What would you program with . . .

[pianistcellist]

Chopin's Second Sonata?

[m1469]

Bach, Chromatic Fantasy and Fugue in d minor.
A few light-hearted Grieg's Lyric Pieces

[sharon_f]

It depends on whether you want a contrast in styles, something similar, a different period, same length, shorter length.

[pianistcellist]

Well I will need to end up with an approx. 60 min recital. I will also be using at least some of this recital rep as a my graduate school audition program so contrasting styles would be nice. I was toying with a Bach/Beethoven set and then a short filler piece or two.

Maybe something like:

Bach: E-flat minor from bk. 1
Beethoven: 81a "les adieux"
Chopin: Sonata no. 2
Chopin: Berceuse
Chopin/Godowsky: Minute Waltz

I would also like to do book two of the debussy preludes as I already play a few of them, but that doesn't seem to fit with the Chopin as well as I wish it did.

Thanks for the thoughts.

[sharon_f]

Well the Bach and Beethoven would make a wonderful first half. (I like the whole E-flat min/E-flat major contrast.) Both together are about 26 minutes.

I don't see any problem with doing Chopin: Sonata No. 2 and Debussy: Preludes Book II. (Of course doing the whole 2nd book would make the second half alone about 60 minutes.) Perhaps do a half dozen of the Preludes, then they could either open the second half or close the recital, in which case Feux d'artifice would have to be the closer.

The Chopin/Godowsky seems more like an encore.

[pianistcellist]

I like the Bach and Beethoven pairing as well. Especially considering that the Fugue ends with a picardy third moving perfectly into the Beethoven. I like the idea of doing a few of the preludes. Which ones do you suggest? Would you do them before or after the Chopin?

I think that this program is shaping up nicely. Thanks for the suggestions.

[sharon_f]

I would probably do the Chopin first. It's a heavier piece and demands more attention, so it's good to place it right after intermission when people are more attentive. Let me think a little about the Debussy, but as I said earlier, if the Debussy ends the program Feux d'Artifice goes last.

[quantum]

First thing that popped in my mind was Medtner's Night Wind Sonata.  Having the wind upon the gravestones in Chopin followed by the Medtner.  

You could do something from Albeniz's Iberia for some contrast.  

[bachbrahmsschubert]

First thing that popped in my mind was Medtner's Night Wind Sonata.  Having the wind upon the gravestones in Chopin followed by the Medtner.  

That is brilliant! I really like that idea.

To be honest, I've never really liked hearing Chopin and Debussy played together. And, while I'm being honest, that is a VERY conservative concert. Bach, Beethoven, Chopin, Debussy. I really think your program would benefit from more variety.

Best wishes,

[pianistcellist]

That is a criticism that I have gotten before, but right now my recitals are degree recitals that have to cover certain things to show that I am a well rounded pianist. So, for now, Bach and Beethoven are a necessity. I will take a look at the Medtner Sonata. I don't know it well and I probably should. For this recital I don't think that I can have two large romantic works.

If I had the time I would love to program the Janacek Sonata with the Chopin. That is a pairing I think is perfect.

[iratior]

If you have the Das Lebewohl sonata in the concert, it will command, and deserve, attention as the main course, as it were.  Doing a Chopin sonata besides would be like serving duck a l'orange at the same meal with sauerbraten.  The rest of the concert ought to convey different moods from different eras.   Let me guess -- the Minute Waltz, as doctored up by Godowsky, adds another eighth-note part to the piece, and so, shows off tremendous technique.  At that rate, it should be no problem to open with the nice pair of C-major Scarlatti sonatas, K. 420 and K. 421;  the latter IMHO is very difficult and shows off technique.  At the same time, it ends on a C, so is compatible with the opening of Das Lebewohl, and won't come across as having tapped into the Beethoven's exclusive rights to seriousness.  What next?  After the brilliant ending of E-flat major, maybe a nice, calm, harmonically rich B-flat minor piece like the Brahms intermezzo.  That gets you to the Godowsky thing, D-flat major, (what are intermezzi for?) and the first half of the concert comes to a brilliant end.