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This summer between semesters, I might get the opportunity to perform several recitals in my home town. I am currently talking to a few places I have played at before. For some reason I am not sure if this program would need another piece in it towards the end. Any thoughts would be Appreciated.
Scarlatti Sonatas: K380 E Major
K127-A-flat Major
Mozart Sonata in E-flat Major K282
Chopin Polonaise in E-flat Minor Op. 26 No. 2
Brahms Cappricio Op. 116 No 7 in D minor
Liszt/Schubert Aufenthalt.
Barber Ballade. op 46
Last edited by jdhampton924; 04/18/11 11:57 AM.
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It doesn't "need" anything else, but I'm curious, what other options you have in your repertory to add? Any more of the Brahms Op 116? I don't really get the appeal of Scarlatti, so my natural and biased suggestion is: add more Brahms, scrap the Scarlatti.  -Daniel
Currently working on:
-Poulenc Trois pièces
-Liszt Harmonies du Soir
-Bach/Brahms Chaconne for Left Hand
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One quick thought: Since you have the Barber Ballade programmed, and it was written for the 1976 Cliburn Competition, you might want to have a look at Leonard Bernstein's "Touches", which was written for the 1980 competition, or Copland's "Homage to Ives", written for the 1972 Competition.
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Scarlatti Sonatas: K380 E-Flat Major
Make sure to correct that to "E major." Unless you're transposing it.
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Two Scarlatti sonatas back-to-back with a Mozart sonata may sound too similar to the unrefined ear. I'd suggest more variety in the first half.
Best regards,
Deborah
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Two Scarlatti sonatas back-to-back with a Mozart sonata may sound too similar to the unrefined ear. I'd suggest more variety in the first half. Depends which scarlatti sonata you end with. Since it is A-flat major, it transitions a better into the Mozart.
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It doesn't "need" anything else, but I'm curious, what other options you have in your repertory to add? Any more of the Brahms Op 116? I don't really get the appeal of Scarlatti, so my natural and biased suggestion is: add more Brahms, scrap the Scarlatti. -Daniel Right now, Schumann Romances Op 28, Schumann novellette No 8, Chopin nocturnes. Those are the ones at the moment I have ready that I could replace those with. My teacher keeps trying to get me to play Robert Muczynski.
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One quick thought: Since you have the Barber Ballade programmed, and it was written for the 1976 Cliburn Competition, you might want to have a look at Leonard Bernstein's "Touches", which was written for the 1980 competition, or Copland's "Homage to Ives", written for the 1972 Competition. Thanks for the suggestions. I like how they are connected by the Cliburn comp.
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 Scarlatti rocks! Very nice recital choices I think, jd.
"And if we look at the works of J.S. Bach — a benevolent god to which all musicians should offer a prayer to defend themselves against mediocrity... -Debussy
"It's ok if you disagree with me. I can't force you to be right."
♪ ≠$
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OOO, the Schumann Romances are really great. The novellette is nice too, although I personally don't like playing it. If you did do the novellette, I would do it more toward the beginning as it has that fanfare quality.
I really like Scarlatti to.
Working On:
Beethoven-32 Variations in C minor
Beethoven- Opus 109
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If there was an intermission, I would start the first half with Scarlatti, then follow it with Barber and Schubert/Liszt. Then I would begin the second half with Mozart and follow the Mozart with the Chopin Polonaise (both in Eb major then minor) Then replace the Brahms with a Schumann set of the Romance in F Sharp Major and then end the program with the Novelette.
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OOO, the Schumann Romances are really great. The novellette is nice too, although I personally don't like playing it. If you did do the novellette, I would do it more toward the beginning as it has that fanfare quality.
I really like Scarlatti to. It is a great piece, but hard on some audiences with its structure.
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BTW....just noticed that you got the key wrong on the Mozart too. I didn't notice before because I didn't know which Mozart sonata this is -- but I got curious and checked, especially because I realized that I wasn't aware of ANY Mozart piano sonata in E major. I guess you just reversed the Mozart and Scarlatti keys. Hard for me to see how someone could do that. Even if the keys don't have very different "flavors" for you, I mean, you KNOW if you play the piece with sharps or flats, you know whether you keep landing on E or on E-flat.... I know that people sometimes make mistakes like this. I just don't understand how.
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OOO, the Schumann Romances are really great. The novellette is nice too, although I personally don't like playing it. If you did do the novellette, I would do it more toward the beginning as it has that fanfare quality.
I really like Scarlatti to. It is a great piece, but hard on some audiences with its structure. Or lack thereof
Working On:
Beethoven-32 Variations in C minor
Beethoven- Opus 109
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BTW....just noticed that you got the key wrong on the Mozart too. I didn't notice before because I didn't know which Mozart sonata this is -- but I got curious and checked, especially because I realized that I wasn't aware of ANY Mozart piano sonata in E major. I guess you just reversed the Mozart and Scarlatti keys. Hard for me to see how someone could do that. Even if the keys don't have very different "flavors" for you, I mean, you KNOW if you play the piece with sharps or flats, you know whether you keep landing on E or on E-flat.... I know that people sometimes make mistakes like this. I just don't understand how. Yeah, I originally made a mistake just on the scarlatti, and when I corrected it I changed the Mozart. Not that I would screw that up when playing but heck see the word sonata 3 times ina Row and E twice, at least I didn't put G minor.
Last edited by jdhampton924; 04/18/11 11:59 AM.
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