Graduate recital in piano

Includes recorded audio files in WAV and MP3 formats, 81:09 in length.The music for this recital was representative of three periods in the history of piano literature: the classic (Mozart), the Romantic (Brahms and Chopin), and the contemporary (Ginastera). Primary emphasis was placed upon the music of the romantic period since the majority of the standard piano repertoire comes from that period. One of the major contributors to the literature of the classic period was W.A.Mozart. The sonata in a minor was chosen because it exemplified important characteristics of the classical sonata: typical first movement sonata form, short development, lyrical second movement in binary form, brisk third movement rondo with the middle section cast as a development section in the major mode. The writing of Brahms for the piano was particularly idiomatic and technically challenging. Although the Variations and Fugue on a theme of Handel was an early work, it already contained elements of the pianistic writing for which the Romantic period was noted. Brahms continued the direction of Beethoven???s late piano sonatas by utilizing the full musical and expressive capacities of the piano and the performer. The entire set of variations was based on a brief, two-part theme, each part being repeated. The theme was originally composed by Handel; even the subtitle ???Aria??? was retained. The variations were character variations, unified harmonically and melodically. Examples were ???musette,??? ???siciliano,??? a two part canon, a dirge, and a fugue. Not only were elements of the theme exploited, but a thematic element of one variation was often developed in the next variation (for example in I and II, XXIII and XXIV). This idea was expanded in variations XIV, XV, XVI, and XVII, each of which made use of materials from the previous variation. Consequently each succeeding variation became farther removed melodically from the theme. The theme finally returned with the opening statement of the fugue, which climaxed the work. The fugue was a particularly effective close because it was a compositional technique common to both Handel and Baroque period. The works of chopin programmed were selected as representative of his contribution to Romantic Piano literature. The Ballade was an original musical form derived from the literary genre. This particular Ballade was inspired by a poem of the polish bard Adam Michiewicz. The Nocturne, a three-part from previously used by john field (1782-1837), was adopted by chopin, who expanded it in terms of lyrical, often highly embellished melodies. The waltzes of chopin were raised to new musical heights, based on the brilliance and elegance of those of his Viennese predecessors, weber and Schubert. Structurally, they were comprised of a waltz proper followed by one or more shorter waltzes and the return of the waltz proper. These particular compositions were written by a composer who wrote exclusively for the piano, the instrument most capable of expressing qualities inherent in the romantic period. The work chosen from the contemporary period was Danzas argentinas by Alberto Ginastera. The dances were influenced by elements of French Impressionism and late Romanticism. Characteristic dance rhythms and lyric folk song melodies evidenced in all three dances. Binary and ternary forms were used. Romantic lyricism and percussive motor rhythms combined for a dramatic pianist effect. In choosing music to be included in this recital, an effort was made to satisfy several criteria. Music was chosen of the highest aesthetic quality, providing balance between tension and relaxation with regard to tempo, breadth, mood and effect for greater audience appeal