</a> </li>
</ul>
Sonata in C Major BWV 1033<br />
<ul>
<li><a href="https://www.youtube.com/watch?v=56LsemIYhnc" target="_blank">I. Andante</a> </li>
<li><a href="https://www.youtube.com/watch?v=EagJrl2Z5zU" target="_blank">II. Allegro</a></li>
<li><a href="https://www.youtube.com/watch?v=E6a0c1fOuGM" target="_blank">III. Adagio</a></li>
<li><a href="https://www.youtube.com/watch?v=Jql__G0bmnU" target="_blank">IV. Menuet I-II</a></li>
</ul>
Sonata in E Minor BWV 1034<br />
<ul>
<li><a href="https://www.youtube.com/watch?v=IM11pp1sw-g" target="_blank">I. Adagio ma non tanto</a></li>
<li><a href="https://www.youtube.com/watch?v=5j3ZidRjBa0" target="_blank">II. Allegro</a> </li>
<li><a href="https://www.youtube.com/watch?v=2L-_7z2Uolg" target="_blank">III. Andante</a></li>
<li><a href="https://www.youtube.com/watch?v=m8MoS2OVCHQ" target="_blank">IV. Allegro</a> </li>
</ul>
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<a href="https://www.youtube.com/watch?v=WOGoyM21lrc" target="_blank">J.S. Bach: Sonata in B Minor for Flute and Harpsichord, BWV 1030 (with Daniel Waitzman, flute)</a><br />
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<a href="https://www.youtube.com/watch?v=DCaFiZMmFQk" target="_blank">G. F. Handel: Adagio, Op. 2, No. 3 in F (with Evan Johnson, violin, and Steven Machamer, vibraphone)</a><br />
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<a href="https://www.youtube.com/watch?v=SFQyIREMVrE" target="_blank">Georg Philipp Telemann: Die Kleine Kammermusik, Partita No. 2 in G Major (with Humbert Lucarelli, oboe, and Alan Brown, bassoon)</a><br />
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<a href="https://www.youtube.com/watch?v=WYkV8QmK840" target="_blank">Daniel Waitzman: Sonata for Viola and Pianoforte or Harpsichord from 2008 (with Louise Schulman, viola)</a><br />
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At the Society for Ethical Culture, Gerry was known as much for his talks as for his playing; here are three examples:<br />
<a href="https://www.youtube.com/watch?v=TB5UVt6wBR0" target="_blank">"Tribute to our Progressive Conservationist President"</a><br />
(about Theodore Roosevelt) <br />
<a href="https://www.youtube.com/watch?v=hIJ7Zj87FyM" target="_blank">"Gun Violence in the Wake of Newtown"</a><br />
<a href="https://www.youtube.com/watch?v=Qo90Jtllz4M" target="_blank">"Clarence Darrow: Ethics, the Law, and Monkeys"</a><br />
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Farewell, dear friend. Jon Liechtyhttp://www.blogger.com/profile/17580616359049772746noreply@blogger.com0tag:blogger.com,1999:blog-5923661469526259727.post-55330351518675809052015-01-01T09:59:00.001-08:002015-01-01T09:59:38.866-08:00Looking back, looking aheadHappy New Year!<br />
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2014 was a busy year. A set of short pieces for euphonium and piano, a piece for five saxophones ("<i>Que un inmortal amor todo lo puede</i>"), and some short pieces for high school string and wind ensembles constituted the main fruits of the compositional activity; a piece for saxophone quartet and saxophone choir is still in progress.<br />
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2014 was the year I met <a href="https://blogdejuannavidad.wordpress.com/page/2/" target="_blank">Juan Navidad</a>. We've already collaborated on two events; another is planned for January 21, 2015 at <a href="http://lanacional.org/" target="_blank">Centro Español</a>. For these events, I've written four piano pieces, re-purposed two of them for violin and recording, and written a third for violin and recording. <i>El Reloj de la Impaciencia</i> ("The Clock of Impatience") is one of the pieces that exists both for piano and violin; <a href="https://soundcloud.com/jonliechty/el-reloj-de-la-impaciencia-the-clock-of-impatience" target="_blank">here</a> is a recording of the keyboard version.<br />
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2014 was the year of the 300th anniversary of <a href="http://jonliechtyaboutmusic.blogspot.com/2014_02_01_archive.html" target="_blank">CPE Bach's birth</a>.
