Frederic Rzewski actually once said to me, “You should play the Hammerklavier. You’d be good at it.” So, that’s what I’m going to do.
He said this to me at the Music09 festival in Switzerland, and I have been pondering it ever since, weighing whether it was feasible and whether it would be worth it. It’s one of those notorious pieces where everyone claims it’s ridiculously difficult on multiple fronts – and part of me believes them (because why would they lie?) and part of me doesn’t (because how many have played it over the last 200 years?).
So, I have “permission” from my professor – that as long as I understand what I’m getting into and how big a project this will be, then do it. He also said he would be learning it with me – he’s never actually made a real study of it, but has taught it and read it many times. So that will also be very cool.
Okay then, next question: what to program with it? My first reaction is something French, like one book of Debussy’s Images. So that’s out – I’m definitely looking for something less obvious and more intriguing. This stumped me for a good year – what the heck do you program with it?! So then switched trains of thought: What do people think of when they hear “Hammerklavier”? First, that it’s enormous; second, that it’s real difficult; and third, partially because of the fugue. Fugue – what to pair with a fugue? A PRELUDE.
This was definitely more what I had in mind. Pull together a smattering of preludes by pretty much everyone – Debussy, Chopin, Shostakovich, Scriabin, maybe some late Baroque ones, etc., and end the set with Rachmaninoff’s Bb prelude – both a good set end and a good setup for the Beethoven. Solid.
So I approached my prof about it. He also thought it was a cool idea, but suggested possibly doing a complete set of preludes by one composer. I have to admit, I had considered it, but for some reason dismissed it as being too much (as if the Hammerklavier weren’t already). So he started suggesting complete sets. And I think we both lit up when he got to Shostakovich. I have always wanted to perform them as a set, and I think they’re a great counterbalance to this program.
So, as it stands, that’s my next solo recital program:
Shostakovich: Preludes, Op. 34
Beethoven: Sonata in Bb, Op. 106
It will take me at very minimum a year to learn. And it’s probably the most ambitious thing I’ve ever done. No, not probably – it is. This may work, or it may prove too much. But what better opportunity will I ever have than now?
Seriously though, I’m so excited.
Also, if you’re wondering where “kick-awesome” comes from, it’s (of course) in a sbemail: