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Publishernumber:
NR01683
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This piece provides no performance instructions at all, the performer can freely develop his own interpretation. Here, once again, there are two totally different possibilities of doing so. One can play it more classically or more jazzy. This exploration of the harmonic world of the 20th century allows for both approaches. There is, by the way, another rather important difference apart from the way of performing rhythm: whereas classical playing usually emphasizes the highest note of a chord with the right hand, jazz does not do so. All notes of the chord need the same intensity, because only so can the sound of the chord truly develop (e.g. bars 23 ff, 42, 69 ff, 115, 116 etc). Classical musicians will probably play this piece faster and more virtuosic than jazz musicians, some portions of course really almost seem to ask for this (e.g. bars 1-7, 98-114, 219-221, 230-236). The repeated sixteenth-passages (e.g. bars 10-19, 53-63, 72-93, 150-169 etc) ask for a different approach: if one wishes to phrase these passages very clearly one should not play them too fast. But in truth you have every liberty, and you should take it. But still a little suggestion: there are some instances (I tell you one here: bar 222) where a subito piano has a miraculous effect, especially where one expects it the least.
This piece, by the way, is dedicated to Paul Gulda, who is a long-standing musical friend of mine and who has premiered several of my pieces, so, for example, a piano concerto on a Mozart fragment with the Wiener Concertverein. Both pieces can be heard under the internet link given below. And if you substitute the E in the third word of the title with an A, then you will perhaps develop totally new ideas à
Composer(s):
Publisher(s):
Publishernumber:
NR01683
Instrument(s):
ISBN:
9790012201045
Number:
204669
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