I provided links to online resources about him, in the hopes of
stimulating interest. I learned and performed a number of his works
this year. <a href="https://soundcloud.com/jonliechty/cpe-bach-sonata-in-g-minor-wq-6527" target="_blank">Here's</a> a recording of one of them on SoundCloud.<br />
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2014 was the year of <a href="http://jonliechtyaboutmusic.blogspot.com/2014_01_01_archive.html" target="_blank">Alones Together</a>, a concert devoted entirely to solo works for saxophone, cello, and piano. <a href="https://www.youtube.com/playlist?list=PL4GLRq0tdk3oolP6J8TU9a8zKYDwv3xxT" target="_blank">Here's</a> a YouTube link to Javier Oviedo's performance of a sonata for unaccompanied tenor saxophone.<br />
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2014 was a year of a considerable amount of home recording. <a href="https://soundcloud.com/jonliechty" target="_blank">Here's</a> where you can hear some of it.<br />
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2014 was the year of <a href="http://wikiconferenceusa.org/wiki/Main_Page" target="_blank">WikiConference USA</a>. I'm still digesting things I learned there. One question I'm currently struggling with is how the various wiki-projects can benefit music education. There is a lot of potential, but right now only a small fraction is being utilized. Another struggle is the exponential distribution of languages along the content curve. A few languages have lots of content, but many more have relatively little. There's not much hope of evening things out, though there is work being done on the problem.<br />
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So what's ahead for 2015?<br />
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I already mentioned the event on January 21, which will include readings, music, and artwork. There should be at least one new piece for that; stay tuned. I'm enthusiastic about the combination of music and poetry, and looking forward to many more events that combine the two.<br />
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A concert is planned for Goshen, Indiana, probably sometime in June. This will take place at Evergreen Place, on the Greencroft campus, and will include chamber music as well as some of the new piano pieces.<br />
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Again, Happy New Year to all!<br />
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<br />Jon Liechtyhttp://www.blogger.com/profile/17580616359049772746noreply@blogger.com0tag:blogger.com,1999:blog-5923661469526259727.post-41599888083208996822014-12-26T17:29:00.001-08:002014-12-26T17:29:55.657-08:00Mistakes and Disputed Points in Music<i>Mistakes and Disputed Points in Music</i>, by Louis C. Elson, was published in 1910. I've written before about my liking for old music books, and this is another fascinating find. It's not a long book, but Elson manages to cover a large amount of territory, from acoustics, through orchestration, conducting, teaching, notation, tempo and rhythm, language and pronunciation, history, form, and several other matters, including a discussion of musical mistakes in literary works of various kinds.<br />
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The main thrill with a book like this is realizing that it came out in the same year Samuel Barber was born. Charles Ives was living in New York, selling life insurance, playing the organ, and writing his Fourth Symphony (among other things). Mahler was conducting in New York; 1910 was the year his Eighth Symphony premiered in Munich, and he died after returning to Europe the following year. Amy Beach was at the height of her powers, soon to embark on a three-year European tour. Arnold Schoenberg wrote <i>Harmonielehre</i> that year. I doubt this book was on the bookshelves of any of them, but it certainly might have been bought by people who heard them.<br />
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Another source of interest is comparing the recommendations to more modern practice. Some of the advice is still good. Elson recommends using an up-to-date orchestration text, which is wise, though of course "up-to-date" for him meant Strauss's expansion of Berlioz. He also suggests that composers mark accidentals if there's any possibility of a question, regardless of whether it would technically be required; still a good idea. But piano pedal markings have changed considerably since those days, and understanding of 18th-century signs for ornaments has undergone revision.<br />
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Elson talks about the supposed emotional characteristics of various keys, pointing out that, since the standard pitch has risen, the keys whose characteristics Berlioz listed wouldn't be the same in Elson's day, when the standard pitch was 435 Hz. The argument has become even stronger since that time, as the standard pitch has risen still further. But Elson doesn't seem aware of the Doctrine of the Affections that preceded Berlioz, though he does quote a 1724 music dictionary (which he doesn't name) regarding tempo markings. <br />
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But there's much more here than musical technicalities. There's an anecdote about a test made with three cornets, one of silver, one of brass, and one of papier mache, which showed that it wasn't possible for a blindfolded listener to tell, from the sound, what material the cornet being played was made from. Elson puts an end to the myth that composers are generally short-lived, though he only mentions one composer who lived into his 80's (Verdi). He deals at some length with a novel, "La Vieillesse de Guillaume Du Fay", which appeared in a Paris magazine as early as 1837, and purports to tell the story of the discovery of counterpoint. The author plays fast and loose with history, but the story sounds interesting anyhow.<br />
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I'd never heard of Ouida before I read Elson's book; now I've read about the musical mistakes in some of her novels. You didn't know that Palestrina wrote "airs", or that Mendelssohn wrote masses? In her books, apparently, they did. Another author has a character play a Sonata in A-sharp major by Mozart. <br />
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This is a section that would be fascinating to update, though it might have to become an encyclopedia. Thinking only of fantasy and SF novels I'm familiar with that deal with music brings up a long list; if other novels that were written since 1910 were included, to say nothing of poems and short stories, I'm guessing it would be a nearly impossible job even to read them all, let alone discuss them. Elson, of course, doesn't pretend to be exhaustive; he only mentions a few of the more notable instances of literary license that had come to his attention.<br />
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Louis C. Elson was professor of Music Theory at the New England Conservatory, and wrote several other books, including a music dictionary. Right now that's all I know about him, but as this book shows, he had quite an amazing mind.<br />
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<br />Jon Liechtyhttp://www.blogger.com/profile/17580616359049772746noreply@blogger.com0tag:blogger.com,1999:blog-5923661469526259727.post-28135024899067249462014-12-08T17:11:00.000-08:002014-12-08T17:11:17.709-08:00Reading/Performance at Centro Español/La NacionalBefore the memory fades too much, I'd like to write a few words about the reading/performance with Juan Navidad last Tuesday, December 2, at Centro Español in New York City. This came about on very short notice; the space had become available a bit less than a week before.<br />
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There is currently no piano in the space. While I do have a traveling keyboard I sometimes use for situations like these, I had other obligations earlier in the day that would have made it difficult to lug a keyboard, stand, and other assorted equipment all over the city. So I decided, instead, to arrange two of the pieces for violin and backing track, and write a third piece to go along with them. The results turned out well. The performance was not recorded, unfortunately, but subsequent ones surely will be. Playing violin in front of people again felt really good!<br />
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<i>El Timón</i> <i>de la Suerte</i> ("The Rudder of Fate") works very well on the violin; better, in fact, than on the piano. While the middle section still needs a bit of tinkering, the outer sections definitely came across very well during this performance. I was worried about <i>El Reloj de la Impaciencia</i> ("The Clock of Impatience"), but after some serious wood-shedding it turned out much better than expected. It's still basically a piano piece, but the violin version is worthwhile.<br />
