Song of a Country Priest
American Solo Piano Works:
Copland, Soush, Lees & Brooks
JDT3199
About
This CD
The
Aaron Copland Sonata is
one of the great 20th century works for solo piano. Utilizing
the three movement format of sonata form, this pessimistic work
reflects the influence of living in the industrial age. The
first movement, rather than relying on melodic content, exploits
widely spaced cords, tonal variety, texture, dynamics and polarized
ranges to build color and expressivity. The Vivace
is essentially a scherzo and reflects Copland's interest in
Jazz idioms. This formidable movement features cellular thematic
material that develops through changes of meter, syncopation
and virtuosic leaps. The last m0vementemployes elements of the
previous movements, techniques of polyphony, and tonal transparency
to create a deeply elegiac statement.
The
Cat and the Mouse is a programmic tale of hide
and seek.
Song of a Country Priest for pianist/ narrator with text by
Tom Andrews was written in 2003 by Dr. Dean Roush
especially for Dr. Serra-Brooks. This work is a stirring question
of inner spiritual and artistic faith filled with imagery, symbolism,
and poetic interplay between sound and text.
Benjamin Lees' Fantasia, written
in 1954, is a breathless show piece in the grand toccata style.
Lee Brooks' Our Hearts, written in
Austria especially for Dr. Serra-Brooks, is an eloquent affirmation
of love. Boom You're Dead,
composed the night the United States invaded Iraq in 2003, questions
the value of War.
Song
of a Country Priest $17.95
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Beverly
Serra Brooks
From
The Musical Tree
JDT3039
About This CD
Chromatic Fantasia and Fuge BWV 903 in d moll
J.S. Bach (1685-1750)
The Chromatic Fantasy, originating in Cothen, Germany around
1720 is representative of his greatest work in the form of Toccata
and Fantasy writing. Even today in the year 2000- the 250th
anniversary of Bachs' death, it stands as one of the highpoints
in all piano repertoire. The fantasy features virtuoso passage
work, chromatic harmonies, instrumental recitative writing reminiscent
of vocal recitative in early Baroque opera, and use of improvisational
techniques. The Fuge is built on an ascending theme. The clear
contrapuntal texture is contrasted with episodes derived from
rhythmic and intervallic cells of the theme. In this piece,
Bach was able to fuse Baroque texture and form into a romantic
palate of color and mood.
Sonata Opus.57 f moll
LV. Beethoven (1770-1827)
There is a revolutionary spirit as well as an autobiographical
feel to this sonata. Written in 1803-04 when Beethovens hearing
was deteriorating, the first movement incorporates Beethovens
"fate" motive as in his fifth symphony to work through
his despair at losing his hearing and is filled with alternations
of lyricism and bold outbursts. The second movement is a gentle
set of variations acting as a bridge to the explosive finale
filled with power and virtuoso passage work in one last run
from his fate.
Un Sospiro
F. Liszt (1811-1886)
The romantic era developed the etude - or study into a fusion
of beauty and lyricism as well as for refining a virtuoso technique.
In this favorite study, Liszt blends technical display with
atmosphere and passion.
Images Book I
C. Debussy (1862-1918)
Debussy's unique style reached its mature perspective with this
suite written in 1905. "Reflect dans L'eau" (reflections
in the water) centers around his fascination with creating an
impression of water, its movement and the reflections of light
upon water. This new way of writing for the piano utilizes pentatonic
and whole tone harmonies shrouded in limpid dynamic hues of
pianissimo and special pedal effects to create color and an
atmosphere of shifting patterns of light. "Hommage a Rameau"
is a serious gesture of admiration for the famous composer,
Rameau. The final Movement is a fun, if not hectic romp around
the piano. The visual excitement of the" Movement"
is also created by overlapping and
crossed hands toccata technique that Debussy expanded and then
became a feature of his technical style, new harmonies and sweep.
Jeux d'Eau
M. Ravel (1875-1937)
Whereas Debussys' writing is more like Chopin, Ravel seems more
like Liszt in his compositional writing, yet they were both
interested in depicting the elements of water,light and motion
in sound. In the tone poem Jeux d'eau, he evokes elasticity
and sensuality through his harmonic language and exploitation
of the upper registers as he creates in sound the stillness
and movement of water. The subtitle helps to set the mood --
the river god laughs as the water splashes over him.
