Here are a few thoughts about constructing a classical guitar recital program – these ideas are by no means meant as a recipe. Even so, every recital artist needs to deeply consider what they play, who their audience is, and how to build a sequence of music that has the benefits of strong continuity and simultaneous colorful contrasts. Think of a building with four structural pillars – in a recital the pillars are: 1. Opening pieces 2. Last piece before intermission 3. Opening piece after intermission 4. Final piece 1. Opening pieces. Keep in mind that in the beginning the audience has just been seated and will need a few minutes of getting adjusted to listening. The player is in a state of nerves and high anticipation. Music of high contrapuntal density, complexity and virtuoso technique do not usually go over at the beginning. Better build towards those pieces. Segovia often would start out with homophonic renaissance transcriptions, very short pieces that allowed for stragglers to settle in without disrupting longer more complex pieces. 2. The last piece before intermission is perfect for a high energy, exciting and unusual piece. 3. After intermission, the first group can be music that builds on the mood and energy from the end of the first half. It initiates a sequence leading to the last part. 4. The final piece can be thought of as the crowning signature of the player’s recital. If possible, it can be something that few other guitarists play. Throughout the recital the music is better sequenced by contrasts, rather than being all of one style or mood. I have seen programs with multiple Bach Lute Suites, for example, but from the audience viewpoint, it is very difficult to keep the interest and energy high. Guitarists, please feel free to comment. The above thoughts are intended to initiate some substantive explorations among guitarists – concert artists, teachers, and students – on this crucial topic.
Posted on: Tue, 01 Jul 2014 16:12:59 +0000
Trending Topics
Recently Viewed Topics
© 2015