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The third piece of the evening was <i>Diamante Crudo</i> ("Rough diamond"). The sentence points out that every diamond starts as an ugly piece of rock, and the music begins with a rather ungainly set of pitches and rhythms, which are gradually refined into something beautiful.<br />
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One of the highlights of the evening for me was hearing Juan talk about his experiences. He became a writer because he was upset at the misinformation he found in the popular children's books he grew up with. Real life stood (and stands) at a respectable distance from the way things were portrayed in those fictional universes! Juan spoke about his passion for encouraging people to pursue their dreams, and, where possible, putting tools into their hands to allow them to do so.<br />
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We'll be in the same space again on January 21, so mark your calendar! My current plan is to play violin, have a few more pieces to perform, and get at least some of it recorded. We'll see how things develop.Jon Liechtyhttp://www.blogger.com/profile/17580616359049772746noreply@blogger.com0tag:blogger.com,1999:blog-5923661469526259727.post-70399658495992752132014-11-26T17:16:00.001-08:002014-11-26T17:17:43.679-08:00Juan Navidad and the latest newsWhen I walked into the <a href="http://hlccny.org/" rel="nofollow" target="_blank">Hispanic Latino Book Fair </a>a month or so ago, I had no idea what I was getting into. I heard some worthwhile talks, and walked out with more books than I originally planned, but more importantly, I made the acquaintance of <a href="https://blogdejuannavidad.wordpress.com/category/la-ovejita-ebooks/" rel="nofollow" target="_blank">Juan Navidad</a>.<br />
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Juan is, in a word, amazing. He's a poet, writer, and <a href="http://fullyworkingideas.com/" rel="nofollow" target="_blank">publisher</a> (more informative page in Spanish <a href="http://laovejitaebooks.com/" rel="nofollow" target="_blank">here</a>), and he's constantly promoting both his own work and that of the writers he publishes. He's constantly exploring new possibilities, and when we started discussing ways to work together, it didn't take long to come up with ideas. Collaboration is his mission in life, <br />
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He just brought out a book of his own, <i>Frases para crecer en positivo</i>, and for a reading on Saturday, Nov. 21 at the <a href="http://www.churchofthemediator.org/" rel="nofollow" target="_blank">Church of the Mediator</a> in the Bronx, I created a set of four short pieces inspired by his work. <i>El delantero del fin de semana </i>(The Weekend Forward) takes off from a sentence about how, when we practice a sport, we are grateful for healthy bodies and the time to enjoy them; <i>El timón de la suerte</i> (The rudder of fate) was inspired by a statement that that rudder is held, not only by the Goddess Fortune, but by each one of us. An observation about clocks and impatience motivated <i>El reloj de la impaciencia</i> (The Clock of Impatience), which is about a ticking clock as processed through a brain that keeps wishing it would go faster, and <i>Intencion y fuerza</i> (Intention and Force) derives from a statement that those two things are what we need to be happy: clear intentions, and the strength to bring them to reality.<br />
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I'm hoping to get recordings up soon, and there will be another similar event next week, on Tuesday, December 2, at <a href="http://lanacional.org/" rel="nofollow" target="_blank">Centro Español</a>, on 14th St. in Manhattan, at 7 PM. The music this time will be violin with (likely) backing tracks, and I will be the violinist. <i>El timón de la suerte</i> and maybe <i>El reloj de la impaciencia</i> will be arranged for the occasion, but there will be some newer material as well.<br />
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For those who prefer a bit more advance notice, there will be another event at Centro Español on January 21, 2015, which will include a showing of artworks. More news as it happens!<br />
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<br />Jon Liechtyhttp://www.blogger.com/profile/17580616359049772746noreply@blogger.com0tag:blogger.com,1999:blog-5923661469526259727.post-33097495978936689932014-08-10T13:56:00.001-07:002014-08-10T13:56:36.474-07:00Updates, and lessons from home recordingIt's been a long time since I've posted, so here's an update on some of what's happened and what's going on right now.<br />
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It's been a fairly busy year so far, including the premiere of some of a set of ten new pieces I wrote for euphonium and piano, as well as two concerts (one in White Plains, New York and the other in Goshen, Indiana) celebrating the 300th anniversary of the birth of <a href="http://en.wikipedia.org/wiki/Carl_Philipp_Emanuel_Bach" target="_blank">Carl Philipp Emanuel Bach</a>. I performed at a <a href="http://www.hopeforafghanchildren.com/" target="_blank">benefit</a> for the <a href="http://www.afceco.org/" target="_blank">Afghan Child Education and Care Organization</a>, and at the first-ever <a href="http://www.amerikaninsesi.org/content/filadelfiyada-novruz/1877208.html" target="_blank">Azerbaijani Novruz celebration</a> in Philadelphia.<br />
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Another thing I've been working on is recording. This is a fairly unambitious undertaking; the music will include at least two sonatas by C.P.E. Bach, as well as some J.S. Bach, and maybe a few other things according to taste and whim. It springs naturally out of the home recording I've been doing for many years. Recording and listening to myself have been two of my most powerful tools to keep growing musically, and from there it's a simple matter of asking two questions: what would make this worth sharing, and how do I get there?<br />
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One of the first things musicians learn after starting to make recordings is just how bad they sound. The microphone (or its digital equivalent) is pretty unforgiving. Mistakes and problems that you could sort of ignore while you were playing suddenly stand out and become unbearable. One of the first questions you'll have is how to improve the situation, and the first and best answer is, improve your playing.<br />
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Another early lesson is that it's necessary to be really detail-oriented. How, exactly, will that ornament be played? Where are the dynamic changes? How loud, and how soft? The more you know, and the better you know it, the higher the odds that, when you are performing, it will come out as intended.<br />
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Which leads to another question, with its attendant lesson: when is it time to stop? It's possible to work on a recording forever, honing smaller and smaller details, and never quite attaining that magical state of perfection where it's time to stop and release the results. In normal studio recording, of course, the budget, and a good producer, will put strict limits on the amount of reworking that can be done. It's always possible to find something wrong with a performance or a recording, and even more so when using a digital keyboard for Baroque and pre-Classical music. A digital keyboard is not a piano (organ, clavichord, harpsichord, etc.), and while it can have worthwhile qualities of its own, it can never satisfy someone who expects to hear an acoustic instrument.<br />
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So the question is, when is it good enough? When does it fairly represent what I can do right now? And perhaps most importantly, when is it time to release this, and apply the lessons learned to the next project?<br />
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Because there will be next projects, and other recordings, and my most important reason for undertaking this one is to improve those.<br />
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<br />Jon Liechtyhttp://www.blogger.com/profile/17580616359049772746noreply@blogger.com0tag:blogger.com,1999:blog-5923661469526259727.post-7657874490155395312014-02-09T06:11:00.002-08:002014-02-09T06:11:57.592-08:00300th Anniversary of the birth of C.P.E. BachThis post was created in specific response to James M. Keller's
article in <i>Chamber Music </i>about the 300th anniversary of the
birth of <a href="http://en.wikipedia.org/wiki/Carl_Philipp_Emanuel_Bach" target="_blank">Carl</a>
<a href="http://www.cpebach.org/" target="_blank">Philipp</a>
<a href="http://www.cpebach.org/" target="_blank">Emmanuel</a> <a href="http://imslp.org/wiki/Versuch_%C3%BCber_die_wahre_Art_das_Clavier_zu_spielen,_H.868,_870_%28Bach,_Carl_Philipp_Emanuel%29" target="_blank">Bach</a>.
