It has been nearly five months since the deadline of my Call for Scores has passed and 3.5 months since the Piano Soiree in San Francisco where several of the piano duets were played. And it has taken THAT long to find another pianist to study, play, and record a duet.
During my 2.5 months in Utrecht, Netherlands (end May – mid August 2011), I actively sought pianists to sightread the 42 duets from 30 composers. Aside from those too boring or too difficult, there were many candidates for a replay. After gauging the sightreading experience with different pianists, I decided which ones deserved another re-evaluation.
Martin Blessinger‘s Capriccio is a fun piece that challenged me enough to recruit someone else with whom to prepare and play together. Below is an extract of the recording on my Steinway Grand in Utrecht, Netherlands with me as primo and Carol Ruiz Gandia as secundo.
The Texas-based composer wrote:
This piece is a transcription of a movement from Tapas, a suite of short pieces I wrote a few years ago for violin and viola duo. It struck me that one of the middle movements of the work, Capriccio Pizzicato, would work particularly well for four-hand piano. This is an ensemble that has always appealed to me for personal reasons. I was a piano major as an undergraduate, and some of my fondest memories are of reading through four-hand piano works with other members of the piano studio at SUNY Stony Brook.
In studying for this piece, I focussed only on getting the notes correct, labeling ledger lined notes and polite accidentals whenever possible and necessary for clarity. When we got together to play, we decided to make a small comma after the third quarter note in bar 6 because it felt like a breath was needed. These are decisions that can only be made after studying a piece (not sightreading).
I thought I had the difficult part until I saw what the secundo had to do in bar 33 and 34 while I played nothing. Spanish pianist Carol Ruiz Gandia decided to memorise those octaval 16-th notes while I stayed put. Moving the page distracted her. So I waited until bar 36 before I moved the page.
We decided to add some dynamics in bar 58 where it was already forte. We went back down to a mezzo forte and made another crescendo to a forte in bar 60. These dynamics added to the piece. In bar 61, we went back down to a piano and steadily climbed until a big fortissimo in bar 64. The secundo immediately dropped back to a mezzo piano (subito) and I joined her to crescendo to another fortissimo in bar 65. And again. These dynamics are essential to make this piece exciting to play and listen to.
On top of page 7, we retracted to piano and then pianissimo as we descended.
Listen to the 3rd movement Capriccio Pizzicato of Tapas from which this duet came. I rather think the entire 4 movement piece for violin and viola could be arranged for piano duet. I particularly enjoy playing fugues in duets.
In the meantime, having discovered its origins, I will share it with my violin and viola friends in Bristol, where just a year ago I was sightreading piano trios and quartets in their newly renovated Georgian home.