BlackMoons, op.26: for solo piano
BlackMoons: This is How it Started
BlackMoons is a composition for solo piano
Duration: 3' 45"
Date of composition: 2011
Program Notes
Having completed the two virtuoso compositions for solo guitar ("RedMoons" and "BlueMoons"), my urge to produce their piano counter-solo emerged!
The present composition stands as symbol of its title: a "devilish-difficult" work, its difficulty lying mostly in its speed and required precision of abrupt dynamic shifts. The structural elements used are closely related to RedMoons and BlueMoons.
BlueMoons is the second composition I have composed for solo guitar, the first one being RedMoons.
RedMoons was inspired by J.S. Bach's virtuosity in his work "Chromatische Fantasie und Fuge" for clavicord: the reasons for my choice of this particular work are explained in the web page dedicated to RedMoons.
The second "Moon" solo (BlueMoons) takes guitar virtuosity many steps further in terms of advanced techniques. This particular work is a really bold composition that does not pretend to be easily "accessible": it is a virtuoso piece intended for guitar virtuosos.
About my "third moon": I really do not know how I did in the previous (above mentioned) solo guitar compositions. They might very well be ordinary, since I am not very familiar with guitar writing. But, I am a pianist-hopefully a good one. A pianist who adores virtuoso works!
BlackMoons: This is How it Will Develop Soon
Yes, I have created a 'devilish' work-but I was never completely satisfied with it! What is the sense of creating extreme difficulties? Just for the sake of them? I have never been an admirer of such works (and many of Liszt's works fall under this category, despite the obvious genius of this composer).
So, what next? The op. 26 will remain (on the score), but the composition itself will be totally REPLACED by a new one: the one that finally marks a complete turn in my compositional technique. Yes, it will be for piano-SOLO piano. And this instrument will be the focus of my next compositions: I feel I owe to my most beloved of all instruments some works of value-some works that finally put in in the front (as it used to be in the past) as the 'crown' of instruments. Alas, there is very little of that in the 21st century literature.
