Cloud 9

I just began a new semester at CSU. It seems sort of late; I was actually going a little stir-crazy at home with nothing to work on.

I had my first lesson of the semester today, and Molly immediately goes to: "So what have you been thinking for your graduate recital?" My pseudo-assignment over break was to pick music for my recital so we could make a plan of when to start working on the various pieces.

I spouted a list of things I had been listening to and liking, and she was all frikkin' over it.

The tentative list:

1. H.F. von Biber, Rosenkranz Sonaten. Which sonata? This one is flexible; we just wanted to have a mix of centuries. I finally obtained a score and so we'll just tailor it to the rest of the recital.
2. Paul Schonfield, Pining for Betsy from Three Country Fiddle Pieces. It's this bluesy mess of rhythms, but once I get it in my ear, it will just be an absolute joy to play.
3. Gershwin's 3 Piano preludes, arranged for violin and piano by Heifetz. This piece is just fun, I've already played it as a pianist, and it would be a fun kind of encore-y closer. 1 2 3
4. Stravinsky's Chanson Russe, or Russian Maiden's song. It doesn't have the blues influence of the others, but I think it has a lovely, plaintive quality that ties in well with it.
5. Ravel Sonate for violin and piano. This was an obvious choice to be the big-gun work on the program. The second movement is called "Blues". End of story. Mvts: 1 2 3

We wanted to have a mix of scale-larger works like the sonatas paired with the smaller pieces like the Gershwin. The idea is to have a variety-in scope, in sound, in difficulty, and in time period-and then find a common thread to help unify the works for the audience.

The overall unification of the recital rests on the incorporation of blues harmonies in the 20th century music (perfect material for the program notes requirement-lots to write about). The Biber is a bit of a wild card, but depending on which sonata I pick, it could actually tie in really well (the sonatas are all about the 15 mysteries of the Rosary; the events/miracles in the life of Christ, with a 16th passacaglia to tie it all together). Plus, if I have nothing else to go on, Biber's writing is so ahead of its time that it will pair well with the 20th century music regardless. He was the first that I know of to call for such techniques as scordatura, snap pizzicato, etc. That alone makes his works stand out for me. They have always piqued my interest, and now I may get to experience some early music that doesn't entail the Bach Sonatas and Partitas.

I checked out all the scores, I'm making oodles of copies today, and we are off and running! I can't frikkin' wait to dive into this music! I've never been so excited about practicing and lessons in my entire life. I've never had a teacher who wants to tackle 20th century music with me; Molly thinks the Ravel in particular will be the perfect thing for me from a technical standpoint. There's so much in these pieces that I can learn from and grow into, and yet there's a mix of things that will not be as hard once I get them firmly in my hands and head (the Gershwin in particular).

I am so excited!!!!!!