Recital programme

[pianowelsh]

Hi guys.  I have to play a short recital soonish Im considering the following programme let me know your thoughts please

1) Ravel oiseaux triste
2) Szymanowski etude no1
3) Haydn Sonata Eb no 52 (only time for first mvt)
4) Chopin Etude op25/11 ' tth winter wind'

Think this totals around 20 mins. Total platform time is 20mins so cant go longer.

[mephisto]

I think I would do the Haydn Sonata first. Then the Szymanowski etude followed by the Ravel piece. Than you can end with flamboyance and fury with Chopin etude, right after the compelative Ravel piece.

[pianowelsh]

I see where you are coming from but im conscious i dont want it to trough in the middle with two more contemplative pieces. The way i envisaged it was the Ravel being still calm like a mill pond, the szymanowski moves up a gear and is more flowing and then the haydn is a change of colour and more boisterous. The winterwind i agree has to go at the end to make sense.  I dont know i just like the idea of opening with nigh on silence - its like walking a tight rope.

[faulty_damper]

You've clearly gave the program much thought.

I am unfamiliar with Szymanowski's study so I can't help there.  Is it fast?  Is it lyrical?

Of the other three pieces,
1. Haydn sonata in Eb.
2. Ravel, sad birds
3. Chopin, etude.

If I were to put up a program, I would also consider the keys the pieces are in.

[pianowelsh]

The Szymanowski is meltingly lyrical. Its dosent come over as particularly fast but it is moving - lots of short phrases building to the end point and then a very gentle reprise. I agree if I hadnt wanted to do the Szymanowski I would have arranged it like that but Im unsure about putting the two more gentle pieces together in the middle - it might loose focus. peoples attention tends to be at its height at the beginning and very end of the programme. i thought to put the lively Haydn movement in the middle would keep peoples attention up a bit more. Plus on a purely practical level then I ve worked out the touch of the piano and warmed my fingers up. I dont think I get dedicated time before the perforamnce.  Also the oiseaux triste for me is the hardest on the memory being less diatonic than the othersand so to put it where my concentration is highest could be safe. Also the Szymanowski is new so I wouldnt want to start with that really. Pscyhological really.  Thank for your help so far though guys.

[dnephi]

I would start with Haydn.  Maybe you should cut one of the lyrical pieces? 

[pianowelsh]

Ok.. but why Haydn first?? Im like this in my lessons too drives my teachers nuts!! I like to have a reason.

[pianistimo]

maintaining audience attention, imo.  i think people know what to expect with haydn.  so even if you play it very well - they will be hungering for more.  so the symanowski will be a pleasant one-upping wherever you put it.  i am more traditional - so i usually would appreciate a program that has them chronologically in order.  also like the idea of a theme or something that ties one piece sort of to another or key patterns.  of course, not everyone looks for patterns.  in fact, it may leave something to be unexpected there, too.

it is interesting to read the programs of pogorelich and people like him - because there's a method behind the madness.  sometimes if you write a little diary about your feelings and what you learn from each piece - you can tie them together of what you know about the forms and the impressions and feelings - such as you told us.  i find it much more interesting to go to a recital and have more int he program than just the basics.  to have something personal that the artist wants to say about the pieces they are playing and what meaning they bring to that person.

[pianowelsh]

Agreed. At college we were always challenged to be original in programming and also when it came to programme notes not to just give basic biographical info and technical jargon (ie this piece is a double fugue in Ebmin with elaborate melismatic writing for each of the voices - in bar 37 there is an interesting inversion of the principle theme, and an enchanting altercation then ensues etcetc. Most people use those kind of prog notes for swatting flies with. There has to be something of a connection with the artist and the music.  I may put the Haydn first but i'll have to get myself used to the idea of conforming to convention. I should be honest and say that Im also considering using this prog as a first round at a competition I have my eye on (which shall of course remain nameless) and Im conscious there will be a lot of bland very orderly programmes one after the other.. I would like to make an impression as someone who cares about being an individual on the platform. Someone who might be prepared to take risks!! Granted the rep is mainstream but doing as much teaching as I am now I dont want to field too much. Id rather show I think about mainstream rep in an orginal way rather than playing off-broadway rep in a very mainstream manner.