The article, "A Tricentennial Nod to C.P.E. Bach", points
out that the anniversary is likely to go "largely uncelebrated",
and easily makes the case that this lack of attention is unjustified.<br />
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As it turns out, there <a href="http://www.cpebach.de/en/" target="_blank">are</a>
celebrations taking place, but perhaps not in the U.S.; this blog entry is an attempt to spread
the word and give some ideas about how to get in on the fun.<br />
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Piano teachers and students, <a href="https://www.youtube.com/watch?v=60Y4yuiJtdA" target="_blank">if</a>
<a href="https://www.youtube.com/watch?v=mC3xW_UDpIo" target="_blank">they</a>
<a href="https://www.youtube.com/watch?v=9SXC744mPz8" target="_blank">know</a>
<a href="https://www.youtube.com/watch?v=0i_YvBYzxS8" target="_blank">nothing</a>
<a href="https://www.youtube.com/watch?v=wyXGYQ3NT38" target="_blank">else</a>
<a href="https://www.youtube.com/watch?v=2IWy2rgDpU8" target="_blank">about</a>
<a href="https://www.youtube.com/watch?v=yKnA4slmmlA" target="_blank">C.P.E</a>.
<a href="https://www.youtube.com/watch?v=WGxgmVZFZ-Y" target="_blank">Bach</a>,
<a href="https://www.youtube.com/watch?v=CjJXesiTo4k" target="_blank">know</a>
<a href="https://www.youtube.com/watch?v=3bEyKPCXJBw" target="_blank">him</a>
<a href="https://www.youtube.com/watch?v=F_DtacB-T6U" target="_blank">for</a>
<a href="https://www.youtube.com/watch?v=LsoRYz7gvno" target="_blank">the</a>
<a href="https://www.youtube.com/watch?v=qhaix_WJv9k" target="_blank">"Solfeggietto"</a>,
<a href="https://www.youtube.com/watch?v=VSChQzQwBn0" target="_blank">H.
220</a>, <a href="https://www.youtube.com/watch?v=MMAG632e03k" target="_blank">W.
117</a>. Here are <a href="https://www.youtube.com/watch?v=cRjvvuwEW9w" target="_blank">two</a>
<a href="http://www.dlpmusiceducation.com/2013/06/10/how-to-play-solfeggietto-by-cpe-bach/" target="_blank">tutorials</a>
on the piece. It has been <a href="https://www.youtube.com/watch?v=QogjaaOUw2o" target="_blank">transcribed</a>
<a href="https://www.youtube.com/watch?v=k7dafOEAoyU" target="_blank">for</a>
<a href="https://www.youtube.com/watch?v=h03HcMO5KCQ" target="_blank">other</a>
<a href="https://www.youtube.com/watch?v=ZpPIDWfSi20" target="_blank">instruments</a>,
<a href="https://www.youtube.com/watch?v=x8rOn8kXExA" target="_blank">as</a>
<a href="https://www.youtube.com/watch?v=XOTZ6W2EQ8Y" target="_blank">well</a>.
He <a href="https://www.youtube.com/watch?v=kqujvPxfmt4" target="_blank">also</a>
<a href="https://www.youtube.com/watch?v=yRzwv3vKCxQ" target="_blank">wrote</a>
<a href="https://www.youtube.com/watch?v=CCZpmAV2VWk" target="_blank">several</a>
<a href="https://www.youtube.com/watch?v=ThMoyirEwU4" target="_blank">pieces</a>
<a href="https://www.youtube.com/watch?v=10JwH3F1gAM" target="_blank">included</a>
in his father's <a href="http://imslp.org/wiki/Notebooks_for_Anna_Magdalena_Bach_%28Bach,_Johann_Sebastian%29" target="_blank"><i>Notebooks
for Anna Magdalena Bach.</i></a>
<br />
<br />
But he also wrote for <a href="https://www.youtube.com/watch?v=fe_8n1bnVoM" target="_blank">many</a>
<a href="https://www.youtube.com/watch?v=r7zNeV-hIpA" target="_blank">other</a>
<a href="https://www.youtube.com/watch?v=t2gD5ZS5XOc" target="_blank">instruments</a>,
in many combinations. His works for chorus and orchestra
include a <a href="https://www.youtube.com/watch?v=yNbaGAn1_ec" target="_blank"><i>Magnificat</i></a>
and oratorios, such as <i><a href="https://www.youtube.com/watch?v=2UMgP5rZ0iE" target="_blank">Israel
in the Wilderness</a> </i>and <a href="https://www.youtube.com/watch?v=po5VMenVaPw" target="_blank"><i>Resurrection
and Ascension of Jesus</i></a>.<br />
<br />
So how can you celebrate? If you play or teach the flute, piano, and/or other instruments he wrote for, it's easy: simply study and teach C.P.E. Bach's works, include them in recital programs, and mention the anniversary in your publicity. If you study an instrument that he didn't write for, why not transcribe or arrange one or more of his pieces? While there are a number of recordings of his work on <a href="http://commons.wikimedia.org/wiki/Category:Carl_Philipp_Emanuel_Bach" rel="nofollow" target="_blank">Wikimedia Commons</a>, there is still plenty of room for contributions; why not upload a recording of your performance (being aware of <a href="http://commons.wikimedia.org/wiki/Commons:Licensing" rel="nofollow" target="_blank">these</a> <a href="http://commons.wikimedia.org/wiki/Commons:Upload" rel="nofollow" target="_blank">guidelines</a>)?<br />
<br />
<br />Jon Liechtyhttp://www.blogger.com/profile/17580616359049772746noreply@blogger.com0tag:blogger.com,1999:blog-5923661469526259727.post-56981827715166367152014-01-30T16:56:00.003-08:002014-01-30T16:56:26.473-08:00Alones Together: Concert coming up Wednesday, Feb. 5!
