The previous piano duets I have introduced and reviewed here on Concertblog from the multi-hand duet call for scores were written for pianists with equal sightreading and playing ability. In fact, it is one of the challenges of finding someone else with the same ability level as you to reach that “flow” in playing. Otherwise, as mentioned in the previous blog post, it is frustrating for both players. The more advanced player has to slow down or stop (get interrupted) while the less advanced player struggles to keep up, sometimes with just one hand.
“The Heartbeat Duet” by Michael Christopher Churchyard is an example of a duet in which one part is more difficult than the other. The primo has to play octaval chords in a rhythmic pattern that is more challenging than the secundo part which is predictability repetitive. Appropriately titled, the work sounds like heart beats.
Shortly after discovering your contest for multi-hand piano duets, I found myself interested in the possibility of uniting the pianists emotionally through a repetitive, droning, and melodically emotional soundscape. As both players create this sound within an intimate and personal atmosphere with only one another and the audience, there is a level of attachment and kinship formed between the performers. ‘The Heartbeat Duet’ proceeds with this concept; a bass pedal on C, together with repetitive chordal implications continuously sounded at strict intervals which frequently displace the notated meter, is symbolic of a heartbeat throughout the score. The second pianist responds with expressive melodies always developed in close accordance with previously established melodic material.
‘The Heartbeat Duet’ is minimalistic, and appropriate for pianists of moderate technical ability; the score instead focuses on precise melodic and rhythmic performance and expressive interpretation.
Having tried many fast pieces, Brendan Kinsella and I decided to slow down to a heart beat of this duet. The Lento (quarter note = 60) forced us to count carefully. Even so, you can hear that we were not quite together in the beginning. Dynamically it’s marked pianissimo and piano up to bar 14 and mezzo forte thereafter. I would have preferred a crescendo to the end, somewhat like John Carollo’s “Completely Clothed in Sound” for three players.
Listen below for an extract — sightread by Brendan and me on Monday 4th July 2011 – and recorded on the 1909 New York Steinway Grand at the Monument House in Utrecht, Netherlands.