b Riding East

Thursday, April 23, 2015

Étude-Tableaux No. 1

After a fairly significant lapse, I'm writing again. I've been a bit busy lately with work and school. And my kids.

I considered continuing my preludes with a second book. Yet at least for now, I want a little more freedom to explore new ideas without boundaries and structure. A single prelude might satisfy such goals, but not a set. And so I'll try something new, paying homage to a former resident of Menlo Park. I hope to record this piece in the coming weeks. [5/1/2015 just recorded it. needs work.]

Étude-Tableaux No. 1
Étude-Tableaux No. 1 score

ps I'm not gonna talk so much about the structure any more. If you discover something interesting, it may have been by design.

Monday, January 05, 2015

Baldwin vs iPad

Smule marketing approached me the other day and asked me to record the Presto Agitato from Beethoven's Piano Sonata Op 27 No. 2 in C-shart minor, "The Moonlight".  Their concept was to juxtapose performances of this piece on the piano with the "Magic Piano" from Smule.  I mentioned I didn't know the piece and it would take some time to learn it.  They responded by asking if later in the week would work.  I chuckled and reminded them I wasn't Van Cliburn.  They asked to confirm whether later in the week would work...

Not that week but a week later (!), we recorded performances of the piece at Smule's offices in San Francisco with me on the piano and Naoko Maruko of Smule on the iPad.  Here is the final video:
Ironically, they didn't use my first recording.  They claimed the piano was too fast for the iPad -- it couldn't keep up (not the performer but "Magic Piano" latency).  So, we came back two days later and recorded again at a slower tempo.  
It's a fun video.   Kudos to Smule marketing:  cute concept and nice editing.  And great job Naoko.  I think the piece might actually be harder to play on iPad than Baldwin.

Sunday, May 25, 2014

Chopin Preludes Opus 28

I sat down this morning on my Steinway B and recorded a few of the Chopin Preludes I've been practicing.   They're not quite ready but getting closer.  I'm hoping to put together a recital, perhaps commemorating many different recent life events, both personal and academic.

I was inspired by Kenneth Hamilton's lecture at Stanford a month ago in the Reactions to the Record IV Symposium.  Kenneth's lecture walked through the recent history of piano performance, focusing on the changes of the past century, perhaps relating to the era of the recording.  He spent considerable time exploring the notion of the unpolished, authentic, improvisatory elements of performances in the previous century, including the practice of 'preluding' between pieces in a performance.  Most of this preluding represented somewhat spontaneous musical musings of a pianist in transitioning between pieces, although in many cases I'm sure those transitions may have been planned, composed, or perhaps drawn from a collection of tools.  Beyond such musings, we have several collections of preludes in the canon of western music, notably Bach's WTC I and II, but also Chopin, Debussy, and Scriabin to name a few.

I contemplate a recital where every piece is connected to another piece through preludes, mostly those chosen from Bach, Chopin, and Debussy (and perhaps one or two of my own), but also sometimes more improvisatory in nature.  My hope would be to create a somewhat continuous ribbon of music from start to end with no breaks, where different movements of disjunct works might be integrated with one another in novel ways.  Ideally the listener in the end perceives the works but also the connections between them (that is to say the preludes), and in some cases might have their lasting attention drawn to the preludes themselves.

Chopin Prelude Opus 28 No. 1 in C Major
Chopin Prelude Opus 28 No. 10 in C-sharp Minor
Chopin Prelude Opus 28 No. 14 in E-flat Minor

Friday, February 21, 2014

Old Castle, Bruyères, and Lander Pass

I sat down this morning before work and recorded a couple more pieces.  I'm posting them alongside one of my own works that I recorded years ago.

Most know the story of Modest Mussorgsky, a Russian composer of the 19th century, his music, the struggles with alcoholism.  His opera, Boris Godunov, to me proudly stands beside Bizet's Carmen and Mozart's Don Giovanni.  Pictures at an Exhibition, a piano composition, is mostly know through orchestral or even marching band arrangements.  I learned the first few movements of Pictures a year ago or so.  My brother Greg played it (and played it well) 30 years earlier at Stanford while studying with Mr. Baller.