<div style="margin-bottom: 0in;">
<span style="font-family: Verdana, sans-serif;">Alones
Together: An Evening of Music for Unaccompanied Solo Instruments</span></div>
<div style="margin-bottom: 0in;">
<br />
</div>
<div style="margin-bottom: 0in;">
<span style="font-family: Verdana, sans-serif;">Cellist
Caroline Stinson and saxophonist Javier Oviedo will be featured in a
concert of music by Jon Liechty and poetry by Andrew Kreider, on
Wednesday, February 5, 2014 at 7:00 PM at the Bloomingdale School,
323 West 108<sup>th</sup> Street in New York City. The program will
include <i>Strength and Beauty</i><span style="font-style: normal;">,
a set of pieces for unaccompanied cello, </span><span style="font-style: normal;">the
world premiere of </span><i>Sonata No. 1</i><span style="font-style: normal;">
for tenor saxophone, and works for piano solo </span><span style="font-style: normal;">performed
by the composer</span><span style="font-style: normal;">. The concert
is free and open to the public, but seating is limited. Donations
will be gratefully accepted.</span></span></div>
<div style="margin-bottom: 0in;">
<br />
</div>
<div style="margin-bottom: 0in;">
<span style="font-family: Verdana, sans-serif;"><i>Strength
and Beauty</i><span style="font-style: normal;"> was inspired by the
portraits of Li Ming Shun, whose art focuses on the Asian male nude.
Its four movements are both lyrical and uncompromising, reflecting
some of the many contradictory emotions the body can evoke.</span></span></div>
<div style="font-style: normal; margin-bottom: 0in;">
<br />
</div>
<div style="margin-bottom: 0in;">
<span style="font-family: Verdana, sans-serif;"><span style="font-style: normal;">The
frank melodies of </span><i>Sonata No. 1</i><span style="font-style: normal;">
defy easy classification; even those that seem simple at first prove
to have unexpected twists and turns.</span></span></div>
<div style="font-style: normal; margin-bottom: 0in;">
<br />
</div>
<div style="font-style: normal; margin-bottom: 0in;">
<span style="font-family: Verdana, sans-serif;">Poetry
by Andrew Kreider is the inspiration for the piano pieces that will
round out the evening, and the variety in the music matches the
wealth of expression in the words. From the Azerbaijani-influenced
“Keepsakes” to the mad dash of “What Won't Wait”, Kreider's
verbal adroitness pairs well with Liechty's lush harmonic
imagination.</span></div>
<div style="font-style: normal; margin-bottom: 0in;">
<br />
</div>
<div style="font-style: normal; margin-bottom: 0in;">
<span style="font-family: Verdana, sans-serif;">Praised
for her vibrant lyricism, fresh interpretations and expressive
performances, cellist Caroline Stinson’s solo invitations include
the Museum of Modern Art's Summergarden Series, Poisson Rouge and
Bargemusic in New York; Cité de la Musique Strasbourg and the
Lucerne Festival in Europe, and the Centennial Centre and Winspear
Halls in Canada. As a soloist she has performed with the Banff
Festival and Cleveland Institute of Music Orchestras, the Alberta
Baroque Ensemble, and the Interlochen World Youth and Syracuse
Symphonies. A champion of contemporary music, Ms. Stinson has
commissioned concerti from Steven Bryant (Cornell Wind Ensemble) and
Andrew Waggoner (Syracuse Symphony), works for cello with electronics
from Canadian composer Patrick Carrabre, in addition to chamber music
with the Lark Quartet and her new music and improvisation group, Open
End Ensemble. Performance highlights include Elliott Carter's "Triple
Duo" with conductor Pierre Boulez in New York and Europe, the
premiere of Paul Moravec's Piano Quintet with Jeremy Denk and the
Lark Quartet in New York, and performing Esa-Pekka Salonen's "YTA
III" for solo cello at the composer’s recommendation at
Scandinavia House in New York in 2011. Caroline's début CD, Lines,
was released in 2011 on Albany Records, and she has over a dozen
other chamber music recordings to her credit on labels from Bridge to
Naxos. Her teachers were Alan Harris (Cleveland), Maria Kliegel
(Germany), Joel Krosnick (Juilliard) and Tanya Prochazka. Caroline is
co-Artistic Director of the Weekend of Chamber Music in NY State and
teaches cello and chamber music at The Juilliard School in New York
City in the Pre-College Division and as Assistant Faculty for Joel
Krosnick. </span>
</div>
<div style="font-style: normal; margin-bottom: 0in;">
<br />
</div>
<span style="font-family: Verdana, sans-serif;"><span style="font-size: small;">One of the brightest
soloists of the classical saxophone world, Javier Oviedo is acclaimed
for his lustrous tone, sensitive musicianship, and formidable
technique. He debuted at Lincoln Center’s Alice Tully Hall in New
York City last June performing a newly commissioned work for
saxophone and orchestra to thunderous ovation. </span></span>
<br />
<div style="margin-bottom: 0.07in;">
<span style="font-family: Verdana, sans-serif;"><span style="font-size: small;">As
a soloist Javier Oviedo has appeared with orchestras in New York, New
Jersey, Pennsylvania, Louisiana, and Texas. He has also appeared with
the Orchestre Lamoureux and L’orchestre à cordes d’Ariége in
France. In spring 2011 Oviedo appeared with the National Orchestra of
the Republic of Moldova and later that year with the State
Philharmonic of Oryol in the Russian Federation. This performance was
hailed by the local press as “a triumph of a concert.” </span></span>
</div>
<div style="margin-bottom: 0.07in;">
<span style="font-family: Verdana, sans-serif;"><span style="font-size: small;">An
accomplished chamber musician, Oviedo has performed in recital on
many of New York’s most prestigious stages such as at Carnegie Hall
and The United Nations. He was a founding member of the Elision
Saxophone Quartet in his native-born Texas. The quartet will
celebrate its 25th season in 2014. Oviedo was also a founding member
of The F.R.E.D. Chamber Players which explored new or under-performed
chamber music, theater pieces, plays, dance, and art from centuries
old and new.</span></span></div>
<div style="margin-bottom: 0.07in;">
