Vincent Persichetti

[Peter Clark]

This is a piece I bought in youthful folly and enthusiasm but I never really got to grips withy it, but thought I might have a go now. Doies anybody here play it? If so what do you think? The problem is that it asks for the high F# whereas many pedal boards onl;y go to F. Is there a way round this?

 

Peter

[MAB]

Don't know the piece, but as an equally foolish and eager youth I did once learn and play in a recital the Sonatine for pedals alone.

 

With the wisdom of maturity, I rather wish I hadn't.

 

Perhaps the answer is to transpose the phrase, or substitute a note that makes harmonic / melodic sense in that context.

 

On a more serious point, I am rarely convinced by pieces for pedals alone. Once you get over the 'look no hands' element, I am never convinced that the mechanical limitations are overcome sufficiently to make it a satisfying musical experience.

 

Ironically, the less serious pieces seem to work best, and here I am thinking of the GTB Paganini Variations, the Sowerby Pageant and the cadenza of the Bonnet Variations de Concert. What these demonstrate is virtuosity for the sake of it, and nothing more profound is expected or intended. With anything that professes to be more serious (quite apart from the portentous Dylan Thomas title) I run out of patience quite quickly.

 

(I do not include in this view short pedal solos such as in the Toccata Adagio and Fugue in C or the F major toccata which grow out of the overall musical texture, lead back into it, and are absolutely clear as to what they are intended to achieve).

 

I feel the same sort of dissatisfaction when watching ice skating, or gymnastics. There is always a bit when, essentially, the skater or gymnast is just running across the ground to build up momentum for the following jump. They try and make it look artistic, but somehow never quite get over the fact that is, basically, running ; all function, and no art.

 

I am sorry to say this, but I cannot quite escape this feeling when listening to unaccompanied violin or cello music, even JSB himself.

 

 

M

[octave_dolce]

I am sorry to say this, but I cannot quite escape this feeling when listening to unaccompanied violin or cello music, even JSB himself.

 

Hmmm...

I am no violinist or cellist, but I believe JSB's works for unaccompanied violin and cello are amongst the finest music ever written. There is so much going on with the voice leading despite the fact that music is written for a "melodic" instrument. It is so amazing to hear how all the contrapuntal voices come together.