Recital program help

[stevea14]

Hello all,

I would like to ask for some ideas for pieces that would work well with what I have so far for a program I'm going to play for friends, family, and colleagues in about 6/9 months.


?? (open spot or spots)

Liszt Benediction de Dieu dans la solitude

-Intermission-

?? (open spot)

Set of Chopin Mazurkas

Chopin Polonaise in F-sharp minor, Op. 44

"encore" Brahms Intermezzo in A major, Op. 118 No. 2



Here are other pieces that I'm interested in doing, but that don't seem to fit well with what I have so far.

Bach Fantasia in C minor, BWV 906
Haydn Sonata No. 47 in B minor, Hob.XVI:32 (I like this Bach with this Haydn)
Prokofiev Sonata No. 3 in A minor, Op. 28
Franck Prelude, Fugue, and Variations, Op. 18

Any pieces or suggestions in general are welcome.

Thanks in advance!
Steve

[amelialw]

why not fill one of the open spots with Haydn Sonata No. 47 in B minor, Hob.XVI:32 and the other one with the Bach Fantasia in C minor, BWV 906

[stevea14]

Thanks, amelialw...I like connecting pieces, and that Bach and Haydn feel to me like they connect well musically. Maybe the Bach and Haydn together before the Liszt, although they don't really "relate" much to the Liszt.

I also like they key relationship between the Liszt and the Polonaise, since the Liszt is in F-sharp major--they couldn't be more different, and the major/minor contrast there feels perfect (but wouldn't work well together back-to-back I don't think). I think that although it's subtle, key relationships between pieces within an hour program can be important. Keys, "ideas", the spirit of the music--it can be any number of things, but I really like to make connections (or nice contrasts), such as I would prefer to put like a Bach French Suite before the Mazurkas possible, but really love that Fantasia.

[amelialw]

You're welcome  How about playing your pieces in this order?

Bach
Haydn
- Intermissions-
Chopin Mazurkas
Liszt
Chopin Polonaise

encore

[furtwaengler]

Steve,

I absolutely adore Liszt's Benediction de Dieu dans la solitude, and feel strongly about it leading to intermission, so it can stand alone as one special moment and have time to dwell into the minds of the audience. You like the Bach with the Haydn, so perhaps they could start each half. I don't know if placing the Prokofiev between the Bach and Liszt would be too striking a contrast, but I don't think the Frank works unless it's separated from the Liszt, and as you have the program, I don't see it having a workable position...The Frank would work well with the Liszt if you dropped the Chopin and the two pieces ended each half, but I don't gather you want to do that. Here's my suggestion:

Bach Fantasia in C minor, BWV 906
Prokofiev Sonata No. 3 in A minor, Op. 28
Liszt Benediction de Dieu dans la solitude

-Intermission-

Haydn Sonata No. 47 in B minor, Hob.XVI:32
Set of Chopin Mazurkas
Chopin Polonaise in F-sharp minor, Op. 44
"encore" Brahms Intermezzo in A major, Op. 118 No. 2

Does that seem a nice, balanced program? It'd be super tough to play, but I'd sure love to hear it!

Best,
David

[stevea14]

Thanks, David--I really appreciate your input. In the last few days, I've been wandering around here and discovering some new music. Here is a new idea I have:


Bach Fantasia in C minor, BWV 906
Bach-Rachmaninov Partita for Violin Solo No.3 in E major, BWV 1006
  1. Prelude
  2. Gavotte
  3. Gigue
Liszt Benediction de Dieu dans la solitude

-Intermission-

Ginastera Danzas Argentinas
  1. Danza del viejo boyero
  2. Danza de la moza donosa
  3. Danza del gaucho matrero
Chopin Mazurkas
  1. Op. 24 No. 2 in C Major
  2. Op. 17 No. 4 in A minor
  3. Op. 63 No.3 in C-Sharp minor
Chopin Polonaise in F-sharp minor, Op. 44

"encore" Brahms Intermezzo in A major, Op. 118 No. 2


Do you (and anyone else that wants to chime in) think this works well? I completely agree that the Liszt needs to be at the end of a half.

I haven't seen the scores to the Danzas Argentinas or the Bach-Rachmaninov transcription to know how difficult they are. Does anyone that has played either of these have some input on that? I can't find the scores online to check them out. I don't want to be unrealistic.

