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"The Nemirovsky Grand Sonata" - 2008
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The Grand Nemirovsky Sonata,the by the composer regarded first mature large scale work for piano solo, is dedicated to Shachar Nemirovsky († 14-12-2007) who's firstname as a S-H-A-C-H-A-R motive formed a compositional base for part 4 and 5.
- Part 1
- Part 1 researches the limits of coorperation between left and right hand. In the first few minutes - apart from some obvious excerpts -
the left hand seems to accompany the right hand melody, but in fact the notes are randomly chosen by the composer.
What then gives the illusion they are bounded? Why - if the notes are random - the whole does not sound out of tune?
- The melody also has its pecurilarities: is it improvised? It is in an improvised style but quickly enough it evolves beyond that with it's strict rhytm and structure.
- At one third clusters are explored, later in combination with a boogie-like bassline. Again, some parts might sound improvised, but listening carefully to the bassline will reveal the impossibility of that.
Then tempo is speeded up and finally a lengthened thruly improvisational (right hand) part is deployed.
- Part one finishes with some motive repititions of the opening minutes and the chorallike intermissions.
- Part 2
- The fast and metricly strict part 2 is inspired by Beethoven's 2nd part of the 9th symphony.
- As in part 1 this part also researches coorperation between the two hands and improvisational effects. The middle part for example deploys the
same technique as the opening bars of the first part: a accompaniment seemingly independant of the melodic content.
- Part 3
- If part one surprisingly did not sound 'out of tune,' this part surely does!
- "Somebody to Love" by Queen is sacrificed on the altar of out-of-tuniness! A private joke of the composer in the category 'How Far Can You Go.'
- Part 4
- a minimal-like piece based on the S-H-A-C-H-A-R motive
- Part 5
- A left hand blues again based on the S-H-A-C-H-A-R motive recapulates the essence of the Nemirowsky Sonata:
in what degree the left and right hand do cooperate in terms of metrum, rhytm and pitch to create an integral piece?
Or as stated in the part 3 comment: how far can you go?
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"The Grodis Sonata" - 2006
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piano solo
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The 14 part Grodis Sonata has been written for Mr.David Grodis, a gifted pianist originating from Rochester, New England (United States) currently residing in Amsterdam.
Each part is written in the style of a different composer, starting of with J.S.Bach ending with the composer himself.
Below the samples of:
- Part 1
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J.S.Bach
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- Part 9
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Bartók
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- Part 2
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Scarlatti
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- Part 11
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Penderecki
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- Part 5
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Chopin
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- Part 12
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Glass
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- Part 7
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Joplin
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- Part 13
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Gorecki
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- Part 8
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Satie
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- Part 14
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Regtien
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"Vier dagsoepen / Four Soups of the Day"
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piano quattremain
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Each Soup is transformed in a delicious soundscape.Bon appetit!
- Part 1 : "Zware Bruinebonensoep"
- Part 2 : "Heldere Kippensoep"
- Part 3 : "Soep met dikke ballen" (reused in part 4 of "The Symphony of WorldLeaders")
- Part 4 : "Koninginnesoep"
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"Leuke mopjes liggen niet voor het oprapen" /
"Nice tunes do not grow on trees"
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piano solo
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