Constant, perpetual, everlasting piano duet by Chip Michael

Chip Michael’s piano duet Amaranthinesque starts softly with a persistence that causes the listener to anticipate eagerly for more.

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The 21-page piano duet “Amaranthinesque” begins with the primo repeating 90 high E’s (i.e. 7 bars of a set of 4 triplets of the single high E note in the right hand) before descending to the first rehearsal mark shown below. The left hand also begins pianissimo but in a single minor third and gradually breaks into a two-voice melody taken over by the secundo in bar 10.

Amaranthinesque piano duet (page 2) by Chip Michael
Amaranthinesque piano duet (page 2) by Chip Michael

This opening of repeated notes gives it a constancy and persistence, like something that won’t go away yet preludes something else to come. The composer, Colorado-based Chip Michael, writes, “I rather think that’s what music should be, enjoyable to play – particularly this piece.  Fun, yet challenging.”

I was intrigued by this piece but also realised that the page turns might be problematic without a third person at our disposal. Chip Michael had already specified the need for a page turner in his first e-mail to me. Luckly Brendan Kinsella, who sightread and recorded the duet with me, knew the trick to turning pages and playing at the same time. He gently folded the loose sheets vertically in half. Playing the secundo part allowed him to multi-task as page turner.

Due to the sheer length of this work, we were not able to record it in its entirety for this blog post. Click below to get an idea of this duet.

Amaranthinesque by Chip Michael – extract recorded by Anne Ku and Brendan Kinsella

When I later played the secundo part, it felt like a different piece. I daresay that the part you choose in a duet very much determines the experience you have. I would suggest players switch parts just for the fun of it — and for variety’s sake.

The duet develops with repetitive triplets appearing in different places — an overarching theme of persistence, constancy, and permanence. 155 bars and many voices later, it slows down to a majestic B minor chord.

Amaranthinesque by Chip Michael - the ending
Amaranthinesque by Chip Michael - the ending

Chip Michael also sent several solo piano pieces I’m eager to try out — just as soon as I clear my backlog of duets from my Call for Scores project to review.

Chip Michael’s programme notes:
Amaranthus, collectively known as amaranth, is a cosmopolitan genus of herbs particularly easy to grow and considered a symbol of indigenous culture.  Rich in protein, amaranth is a great source of nutrition avoiding the gluten issues of wheat.  It also grows in a broad variety of climates making it an ideal crop.

However, European interests and American corporate farming has made global harvesting and distribution of amaranth fiscally undesirable.  This piece takes its attitude from the plant, constant, perpetual, everlasting.

Piano duet by Robert Pollock

Maui-based composer Robert Pollock’s “A Little Transition Music, Please” is exciting and engaging to play. Listen to the recording and judge for yourself.

One of the reasons for calling composers to submit sheet music for multi-hand piano duets (i.e. my Call for Scores) was that I got tired of the predominance of the existing repertoire for 4-hand one piano music that’s easily available in libraries and in music stores. I was sure there was more music than the quartre mains of the bygone 18th and 19th centuries. Back then, composers readily arranged piano versions of chamber music and even orchestral works. Some began with duets and then orchestrated them.

When I told Maui-based composer and pianist Robert Pollock about my Call for Scores, he immediately gave me his “A Little Transition Music, Please” — quatre mains written for the occasion of 21st November 2010 – MACC presents E&FA. Robert Pollock founded Ebb & Flow Arts after he moved to Maui from New Jersey. Most recently the foundation organised a “Battle of the Pianists” on 16th July 2011 in which my multi-hand duet “Three on One” (6 hands on one piano) was performed.

As I could not participate in the “Battle of the Pianists” because I would be physically on the other side of the world, namely in the Netherlands not Hawaii, I carried his piano duet across the Pacific Ocean to San Francisco to sightread it with Chong Kee Tan and across the Atlantic Ocean to Utrecht, Netherlands where I finally recorded it with Brendan Kinsella on my Steinway on 4th July 2011.

What emerged was a duet we all found to be exciting, engaging, and fun. Click to listen to the recording below.

A Little Transition Music by Robert Pollock, performed by Anne Ku and Brendan Kinsella

The secundo starts with what seems like an ostinato on the left hand, setting the scene, or rather the pace and the anticipation. The primo joins in the second beat of the third bar, like a conversation. In fact, the entire piece is a conversation that gets more and more charged and exciting. The secundo never stays still but keeps the momentum going.

A Little Transition Music, Please - duet for 4 hands, one piano by Robert Pollock
A Little Transition Music, Please - duet for 4 hands, one piano by Robert Pollock

Music that has been performed is obviously more ready to be sightread and played than untested sheet music. Let’s hope works like these find their way into mainstream quatre-mains repertoire.