Alright, i need all of your help. I have to start my senior recital plan. These will also be peices that i will audition into grad school with, so nothing really popular that they have heard a billion times before ( like the beethoven appasionata).
*I would like something out of one of the well tempered claviers ( prefferably major key)
*Some mozart or haydn ( prefferably minor)
*a relatively large scale Beethoven ( perhaps a sonata, one of the earlier ones..but which one? something in the minor key)
*A relatively large scale Chopin (possibly minor)
*Rachmaninoff!!!!
*a little set or a couple of modern peices( prokofiev? Ravel?)
HELP! what pieces do you suggest??

For Ravel you should play the Gaspard something. I have no Idea how to spell it!

I know you said you wanted an early Beethoven but... it would be worth a trip to the music library to listen to his Sonata #31... late (obviously) but a real handful. For some reason I never tire of it, especially the final (fugue) movement. The 2nd movement is a real blast as well, short, fast chord progressions that you can learn pretty easily. (Good thing, because you'll be spending a LOT of time on that fugue!!).

Anyway, worth a listen, it's definitely not one you hear every day.

Nina

Bach- How about the D major Prelude and Fugue from the Well-Tempered Clavier Book II? This is the one I'm learning right now; the prelude has some brilliant, virtuostic writing and the fugue is calmer, slower, and more introspective. Or if not, the F sharp major from Book II might be a good one to try; just watch out for the rhythm in the fugue because I did find it a bit tricky. I also recommend C major from Book II or E major from Book II. Or if you're feeling somewhat adventurous, try the A flat major from Book I; it seems easy but it is actually one of the more difficult ones to pull off. But it's well worth the effort. Most of the major key preludes and fugues in the Well-Tempered Clavier should be relatively manageable; I find that a vast majority of the most difficult ones are in minor keys.

Beethoven- Well, unfortunately, if you want a sonata in a minor key, you will not have very many to choose from. Beethoven only wrote nine minor key sonatas (Op 2/1, Op 10/1, Op 13, Op 27/2, Op 31/2, Op 49/1, Op 57, Op 90, Op 111). If you want earlier sonatas, that would eliminate Op 57, Op 90, and Op 111. I don't know about playing Op 49/1 either. So that really leaves only five choices. Out of those I recommend Op 31/2 (Tempest) or Op 2/1 most.

Chopin- How about the Op 20 Scherzo or the "Tragic" Polonaise (Op 44)? Or what about playing a cluster of four or five etudes? If you decide to do this, I recommend the first five from Opus 25, the Ocean, or the Revolutionary.

Ravel- It's Gaspard de la Nuit, meaning "Artful Dodger of the Night." These three pieces are difficult, but hey, if you love the pieces enough and have the technical ability, then go for it. I also would like to throw in Sonatine and Miroirs as recommendations, or if your feeling adventurous, Le Tombeau de Couperin.

Hope this helps.

Why all standard repertoire and something from each time period? Your senior recital is your chance to do something creative. My senior recital is coming up in three months, and here's what it is:

from Vingt Regards by Olivier Messiaen:
IV. Regard de la Vierge
XIII. Noel
XV. Le Baiser d'Enfant Jesus
X. Regard de l'Esprit de Joie

Liszt: Sonata in B minor


I originally intended to do some basic stuff like the B-flat partita, Mozart c-minor sonata, some Transcendental Etudes, and Debussy Estames, but then thought how boring and run of the mill that would be. Yes, it is important to play in varied styles, but that's precisely what the junior recital is for. When you're at the senior level, you're approaching the level of playing and sophistication of a graduate student, and thus have more license to explore new repertoire.

Of course, the most important rule is to play what you play well. This again supports my point, because I don't know of any pianist (at least at CCM) that plays everything on the same level of achivement. Thus, if you don't play Mozart well, you're not doing yourself any favors by programming a Mozart sonata or rondo just to "balance" your program. My view on programs has changed a lot in the past two years or so, after hearing everyone play the same stereotypical programs over and over.

Give your audience something memorable from your repertoire selections; it's your recital and you should excise any doubts about being criticized for not playing something from each time period. I'd rather hear something interesting than poorly played Bach included for the sake of evening things out.