<span style="font-family: Verdana, sans-serif;"><span style="font-size: small;">In
2008 Oviedo recorded his debut recording, The Classical Saxophone A
French Love Story, which featured original music for saxophone and
orchestra from around the early 20th-Century. The American Record
Guide said of the disc,</span></span></div>
<div style="margin-bottom: 0.07in; margin-left: 0.81in;">
“<span style="font-family: Verdana, sans-serif;"><span style="font-size: small;"><i>The
music is rich, lush, and colorful, and one is tempted to praise
repeatedly Oviedo’s gorgeous sound, which fits these pieces
perfectly.” -</i>American Record Guide</span></span></div>
<div align="LEFT" style="font-style: normal; margin-bottom: 0.07in;">
<span style="font-family: Verdana, sans-serif;"><span style="font-size: small;">The
disc was recorded in Paris with Orchestra Pasdeloup under the
direction of Jean-Pierre Schmitt and released on the MSR Classics
label.</span></span></div>
<div align="LEFT" style="font-style: normal; margin-bottom: 0in;">
<br />
</div>
<div align="LEFT" style="margin-bottom: 0in;">
<span style="font-family: Verdana, sans-serif;"><span style="font-size: small;"><span style="font-style: normal;">Jon
</span></span><span style="font-size: small;"><span style="font-style: normal;">Liechty's
compositions have been performed in New York’s Weill Hall, at An
Die Musik Live! in Baltimore, at the Midwest Composer's Symposium in
Oberlin, Ohio, at the Indiana Contemporary Music Festival in Terre
Haute, Indiana, at the Sound in the Land festival in Waterloo,
Ontario, and at the Escuela Nacional de Música in Mexico City. He
is the recipient of grants from Meet the Composer, and from the
Honors Division of Indiana University in Bloomington, Indiana. He
holds bachelor's and master's degrees in music composition from the
Indiana University School of Music in Bloomington, Indiana, where his
teachers included Donald Erb and Claude Baker.</span></span></span></div>
<div align="LEFT" style="font-style: normal; margin-bottom: 0in;">
<br />
</div>
<div align="LEFT" style="font-style: normal; margin-bottom: 0in;">
<span style="font-family: Verdana, sans-serif;"><span style="font-size: small;">Liechty
has appeared as a pianist at An Die Musik Live! in Baltimore, at
Symphony Space in New York City, at the SummerKeys festival in Maine,
at the Lotus World Music and Dance Festival in Indiana, at the
American Composers Alliance festival in New York City, and on
Azerbaijani National Television. He gave the world premiere
performance of Andrew Nishikawa's <i>Piano Concerto No. 1</i>,
written especially for him, at the Boston Conservatory. He is the
Associate Music Director at the New York Society for Ethical Culture.</span></span></div>
<div align="LEFT" style="font-style: normal; margin-bottom: 0in;">
<br />
</div>
Jon Liechtyhttp://www.blogger.com/profile/17580616359049772746noreply@blogger.com0tag:blogger.com,1999:blog-5923661469526259727.post-49386744201669826592013-12-29T09:09:00.000-08:002013-12-29T09:10:01.134-08:00Happy New Year!As 2013 draws to a close, I'm looking forward and back. What happened this year? What didn't? What's in the works for next year?<br />
<br />
For one thing, 2013 was the year I started this blog. There are a lot of things I have to share that simply don't fit in a tiny FaceBook post. That's as true now as it ever was. One of my goals for next year will be to pick a better title; if you search "About Music" on Blogspot, you'll find a large number of blogs with similar titles. I'll be looking for something a bit more poetic and descriptive, and will welcome suggestions.<br />
<br />
My <a href="http://www.youtube.com/watch?v=rYl1h0iU9AE" rel="nofollow" target="_blank">inaugural video</a> went up on YouTube this year. Hopefully there will be more, and better, to follow.<br />
<br />
2013 was also the year of <i>Moving Seven Ways</i>, a set of seven short pieces for viola and claves. They stay in first position throughout, which makes them good for intermediate students. The viola part of one of them is entirely <i>col legno</i>, which will be challenging for those who haven't yet explored that technique extensively.<br />
<br />
The number of my piano pieces inspired by poetry increased in 2013, with "Gəlir", a response to a poem by Nigar Rafibeyli. There will be more to come; I discovered many fine poets in 2013, both from Azerbaijan and other places, and several of those poems are prompting musical responses.<br />
<br />
<i>Scenes from a Fantasy Novel</i> is not based on poetry, but it's a set of ten short pieces with titles inspired by fantasy-novel kinds of scenes. Still some editing to be done, but basically ready to intrigue and delight.<br />
<br />
Piano four hands is a genre I started exploring in 2013. Most of the pieces I've produced so far have been pretty lightweight: a chorale prelude, and a set of variations on "The Spanish Lady's Love", to name two, but more substantial fare will likely follow.<br />
<br />
My biggest disappointment of 2013 was not finishing the string quartet. It's getting closer, but there's still work to be done.<br />
<br />
I did get a short piece for saxophone quartet finished, this one a chorale prelude on "Nun danket alle Gott". My avid saxophonist uncle finally has something of mine he can play with his friends! This was extremely long overdue, and it's great to have it done. More saxophone quartet music is planned, in one form or another.<br />
<br />
<br />
Apart from composition, 2013 was the year of Audacity. I've been using it for some time for small tasks such as converting between file formats, but this year I started digging in and actually moving things around. I've been wanting to produce some CD's for awhile, and this is a substantial step in that direction.<br />
<br />
Which brings me to next year. On Wednesday, February 5, 2014 at the Bloomingdale School in Manhattan, 7:00 PM, a concert of my work will feature cellist Caroline Stinson, saxophonist Javier Oviedo, and me. This is a concert of unaccompanied solo pieces, including <i>Strength and Beauty</i>, inspired by portraits by Li Ming Shun, for unaccompanied cello, <i>Sonata No. 1</i> for unaccompanied tenor saxophone, and piano pieces inspired by the poetry of Andrew Kreider.<br />