Thanks again-
Steve

[amelialw]

you should'nt take away your Haydn Sonata though...

[furtwaengler]

Bach Fantasia in C minor, BWV 906
Bach-Rachmaninov Partita for Violin Solo No.3 in E major, BWV 1006
  1. Prelude
  2. Gavotte
  3. Gigue
Liszt Benediction de Dieu dans la solitude

-Intermission-

Ginastera Danzas Argentinas
  1. Danza del viejo boyero
  2. Danza de la moza donosa
  3. Danza del gaucho matrero
Chopin Mazurkas
  1. Op. 24 No. 2 in C Major
  2. Op. 17 No. 4 in A minor
  3. Op. 63 No.3 in C-Sharp minor
Chopin Polonaise in F-sharp minor, Op. 44

"encore" Brahms Intermezzo in A major, Op. 118 No. 2


Do you (and anyone else that wants to chime in) think this works well? I completely agree that the Liszt needs to be at the end of a half.

I haven't seen the scores to the Danzas Argentinas or the Bach-Rachmaninov transcription to know how difficult they are. Does anyone that has played either of these have some input on that? I can't find the scores online to check them out. I don't want to be unrealistic.

Thanks again-
Steve

Sorry for the delay, not sure what to say (rhyme). This appears trimmer and maybe more manageable. If it doesn't hinder the mental preparation of the Liszt, the Rachmaninov transcription can create some variety and a breather (buffer?) in between the two more serious works, and the second half has a nice progression to it...these spicy dances falling head long into the dark, dangerous world of the Polonaise, itself including a reminiscence, with that long mazurka making up its middle section. I like it.

I can't tell you first hand on the Ginastera's difficulties, though I'm under the impression they're not as hard as they sound and will get in you fingers quick enough. The Rachmaninoff is quite tricky, containing riddles for your hands to negotiate. If you're willing, you can.

Now I'll have to take a peak at your newer thread

[cmg]

Wonderful program, Steve. 

The Argentinian Dances are not all that difficult (easier than "Benediction," certainly) and are very effective.  Audiences love them.

Maybe the first half opening could be the great Liszt transcription of the A minor Prelude and Fugue for organ.  Stunning piece that's a good contrast to the contemplative nature of Benediction.  Plus, it's Bach, of course, but Liszt's transcription and very faithful to the original.   

[stevea14]

Thanks amelialw, furtwaengler, and cmg--your feedback is very much appreciated. I sort of got a little impatient when had another idea and double posted... Sorry about that. Okay, so I have to distinct first halves and I love both of them:

Bach Fantasia in C minor, BWV 906
Bach-Rachmaninov Partita for Violin Solo No.3 in E major, BWV 1006
  1. Prelude
  2. Gavotte
  3. Gigue
Rachmaninov - Two Preludes
  1. Prelude in D major, Opus 23 No. 4
  2. Prelude in G minor, Opus 23 No. 5

- or -

Bach-Liszt Prelude and Fugue in A minor

Liszt Benediction de Dieu dans la solitude


Wow- very different. I am leaning towards the Liszt and Bach, though. There's quite a bit more depth to that half than the other, although I would enjoy learning either. Do you three have any thoughts? I know you love Haydn, amelia, but I don't think I can fit him in...this time.

I'm going to stay with the all those colorful, and as furtwaengler pointed out, dangerous dances for the second half. The Polonaise is nearly finished.

Have you played the Liszt? As far as difficulty goes, it may be more difficult than it looks--given the tempo and the fact that things look as though they would fall under the fingers nicely, although it certainly doesn't look "easy". The difficulties seem like they would be more musical, and I prefer musical challenges to technical ones.

Thanks again for all your help-
Steve

[amelialw]

that would make a great program but the rachmaninoff preludes are short could'nt you fit in the Liszt with the Rachmaninoff? I would'nt go for 3 Bach, that would be to boring for me.

Sorry, no idea about the Liszt as far as concerned i've never played a single piece of his before.

[furtwaengler]

Bach-Liszt Prelude and Fugue in A minor

Liszt Benediction de Dieu dans la solitude

This is what I'd prefer, and both are more difficult musically than technically, though the Liszt-Bach practically plays itself. The challenge of the Benediction is in maintaining focus...an almost obsessive, unconscious focus. It's like holding heaven in your hand and seeing the breadth of eternity in one timeless moment, and so must be hidden every evidence of the physical mechanism - only the sounds transporting everyone to a very different realm. It is mentally tough, and if you've not already, find Claudio Arrau's unsurpassed recording on Phillips...he's possessed by it!