But, if your heart is set on doing something from each time period, here's what I'd suggest based on your queries:

Bach, C# major from WTC book I
Beethoven, op. 90 (e minor)
Chopin, Second Sonata
Rachmaninoff, 3-5 Etudes Tableaux
Prokofiev, Toccata op. 11

I was just looking at the Prokofiev Toccata Op. 11... is it very difficult? sounds very nice to me...

Well, there's a ton of scope there. Just for interest's sake, I would try something like this:

Bach - French Suite no 5 in G or 6 in E (I'd rather start with this than a single P&F stuck out there on its own, but if it had to be, perhaps the E flat from Bk II).

Haydn - Variations in F minor Hob XVII/6 or Sonata in C minor Hob XVI/20 or Mozart - Fantasy in C minor K.475

Beethoven - Sonata in D, Op 10/3 - major, but its heart is a grand Largo in D minor

Chopin and Rachmaninoff - don't know (these two aren't really my thing)

Ravel - Valses Nobles et Sentimentales or Bartok - Suite Op 14 (neither is suitable if you want to end with a BANG though)

BTW, Brendan, I don't want to start another grammar war but it's Le Baiser de l'[/b]Enfant Jesus

I have to agree with Brendan. You should plan a program of what you play best, not of what other people tell you you ought to play. If there's a work by any composer that I happen to love and play (well?), what good does it do you if I say to you: "Why don't you play it?"

Yes, it's interesting to hear the opinions of others, but I'm always somewhat taken aback when I read posts where people say: "You have to play (fill in name of piece), it's the best piece ever written!"

Part of becoming an artist is developing your own sense of what is right for your musical temperament. I could say something like: "Play the Beethoven, Op 31, No 2, (because) I love it. Then Amy (or someone else) will come along and say: "Don't play that horrible old warhorse (because) I hate it!" So there you are with two perhaps equally valid personal opinions that do nothing for you.

We can always talk about what we like, but we surely can't advise what others should play without knowing their particular tastes, skills, talents and predilections.

Take a page from Brendan's book and plan a program that makes musical and artistic sense for you.

Regards, and good luck,

[ November 17, 2001: Message edited by: BruceD ]

well, the problem is that its a requirement to draw from the various " historical backrounds" of each time period to play. Of course, knowing only the overplayed stuff, i am hoping that everyone here will give me suggestions..and it's even ok if they tell me that i " have to play it", i can at least check it out, and if i don't like it i won't play it. i definatly want to find, though, unique peices that will stick out in people's minds, like "wow that was something i have never heard before!!"
~~Amy~~

Many moons ago, I my senior recital consisted of

Bach: Italian Concerto
Beethoven: "Tempest" Sonata
Liszt: Hamonies du soir
Debussy: L'isle joyeuse

Something like the Haydn C Major Fantasy would make a nice recital opener. That would tend to preclude opening with Bach, however.

I would definitely not recommend Gaspard De La Nuit. It takes a long time to truly master...time that is probably better spent on learning other pieces.

Seconded.

Thirded.

Motion passed. Next order of business.

yeah, i listened to the Gaspard, though it was beutiful, it did not strike me as " I HAVE TO PLAY THAT" peice. However, i really liked the Chopin Op. 20 Scherzos. Chopin sonata no. 2, the Prokofiev toccata, and the Beethoven sonata No. 7 in D.
I also stumbled across Prokofiev sarcasms. THEY ROCK! They were so cool, i definatly have to learn one or two, if not all!

Well, if it has to rock (geez!), then why not play some Rockmaninov?

Just a thought ...

Haha, oh don't you worry, there WILL be rachmaninoff in my program, and PLENTy of it...i absolutly love Rach's music...actually i just performed the Prelude No. 4 Op. 32 in front of like 100 people today, it went quite well except for a flub on one of those nasty big chords( that only Rachmaninoff's hands could reach, i am sure..)
Actually i am learning his Rach 2 right now, and possibly entering into the Philly concerto competition next year, and possibly in Germany sometime next year as well...