My second masters recital is now in five weeks (August 19), and I haven’t yet finalised my repertoire. Isn’t that just like me? I do have a fairly good idea of the major works I’ll be performing though, and will just fill out the rest with some easier pieces I think. I’m not sure that this will make an especially cohesive program – and probably I will not satisfy Nicolas’ theory of The Concert – but it will at least show off my technical and musical abilities fairly well, and given this is really an exam that’s kind of what I need to do.
So far I have:
- Toru Takemitsu // Voice (1971) – for a second time, but then it is a major focus of my paper
- Brett Dean // Demons (2004) – certainly not his best work, but with quite a lot of potential for drama
- Philippe Hurel // Loops I (1999) – hopefully the whole thing…! awkward quarter tones
- Kaija Saariaho // Oi Kuu (1990, arr. 1993) – bass flute and cello
- Bruno Maderna // Dialodia (1971) – for flute and oboe or 2 flutes, probably the latter in this case
- Liam Flenady // 3 Sketches for flute and piano (2012) – the piece Alex and I played in May, plus two new movements
(I ordered the Maderna score months and months ago, hoping to include it in the program for Solos-Duos-Trios, the performance Kupka’s Piano did in the Crossbows Festival, but it got put on backorder for an age and I only just received upon returning from Europe. It’s excellent:
I would love to do it with oboe, but I’m not sure how feasible that is at this stage … probably going to be easier to rope a flautist into playing with me.)
All up, this much of the program makes 40-45 minutes of music, so I need another 15+ to make my 60-90 minutes. And seeings the vast majority of the above repertoire is very difficult (and requires a lot of work from this point), I’ll be searching out an easy work or two, hopefully with vocalisation. Might be nice to include an American work to cover most of the continents (I’ve had to drop the Carter as Mac’s tied up with Bangalow that weekend, but hopefully we can do both parts of Esprit Rude, Esprit Doux some other time). I’d also like to have a trio or quartet for more of a chamber music feel… Anyway, I think Kathleen might have some suggestions, so I’ll see what comes of that.
So I have a bit of practise to get into – alongside these works I’m also learning the flute parts to Grisey’s Talea and Boulez’ Derive I for Kupka’s October concert (at the Judy), and a bunch of orchestral excerpts for an AYO audition (the last year I’ll be eligible) … 3 days after my recital!