Description
1. Choral: An improbably superimposing of Beethoven and Brahms. At the end of the first performance of the latter’s 1st Symphony, someone asked the composer: “Don’t you find that your main theme remin ds one of the Ode to Joy?” To which he retorted: “Even an idiot would have noticed it!” 2. Fugue: in the last exposition, the subject of Fugue I from volume 1 of Bach’s Well-Tempered Keyboard is super imposed on the theme from Mozart’s so-called “easy” sonata. 3. Passion: In his Violin Concerto, Mendelssohn, to whom we owe the “rediscovery” of Bach’s Passions, seems to have borrowed a theme from a lost Passion. 4. Recitativo: Tribute to Franck’s tribute to Bach in his Sonata for violin and piano. 5. Invention: A private revenge, after a bitter failure. Debussy’s Toccata was on the “compulsory” list for the Conservatory piano class entrance exam. 6. Arpeggione: In which the listener realizes the similarity in the introduction to Schubert’s Unfinished Symphony and Arpeggione Sonata. 7. Sarabande: The most iconoclastic, for Bach’s 5th Cello Suite is already suffused with harmony. There might be an evocatioin of a Brahms-like “overarching structure”, though… 8. Variation: The slowest variation ever written on Paganini’s 24th Caprice. 9. Scene: Schumann’s Reverie as a Prelude. 10. Finale: In order to capture the elusive harmony of the Finale of Chopin’s Sonate Funebre. 11. Fugue on Au clair de la lune: Our greatest nursery rhymes, fugue fitted and “choralized”. 12. Fugue de Noel (Christmas fugue): Quite appropriate. 13. Fugue on J’ai du bon tabac: Prohibited counterpoint. 14. Fugue on La Marseillaise: Franco-German reconciliation. 15. Pedal – Exercitium: Realization and conclusion of Bach’s organ pedal exercies.
Author: Stephane Delplace
Instrument: Piano
Medium: Full Score
SKU: FSH-510-07696