<br />
In mid-June, I'll perform in a concert in Goshen, Indiana, but right now don't have much information about what will be on the program. It's likely it will include <i>Scenes from a Fantasy Novel</i>, maybe some of the Goldberg Variations, and perhaps some of the pieces being worked on for the CD mentioned below. But I'd also like to do some things with musicians from Goshen, and plans for those are still up in the air.<br />
<br />
The home-recording work is leading toward compilation of a CD, likely to include keyboard music of Frescobaldi, Froberger, and J.S. Bach; more news as it happens.<br />
<br />
In terms of composition, it's long past time for the string quartet to be finished, but of course these things don't always happen on cue. More saxophone quartet music, and more music for piano four hands are in the works, with plans also for some wind ensemble music and a string orchestra piece for a youth orchestra in Washington Heights.<br />
<br />
My musician friends are certainly laughing at this point, because they know too well how easy it is to decide you want to do something ... and how difficult it is to actually get it done!<br />
<br />
Good wishes to all for a safe, happy, and healthy New Year!<br />
<br />
<br />Jon Liechtyhttp://www.blogger.com/profile/17580616359049772746noreply@blogger.com0tag:blogger.com,1999:blog-5923661469526259727.post-21938980966242908502013-12-25T06:57:00.000-08:002013-12-25T06:57:14.154-08:00Wikimedia CommonsOne of my goals with this blog is to highlight underutilized resources that could be of benefit to musicians. Today I'd like to write about a companion project of <a href="http://wikipedia.org/" rel="nofollow" target="_blank">Wikipedia</a>, and some opportunities for the right people to make a big difference ... maybe.<br />
<br />
<a href="http://commons.wikimedia.org/" rel="nofollow" target="_blank">Wikimedia Commons</a> is a huge collection of digital media (pictures, sound files, video, etc.) that are available for anyone to use, remix, and so on. This doesn't mean there are no restrictions on using them, but the restrictions are considerably fewer than customary in this age of increasing digital rights management. <a href="http://commons.wikimedia.org/wiki/Commons:MIME_type_statistics" rel="nofollow" target="_blank">Most of the content</a> is in the form of pictures, which is what is inspiring my post this morning.<br />
<br />
One obvious thing this means for people looking for posters, CD booklet art, and so on, is a huge source of possibilities. The data included with each file includes the specific restrictions that may apply to it; <a href="http://commons.wikimedia.org/wiki/Commons:Reusing_content_outside_Wikimedia/licenses" rel="nofollow" target="_blank">often this consists simply of crediting the artist/contributor, and releasing the copies/improvements under the same terms</a>. It's not clear to me whether, if you use a photo licensed as <a href="http://commons.wikimedia.org/wiki/Template:Cc-by-sa-3.0" rel="nofollow" target="_blank">CC-BY-SA</a> (Creative Commons, with attribution, share-alike) on the cover of your CD, you would have to release the entire booklet, the whole CD, or just the cover photo (the part containing the picture you used, with any modifications you made to it) under CC-BY-SA. More information on Creative Commons licenses can be found <a href="http://creativecommons.org/" rel="nofollow" target="_blank">here</a>. Note that I'm not a lawyer; if you want legal advice on the details of re-using other people's work, please get an appropriate professional to advise you.<br />
<br />
Another intriguing possibility for musicians <a href="http://commons.wikimedia.org/wiki/File:Bach_WTK1_P%26F_No15_G-Dur_BWV860.ogg" rel="nofollow" target="_blank">is</a> <a href="https://commons.wikimedia.org/wiki/File:Prelude_bwv999.ogg" rel="nofollow" target="_blank">contributing</a> <a href="https://commons.wikimedia.org/wiki/File:Whiskey-youre-the-devil-violin.ogg" rel="nofollow" target="_blank">work</a>. The gallery for <a href="http://commons.wikimedia.org/wiki/Johann_Sebastian_Bach" rel="nofollow" target="_blank">J.S. Bach</a> contains recordings of a number of his works, but there are many gaps in the list. Contributing a recording or two could be a way to market yourself to an audience that might not otherwise find you. If you were the sole contributor, say, of recordings for most of the <a href="https://commons.wikimedia.org/wiki/Well-Tempered_Clavier" rel="nofollow" target="_blank">WTC</a> Book II, you might gain some advantage from that. Your <a href="http://commons.wikimedia.org/wiki/User:Megodenas" rel="nofollow" target="_blank">user page</a> can list your contributions, or whatever else it might be important for people to know; if you contribute a number of files, a <a href="http://commons.wikimedia.org/wiki/Category:Audio_files_of_classical_music_by_Kristian_Cvetkovi%C4%87" rel="nofollow" target="_blank">category</a> might be created for them. I'm a bit wary, however.<br />
<br />
For one thing, the point of Wikimedia Commons is <a href="https://commons.wikimedia.org/wiki/Commons:Project_scope#Must_be_realistically_useful_for_an_educational_purpose" rel="nofollow" target="_blank">educational, not promotional</a>. The kind of video you might want to release as an artist to showcase your abilities is not necessarily the kind of video you would make for educational purposes. This is a bit of a judgment call, of course; there's a sense in which it's instructive to watch any performer in action.<br />
<br />
Another consideration is cost. If you are making recordings in your own home, using your own (relatively inexpensive) equipment, it may not matter so much to you whether you give away the results. If you are recording in a studio at a cost of thousands of dollars, you'll want to think carefully about your return on anything you release. If you decide to make a sample track available as a free download from your web site or through another online service, you would could remove it at any time. You could set whatever restrictions you wanted on other people's re-use of your recording.<br />
