No details, but things worked out in the absolute best case scenario, so we’re all thrilled and relieved. 🙂 And I’m back at my piano and actually bothering to learn someone else’s dots, which amazes me. I finally decided it was time to poke around with Albéniz’s “Asturias,” mostly because I am mulling doing the last “Se fiera belva ha cinto” variation in that style. Not sure how well it will work in a major key (B Major), but we’ll see. For now, I’m just busy:
- being wildly relieved,
- shoveling out my inbox at work, and
- doop-de-doo-ing around with “Asturias.”
I just love the piece. It really stretches the “sound” that a piano is capable of, and as a result works well with almost any multi-voice instrument. I’ve heard it on a guitar of course; in fact, I initially thought it had been written for that and was surprised to find out that it was a piano piece. I’ve heard it on a dulcimer, and I’ve heard it on a harp, which is probably my favorite instrument for it. (I started listening to it on a violin, but the gentle stream of 16th-notes in the opening turned into a frenetic, nervous, overcaffeinated thing on a violin which made my feet itch, and I clicked back. It’s just not a good piece for a bowed string instrument. Bowed tremolos are tense and nerve-wracking, and usually mean that the monster is about to leap out and eat someone.)
I like the strange way the piece gets its ideas across on the piano, with the constant stream of dancing 16th notes and a relatively simple melody woven into the stream, along with the variations of feel and flavor in its later sections. I may end up petering out and getting sucked back into “Se fiera” if something shakes loose during this, which will achieve what I’m aiming for, so I won’t angst about it too much, but nevertheless I would like to get this piece down. It’s the sort of varied, complete universe of a piece that would make me happy if it were the only thing I ever wrote.