Petite Suite

On September 21, I shared a recital with a colleague, performing works for piano solo and piano duet by Robert Schumann and Claude Debussy.  Overall, I’m fairly pleased with the result, considering that the recital was planned relatively last-minute.  I just got the final recording, and thought I’d post some pieces I performed that I feel weren’t too shabby.  The recording was live, so everything was captured, including shuffling, coughing, and my own unfortunate flubs.  Do try to ignore those.

* * * * * * * * * *

Claude Debussy (1862-1918 ) composed the Petite Suite in 1888, when he was only 26 years old.  Originally written for piano duet, it was later transcribed for orchestra, and there are also arrangements for organ and wind band.  The four movements are filled with rich harmonies and intricate rhythms.  The interplay between primo and secondo is graceful and exudes spontaneity, romance and brilliance.

This performance was interesting for me; in the past, I had always performed secondo.  This was my first experience playing primo.

 

En bateau (In a boat)
The rocking meter of this piece creates the impression of swaying to and fro while sitting in a boat on a sunny day.  The primo‘s gently lilting melody is enhanced by the harp-like quality of the secondo, painting an image of water passing seamlessly beneath the boat.
(3:29)

 

Cortège
This delicate procession is bright and coquettish, as if the members of the procession are tiny figurines from an ornate clock, which can be heard ringing throughout the piece.
(2:50)

 

Menuet
This elegant menuet is the only movement that bears any resemblance to the Baroque keyboard suite.  Its fragile, somehow melancholy theme calls to mind a tender dance of figures atop a music box, or in a royal court.
(2:37)

 

Ballet
The brilliant conclusion to this suite is the most thickly scored of all the movements, with the melody doubled between primo and secondo.  After a grand opening with a strong rhythmic theme, a new section begins with a slightly Spanish waltz, which returns for the finale.
(3:11)

La cathédrale engloutie & La serenade inerrompue

On September 21, I shared a recital with a colleague, performing works for piano solo and piano duet by Robert Schumann and Claude Debussy.  Overall, I’m fairly pleased with the result, considering that the recital was planned relatively last-minute.  I just got the final recording, and thought I’d post some pieces I performed that I feel weren’t too shabby.  The recording was live, so everything was captured, including shuffling, coughing, and my own unfortunate flubs.  Do try to ignore those.

* * * * * * * * * *

The first book of Préludes by Claude Debussy (1862-1918 ) was completed in 1910.  Each of the twelve pieces represent a mature compositional style that expresses a great diversity of emotional states.  Interestingly, Debussy placed the titles at the end of each piece, perhaps in an attempt to indicate that the music itself was more important.

I had first performed these two préludes about six years ago, as part of my half recital during my junior year of college.  It was a pleasure to refresh these pieces, which had become such an integral part of my being so long ago.

 

La cathédrale engloutie (The Sunken Cathedral)
The legendary Cathedral of Ys was engulfed in the sea about 1,500 years ago as punishment for its impious inhabitants.  It was allowed to rise from beneath the waves each morning as a reminder of their sins, only to return to the depths of the misty waters.  With the open, medieval harmonies and constant dynamic increase, Debussy creates a sense of profound, eerie calm, emphasized by distant bells, which is followed by gentle ripples in the water and the rise of the submerged cathedral.  Full chords proclaim the point in which the cathedral can be seen above the waves in its entirety.
(5:37)

 

La serenade inerrompue (The Interrupted Serenade)
This piece approximates “program music” more than any of the other préludes, and is remarkably “Spanish” in nature, considering Debussy never visited Spain.  It tells the story of a poor Spanish guitarist who attempts to woo the woman he loves from the street below her window.  Passersby and sleepy neighbors mock him, interrupting his serenade and wrecking his already shaky confidence.  Amidst nervous chords and the occasional, frustrated curse, a fragmented love song emerges, only to end in a discouraged retreat.
(2:25)

Kinderszenen, Op. 15 (Selections)

On September 21, I shared a recital with a colleague, performing works for piano solo and piano duet by Robert Schumann and Claude Debussy.  Overall, I’m fairly pleased with the result, considering that the recital was planned relatively last-minute.  I just got the final recording, and thought I’d post some pieces I performed that I feel weren’t too shabby.  The recording was live, so everything was captured, including shuffling, coughing, and my own unfortunate flubs.  Do try to ignore those.

* * * * * * * * * *

Robert Schumann (1810-1856) began work on his Scenes from Childhood (Kinderszenen) in 1837, the same year he became engaged to Clara Wieck.  Composed to capture the essence of youth, Schumann chose thirteen of his original thirty “quaint little things” to make up the collection.  They are, in fact, simple and sincere with a sense of childlike wonder, but certainly not designed for children’s fingers, as some are quite technically demanding.  The poetic titles of each individual piece, Schumann wrote, are “nothing more than delicate hints for execution and interpretation.”

 

I. Von fremden Ländern und Menschen (About Strange Lands and People)
(1:42)

 

IV. Bittendes Kind (Pleading Child)
(0:52)

 

IX. Ritter vom Steckenpferd (Knight of the Rocking-Horse)
(0:45)

 

XI. Fürchtenmachen (Frightening)
(1:35)

 

XII. Kind im Einschlummern (Child Falling Asleep)
(1:50)