<br />
Not so Wikimedia Commons. Once you've released something there, it's there for good. If someone decides to use it in a way you detest, tough. The recording you might release at the beginning of your career will remain there to haunt you at the pinnacle of your success.<br />
<br />
Another possibility for a welcome contribution would be demonstrations of the capabilities of an instrument. Someone who wants to hear <a href="http://commons.wikimedia.org/wiki/File:Violin_open_string.ogg" rel="nofollow" target="_blank">what</a> <a href="http://commons.wikimedia.org/wiki/File:Violin_fingered.ogg" rel="nofollow" target="_blank">a</a> <a href="http://commons.wikimedia.org/wiki/File:Violin_sounds_and_techniques.ogg" rel="nofollow" target="_blank">violin</a> <a href="http://commons.wikimedia.org/wiki/File:Violin_pizzicato.ogg" rel="nofollow" target="_blank">sounds</a> <a href="http://commons.wikimedia.org/wiki/File:Violin_vibrato.ogg" rel="nofollow" target="_blank">like</a> (for example) can get a good basic idea from files like these, and there's less of a sense that you're giving away something of direct commercial value. <a href="https://commons.wikimedia.org/wiki/File:Chitarra_esercizio_preparatorio_strumming_1.webm" rel="nofollow" target="_blank">Demonstration</a> videos showing a particular technique are another opportunity. So are pictures showing the correct way to hold an instrument.<br />
<br />
If you are a music educator, at any level, Wikimedia Commons is the place for you. If you need a diagram showing the relationship of the keys on a keyboard to notes on a staff, <a href="https://commons.wikimedia.org/wiki/File:Pianos_keyboard_with_notes.svg#.7B.7Bint:filedesc.7D.7D" rel="nofollow" target="_blank">find one here</a>.<br />
This is also a great place to contribute material you've developed that someone else might be able to use. Because this material is freely available to anyone with an internet connection, your contribution will help teach people around the world.<br />
<br />
If you simply want to watch and listen, there <a href="https://commons.wikimedia.org/wiki/File:Ravi_Shankar_-_Madhuvanti.ogg" rel="nofollow" target="_blank">are</a> <a href="https://commons.wikimedia.org/wiki/File:MHVC-KyokoYonemoto-PaganiniCaprice24.ogv" rel="nofollow" target="_blank">things</a> <a href="https://commons.wikimedia.org/wiki/File:20091104_Awadagin_Pratt_-_Bach%E2%80%99s_Passacaglia_and_Fugue_in_C_minor,_BWV_582.theora.ogv" rel="nofollow" target="_blank">like</a> <a href="https://commons.wikimedia.org/wiki/File:20091104_Joshua_Bell_and_Sharon_Isbin_-_Paganini%27s_Cantabile.ogv" rel="nofollow" target="_blank">these</a>.<br />
<br />
Happy holidays, regardless which ones you happen to celebrate!<br />
<br />
<br />
<br />Jon Liechtyhttp://www.blogger.com/profile/17580616359049772746noreply@blogger.com0tag:blogger.com,1999:blog-5923661469526259727.post-45065939265252318672013-09-30T04:26:00.000-07:002013-09-30T04:26:13.990-07:00ExplorationsYesterday, on a friend's recommendation, I visited composerscircle.com, a site that features a different (usually) living composer every day. I'm not sure how long they have been operating; the online archive goes back to May 2012. But it's an impressive site, and well worth the time to check out.<br />
<br />
One thing that's impressed me is how wide the stylistic range is. If you were hoping for guidance about any particular direction in which things might be headed, the only reasonable conclusion is they're going in all directions at once, which makes this a particularly exciting time to be writing.<br />
<br />
Another thing that's impressive is the wide range of levels and backgrounds represented. There are composers with major awards and performances by big-name ensembles, and there are composers who are just starting music school, not always at places with famous composition programs. Most of the names are new to me, which means I'm going to be back; it's not possible or reasonable to expect to take it all in in one visit. The quality is uniformly high.<br />
<br />
The only slightly negative thing about the site is it's not very easy to browse; within a year you have to page forward or back month by month. Be aware that every page will begin playing music or video immediately upon loading; you'll want to check your volume settings before navigating to the page.<br />
<br />
Enjoy!<br />
<br />
<br />
<br />
<br />Jon Liechtyhttp://www.blogger.com/profile/17580616359049772746noreply@blogger.com0tag:blogger.com,1999:blog-5923661469526259727.post-61308643615025761392013-07-23T04:24:00.000-07:002013-07-23T04:24:57.653-07:00ConnectionsMusic for me is about connecting with people. But it isn't always straightforward. The performer I had in mind while writing a piece may not be the person who finally picks it up and plays it.<i> </i>Maybe it's the wrong kind of material for that performer, or maybe it's the wrong composer. Or maybe it's just not the right time for that piece.<br />
<br />
What has happened more than once, though, is that musicians
I've met later, long after a piece was written, have turned out to be
interested in what I've done, and as a result things I wrote years ago
have been resurrected and performed.<br />
My ideas about the whole process of working with a performer haven't always been accurate, either. Mostly there haven't been a whole lot of questions about scores of mine; instead of the back-and-forth I expected, people who have played my music have often simply gone into the practice room, and emerged later with everything in place.<br />
<br />
So composition isn't a great way to meet people in and of itself. Going to concerts is better for that: you have a natural topic of conversation, and a shared experience, that helps break the ice.<br />
<br />
Jon Liechtyhttp://www.blogger.com/profile/17580616359049772746noreply@blogger.com0