Few duets out of the 42 I accepted in the Call for Scores for Multi-hand duets received the full mileage from Maui to Utrecht.
John Bilotta’s piano duet “Conversations in the Garden” was sightread in Maui, studied and performed in San Francisco in his presence, and sightread again in 3 places in Utrecht Netherlands. On its return journey to Maui, the duet will be recorded.
The title “Conversations in the Garden” evokes images of spring and the flowers in my garden. I missed it this year in Maui where there’s an everlasting summer. Luckily I am on the special mailing list of my artist friend from high school, Robby Judkins. Now based in Columbus, Georgia, Judkins captured my imagination well below.
In his new quatre-mains work, John Bilotta painted a nice image of the colours of conversations and what we expect in a garden. The duet meanders from an initial 3/4 time to 2/4 to 4/4 to 3/4 just as easily as it moves through different tonalities. Conversations are like that. You start with one subject but easily go off in tangents, returning now and then, sometimes overlapping different strands or themes. You never really stay focussed on one topic but stray off to others.
Well-written and laid out in parts, the 2.5 minute duet sounded better each time we played it, for each time we understood it better. The dynamics and other notational marks are intentionally and clearly indicated. This kind of detail makes performers feel secure that the composer knows what he is doing. To some degree, a work that looks final (i.e. ready to be published or already published) validates itself.
The pedal markings are noted in the secundo part.
John Bilotta provided the following programme notes to this wonderful work:
I have been working with the material for Conversations in the Garden for some time trying to find just the right form in which to present its musical ideas. Ultimately, I found that this four-hand arrangement best captured the tone, mood, and play of voices—in particular, the opportunity to space the musical lines vertically allowing the inner voices to be heard. Conversations is built from a simple motif and its transformations in an chromatically rich harmonic structure. It should be played with a quiet and graceful elegance, without excessive show, larger phrases swelling and subsiding in breezes and waves.
Confident that Chong Kee Tan, the organiser of the Piano Soiree in San Francisco in May 2011, would sightread and play this piece with me, I invited John Bilotta to the event. It was a pleasure to perform the duet in front of the composer.