Sunday, August 28, 2011

Picking pieces

I need to buckle down and get serious about what pieces I'm working on. I no longer have one big future event to prepare for, so there's no natural organization of my effort. I have a vague plan with a flutist friend to do a movement from the Gabaye Sontatine, but that'll be next spring, lots of time to prepare. We've read it over, and I think it'll be mostly fine, except for a high E at the end. Oh well, take it down or figure it out later. M is looking for a recital for me to crash near the end of the year, so that'll be my next performance opportunity. So really I'm looking to pick one piece for that. Here's what's on my stand at the moment:

- Pizzi, Ode to a Toad. I love it, and my family doesn't mind listening to it. It has its challenges, which I'd like to sort out. It doesn't seem serious enough for a formal recital, but it's fun enough it'll be useful. I'll probably try to get this worked fully up first.

- Boddecker, Sonata Sopra La Monica. I've spent some time on this, but the gnarly bits never got up to performance level. I'm a little tired of it, though, maybe I should let it sit for awhile.

- Villa-Lobos, Ciranda das sete notas. It's got some big leaps, like the Pizzi, and some other technical stuff, but hopefully overall doable. I think this'll be the next piece to get serious work.

- Alex Kotch, Techno Music. Fun, but I've read it, and it's harder than it looks. I think this one is going to sit as well.

- Milde scale studies. I put a lot of time into these, and they only get "performed" at lessons. Hopefully time well spent. At the rate I'm going, it might take me another year to finish getting through them again.

In other news, I listened to my Mozart recordings again. The second performance is still my favorite. I still find it hard to listen to myself and not feel terrible, though. Even at my best, so full of mistakes.


  1. I'm getting the Ray Pizzi piece ready for my mostly-formal recital on Tuesday, as a sort of programmed encore. Fun one!

  2. Yeah, I love it. I have no idea how he gets that sound that he's got on his recording, though. Wild, bright, and raucous; ideal for blues. My reeds don't do that, or maybe it's me. If you have any ideas, do pass them on.