2 pianos, 4 hands SKU: BO.B.3641 Composed by Daniel Basomba. Published by...(+)
2 pianos, 4 hands
SKU:
BO.B.3641
Composed by
Daniel Basomba. Published
by Editorial de Musica
Boileau (BO.B.3641).
These Three
Studies for Four-handed
Piano were conceived of
as a triptych whose
unifying principles were
to be the first-slow-fast
movement order of the
classical sonata and a
symmetrical arrangement
of tonalities with A
major occupying the
centre (F minor- A major-
C minor). The term
Studies alludes not so
much to the 19th century
pedagogical concept of
pieces-as-exercises, as
to an attempt to extend,
investigate and study the
possibilities of
expression and texture of
the piano for four
hands.
The First
Study is generated out of
a single rhythmical motif
whose development is
modified by the
intervention of two
contrapuntual passages. A
certain difficulty of
execution arising from
the need to cross hands
in both sections of the
keyboard conforms, in
this case, to the
traditional definition of
study as an exercise
focussed on a specific
technical
problem.
The
second piece might be
defined as a study of
expression, being the
explicit disposition of
an ostinato accompaniment
and two superior voices
in conversation. I cannot
help, listening to this
study, being reminded of
the texture of the slow
Largo of Bach's Concerto
for 2 violins and the
manifest pathos of the
Andante of Prokofiev's
2nd Violin
Concerto.
The
Third Study is an
exercise in rhythmical
interpenetration in which
continual changes of
accentuation and metre
are combined with
passages of a light and
mellifluous
character.
It is
a long-standing ambition
of mine to supplement
this work with three more
triptychs and, so,
complete a set of twelve
studies for four-handed
piano.
1 piano, 4 hands SKU: BO.B.3642 Composed by Daniel Basomba. Published by ...(+)
1 piano, 4 hands
SKU:
BO.B.3642
Composed by
Daniel Basomba. Published
by Editorial de Musica
Boileau (BO.B.3642).
This
four-handed piano work
was conceived as a kind
of symphonic poem with a
rhapsodical form. The
structural balance comes
out of the strong
opposition between the
assertively motorized
passages and those with a
euphoric lyricism. The
programmatic discourse
deals with the great
Quixotic themes -madness,
idealized love, the
struggle between the
individual and society,
and death- interconnect
not as a description of
the facts of the novel,
but rather as an attempt
to sketch a portrait of
the Knight of the Sad
Countenance and his
interior psychological
conflict. The rhythmic
element represents
Quixote´s obstinate
resistance and his heroic
defence of his ideal when
faced with the prosaic
and mocking
incomprehension of those
around him. The melodic
themes symbolize the
retreat into oneself and
the search for interior
refuge. In keeping with
the Germanic conception
of Don Quixote which
refused to accept his
final, sad capitulation,
I have, like Nietzsche
and Thomas Mann, tried to
give our hero´s story
a victorious ending- one
without knee-bending or
lowering-of-the-gaze.