Solo Programs


CHOPIN’S LEGACY

Chopin’s influence has been felt by virtually every composer writing piano music after him. This recital traces connections between Chopin and four later composers who stood on his shoulders.

Chopin: Mazurkas, Op. 24 and 63 (selections)
Albeniz: Evocation and Triana, from Iberia
Rachmaninoff: Moment musicale, Op. 16, No. 1
Scriabin: Fantasy in B minor, Op. 28

Chopin: Nocturne in E-flat Op. 55, No. 2
Erik Satie: Nocturnes No. 2, 3 and 4
Chopin: Polonaise-Fantasie, Op. 61

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ROMANTICS TO RAGTIME

The music of 19th-century Europe and 20th-century America are brought closer together by two touching song arrangements by the great improvisers of each era.

Chopin: Barcarolle, op. 60
Schubert: Drei Klavierstücke, D 946
Schubert arr. Liszt: Der Müller und der Bach

Dawes/Sigman arr. Keith Jarrett: It’s All in the Game
William Bolcom: Graceful Ghost Rag, Poltergeist
Igor Stravinsky: Piano-Rag-Music
William Albright: The Nightmare Fantasy Rag

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SCHUBERT AND GLASS

The mystical undertones in Philip Glass’ poignant chamber opera, Orphée, run parallel to the otherworldly exploration of light and darkness by Schubert in his final sonata.

Philip Glass arr. Paul Barnes: Orphée Suite
Schubert: Sonata in B-flat, D 960

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BEETHOVEN AND SCHUBERT (short, no intermission)

Beethoven is heard at his most playful and Schubert at his darkest. The contrasting sonatas each contain a finale based on the Italian dance form, Tarantella, but in completely different emotional worlds.

Beethoven: Sonata in E-flat, op. 31, no. 3
Schubert: Sonata in C minor, D 958

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SCHUBERT, RAVEL, CHOPIN (short, no intermission)

This program explores shorter forms in the hands of three of the most unique composers. Ravel’s Valses nobles et sentimentales are paired with selections from the Schubert waltzes that inspired Ravel to write them.

Schubert: Impromptu in C minor, op. 90, no. 1
Schubert: Valses nobles and Valses sentimentales (selections)
Ravel: Valses nobles et sentimentales
Chopin: Three Mazurkas, op. 59
Chopin: Ballade no. 4 in F minor, op. 52