On a side, if you like Bach transcriptions, you might look into Samuil Feinberg's transcription's of various organ pieces, if you can find them - great stuff and full of depth. Also the famous Bach-Solati Prelude would be a great encore.

Happy choosing,

David

[cmg]

This is what I'd prefer, and both are more difficult musically than technically, though the Liszt-Bach practically plays itself. The challenge of the Benediction is in maintaining focus...an almost obsessive, unconscious focus. It's like holding heaven in your hand and seeing the breadth of eternity in one timeless moment, and so must be hidden every evidence of the physical mechanism - only the sounds transporting everyone to a very different realm. It is mentally tough, and if you've not already, find Claudio Arrau's unsurpassed recording on Phillips...he's possessed by it!



Happy choosing,

David

Lovely description of the "Benediction".  And Arrau's recording is indeed unsurpassed.  I found, however, that the Liszt/Bach Am Prelude and Fugue was thoroughly gnarly and demanded weeks of intense practice to feel comfortable with it.  The inclusion of the pedal line within the fabric of the piece creates enormous challenges and some pretty awkward passages.  Not to mention judicious use of that "second pedal" to sustain pedal tones.

The Benediction, however, technically speaking, is enormously pianistic.  Among the most pianistic of Liszt's larger works, I think.  The interpretative challenges are indeed the greatest hurdle.  Technically, for me at least, it "played itself."  But intrepretation and the demand to sustain very long lines with shape and interest gave me some troubles.  The Liszt/Bach, on the other hand, "played itself" (Well, sort of  ) from an interpretative standpoint, but technically it was an enormous challenge.  Many nasty pasages of parallel sixths at a fast clip, double thirds when you last expect or want them, and that left-hand octave extravaganza in the final third of the fugue still gives me the sweats when I play it.   

[stevea14]

That is a great description of the Benediction. I have heard Arrau's recording, which is tremendous. I also enjoy Stephen Hough's and Steven Mayer's recordings. They are worth checking out. And thanks for the Samuil Feinberg tip--I am really attracted to good transcriptions for some reason. And also thanks for the insights about what it's like to tackle these two pieces.

It dawned on me thinking about what you guys have said and just the way things go together that I actually have two completely different programs that work better than trying to mix the two, so I'll have to decide between them:

Bach Fantasia in C minor, BWV 906
Bach-Rachmaninov Partita for Violin Solo No.3 in E major, BWV 1006
Rachmaninov Prelude in D major, Opus 23 No. 4
                  Prelude in G minor, Opus 23 No. 5
*intermission*
Ginastera Danzas Argentinas
Set of Chopin Mazurkas
Chopin Polonaise in F-sharp minor, Op. 44

"encore" Brahms Intermezzo in A major, Op. 118 No. 2

----or-----

Bach-Liszt Prelude and Fugue in A minor
Liszt Benediction de Dieu dans la solitude
*intermission*
Haydn Andante and Variations in F minor or Handel Chaconne and Variations in G major
Franck Prelude, Fugue, and Variations in B minor, Op. 18

"encore" Bach-Siloti Prelude in B minor (great suggestion!)


Both of these feel more connected to me than trying to mix the two. They each have a very different feeling about them. One is definitely "earthier" than the other.

One thing I have noticed listening to the Prelude and Fugue in A minor and the Benediction back-to-back is that the Benediction feels like such a completely different sound world, not only because of the style of the music, but because the Benediction is primarily in F-sharp major, so you really are touching almost all completely different notes than the Bach for the most part, which is wonderful for the ear, and so it's like the perfect piece to precede it (thanks cmg!).

Programming is so important, because everything that you play is influenced by what came before. It's a little like composing I think--I really enjoy building programs (it's one of the reasons I want to have a classical radio program, which I'm pursuing).

[amelialw]

I like this half
Bach-Liszt Prelude and Fugue in A minor
Liszt Benediction de Dieu dans la solitude
and this half
Ginastera Danzas Argentinas
Set of Chopin Mazurkas
Chopin Polonaise in F-sharp minor, Op. 44

"encore" Brahms Intermezzo in A major, Op. 118 No. 2