Praeambulum - The opening sound of the recital is a light and flowing fantasy-like prelude that sets the mood for the rest of the partita. It introduces several musical themes and develops them in a way that feels improvisatory; Bach was indeed a great improviser, so it is entirely possible that he wrote this piece in that manner. The piece is energetic and elegant with hints of playfulness scattered throughout it; I imagine that it tells a story of two friends going back and forth in dialogue and enjoying each others company.

Corrente - The corrente is a lively dance in triple meter primarily in two voices. It is the lightest of the three movements I will be presenting. Dr. Roberson, Messiah’s resident Bach scholar, describes it as “sparkling.” Listen for the way that the melody gets passed from the right hand to the left throughout the form.

Sarabande - The final movement I will be playing is another dance, though much slower than the corrente. The sarabande as a dance form began in Spain and later spread through the rest of Europe. I absolutely adore this movement because of its simultaneous simplicity and complexity. There are at most only three voices at any given time, but they weave in and out of one another in a way reminiscent of perichoresis, a Greek term referring to the divine dance of love and unity within the Trinity. Sarabandes are also rhythmically unique in that they often place the emphasis on the second beat, which is often considered the weakest beat in triple meter.

No. 15 in C minor - This mid-century French piece is full of rich harmonies and long, flooding pedals, very characteristic of Poulenc’s music. He does not shy away from aggressive dissonances, but the texture and pacing of the piece help these dissonances fit together. At the first glance of the score, it seems a slower tempo would be appropriate to give it a smooth and melancholy feeling, similar to that of French melody Les feuilles mortes (better known as the jazz standard Autumn Leaves). However, Poulenc, strictly indicates a faster tempo with the marking “Trés vite surtout sans trainer” (“very quickly, without dragging”), which gives more of a tavern music feeling. Regardless of the faster tempo, the texture and sweeping melodic lines fill this piece with passion and beauty. My interpretation of this piece was particularly influenced by my former teacher and dear friend, Graeme Burgan. His experience playing under French teachers has equipped him with a French phrase to guide this style of music: “plus de beurre dans la sauce,” or, in English, “more butter in the sauce.” When playing this type of music, he always encourages me to allow the sustain pedal to create an ambiance of richness and almost blurriness while still maintaining clarity.

No. 1 in B minor - This selection utilizes a different texture and mood than the previous piece, but Poulenc’s trademark sound remains consistent. It is dense both rhythmically and harmonically and spans a wide stylistic range in a short time. It is simultaneously dramatic and playful, and playing it is extremely rewarding. I especially love the way that the Steinway piano provides a diverse color palette for me to explore in my playing.

No. 3. Herdboy’s Song - Herdboy’s Song is based on a Chinese folk song that Tan Dun enjoyed as he grew up in Hunan. It is written to be somewhat rhythmically ambiguous (in fact, the composer included no time signature or barlines), while still maintaining the historical integrity of the folk tune. He also indicates extensive use of rubato, i.e. flexibility in timing, in order to illicit the image of a young herdboy musing in the fields at night. Interestingly, many of the indications within the score are reminiscent of the notation used for the erhu, a traditional Chinese string instrument. Thanks to the personal experiences of artist in residence and Messiah piano faculty member Ya-Ting Chang, and my dear friend Graeme Burgan, I have learned so much about traditional Chinese music and have done my best to apply these discoveries in my interpretation of this piece.

No. 6. Ancient Burial - Ancient Burial provides dramatic insight into the eastern Asian culture surrounding mourning for lost loved ones. This piece features an ostinato (a continuously repeating pattern) in the middle register, which feels representative of a plodding funeral march. It also employs a significant amount of bitonality, the usage of two separate keys/tonal centers simultaneously. This combines with gestures within the whole-tone scale to create an extremely unique and, at times, uncomfortable, harmonic language. The texture spans a wide variety of thicknesses, which correspond chillingly with the various emotions associated with the grieving process. I hope that you are as deeply affected emotionally as I have been as I have gotten to know this piece.

No. 7 Floating Clouds - Floating Clouds characterizes an aspect of Tan Dun’s sound that comes from his flawless blending of Chinese and Western idioms. While a doctoral student at Columbia University, he studied under Chinese composer Chou Wen-Chung, who studied under French composer Edgard Varèse. These influences are made evident in this piece, as it feels almost impressionistic while remaining true to Dun’s cultural heritage. I love his continued use of the pentatonic scale and a relatively ambiguous tonal center. To me, this piece tells a story of a young boy and his father spending time outside together. Midway through the piece, it begins to rain, but the pair decide to continue having fun outside anyway.

The name of tonight’s finale may be unfamiliar to some, but the tune has been made famous by some classic cartoons such as Bugs Bunny (Rhapsody Rabbit), and a personal favorite of mine, Tom and Jerry (The Cat Concerto). Those shows helped me to cultivate an interest in classical music from an early age, and I hope this performance provides a bit of nostalgia for those who also enjoyed them. From a technical perspective, this piece is an absolute beast. Dr. E describes it as a string of etudes (technical studies or exercises) that each teach a different technical skill. Combined, they create a cohesive stream of consciousness that is fun to play and listen to. One of my favorite parts about this piece is its improvisatory nature. Many pianists have taken various interpretive approaches to performing this piece, and I am no exception. There are portions in my performance where, even if you’re familiar with the piece, you will hear things you haven’t heard before. I have so enjoyed the process of getting to know this piece, and hope you enjoy my rendition just as much.