Debussy's second book of Preludes includes some of my all time favorite pieces.  I performed Brouillards (Fog), Bruyères (Heather), Canope (Canopic jar?), and Les tierces alternées (alternating thirds -- really an etude as much as a prelude) years ago at Stanford.  I relearned Bruyères yesterday.

I wrote Lander Pass in October of 2007.  I performed it at the Daniel Pearl Memorial Concert at Stanford in 2008.    
Old Castle from Mussorgsky's Pictures at an Exhibition
Bruyères from Debussy's Preludes Book II
Lander Pass by me

Sunday, January 26, 2014

O mio babbini caro

In the context of Smule, I was meeting with the director of digital media for the San Francisco Opera a week ago. We were talking about potentially collaborating with the SF Opera and Smule's Sing! Karaoke product. Wouldn't it be amazing if you could sing with the acoustics of the SF Opera hall, with the SF Opera orchestra? And wouldn't it be more amazing if you could actually sing with some of the top artists in the world? We shall see.

It was funny, though, because we were talking about what songs might make the most sense for the Sing! community, and I naturally thought of Mozart and Puccini. My colleague at the opera mentioned, "yeah, I suppose we should include some pop music". As opposed to the ring cycle?...

Anyway, I was reminded of how much I adore Puccini arias (guilty as charged), and so sat down and recorded O mio babbino caro this morning. I performed this alongside selections from Strauss and Schubert with a friend over the past couple years.

O mio babbino caro
O mio babbino caro,
mi piace, è bello, bello.
Vo'andare in Porta Rossa (it)
a comperar l'anello!

Sì, sì, ci voglio andare!
e se l'amassi indarno,
andrei sul Ponte Vecchio,
ma per buttarmi in Arno!

Mi struggo e mi tormento!
O Dio, vorrei morir!
Babbo, pietà, pietà!
Babbo, pietà, pietà!
Oh my dear papa,
I love him, he is handsome, handsome.
I want to go to Porta Rossa
To buy the ring!

Yes, yes, I want to go there!
And if my love were in vain,
I would go to the Ponte Vecchio
And throw myself in the Arno!

I am anguished and tormented!
Oh God, I'd like to die!
Papa, have pity, have pity!
Papa, have pity, have pity!

Wednesday, January 22, 2014

Brahms Op 116 No 4

My Schumann episode continues, this time with Brahms Opus 116 No. 4.  Such a sweet piece.

One analysis of the piece (that I freely borrow from Professor Barth at Stanford) proposes a dialog between tenor and soprano.  We see the clues in the opening of the piece.  The tenor has a piano dynamic and wedge on the ascending chromatic motion through B-sharp to C-sharp, whereas the dolce response of the soprano has descending fifths and sixths, eventually with descending motion to G-sharp.  Of course C-sharp is a third below the home key of E, while G-sharp is a third above.


We see the recurring passage built on this opening tenor gesture at mm 32-36 where we arrive at G-sharp, and then again at mm 49-52 where this second time we arrive at C-sharp.  




I won't elaborate on the arpeggiated una corda section starting at m 36 with the melody in octaves plus a sixth, including the pronounced ben legato, but leave that to the imagination of the reader.  Eventually, and once again through with ben legato gestures, the two separate voices finally converge (merge?) on E, coinciding with the arrival of E as the harmony at m 67.

Brahms Opus 116 No. 4

Monday, January 20, 2014

Kind in Einschlummern

I appear to be going through another Schumann period (episode?).


I went back and started reading some of his KinderSzenen a day ago. I decided to record the Kind in Einschlummern this afternoon. I first did a recording via iPhone in the Smule Sing! Karaoke App. I then used a better recording device for this second recording, link below.

Kind im Einschlummern from Schumann's KinderSzenen Op. 15

The scenes from childhood are easier pieces but, not to be confused with his Album für die Jugend (Album for the Young), were not written for children per se. The titles to each song, like much of Schumann's work, apparently came late. I suppose you shouldn't read too much into any of the titles other than to explore more ideas of how to interpret each piece. Yet this song, and taken in from the whole cycle, certainly seems to suggest that the days of innocent youth are nothing more than reminiscences now.