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Purchase Shubert Ab Impromptu Seperately
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Track Listing:
Bruce Pratt Jr....................................... ...........Impromptu
Bach..........................................Prelude WTC Bk. 1 No. 2
Bach.............................................Fugue WTC bk. 1 No. 2
Paradisi...........................................Sonata in A, Toccata
Mozart..............................................Fantasia in D minor
Beethoven...................................................Bagatelle in D
Beethoven.........................................Bagatelle in A minor
Czerny...................................................Opus 299, No. 28
Burgmuller.............................................Opus 109, No. 12
Chopin......................................................Opus 28, No. 3
Chopin......................................................Opus 25, No. 9
Debussy....................................Dr. Gradus ad Parnassum
Joplin.............................................................Entertainer
Joplin......................................................Maple Leaf Rag
Rachmaninoff......................................Prelude in G minor
Russian Folk Song.........................................Two Guitars
Track Listing:
Impromptu...............................................................Pratt
Fugue......................................................................Pratt
Sonata in Dm......................................................Scarlatti
Gigue......................................................................Bach
Humoresque.........................................................Dvorak
Dance of the Hours...........................................Ponchielli
Skylark..........................................................Tchaikovsky
Flight of the Bumble Bee.................Rimsky/Rachmaninoff
Scherzo Em..................................................Mendelssohn
Traumerei........................................................Schumann
Valse in Ab..........................................................Brahms
Fantaisie Impromptu ............................................Chopin
Little Lapping Ocean Waves.........................Pratt/ E Pratt
Ocean Waves........................................................Chopin
Cascades................................................................Joplin
Track Listing:
Sunrise Sunset...............................................Argt. Pratt
Etude Op. 1 No. 1...................................................Liszt
Etude Op. 1 No. 4...................................................Liszt
La Campanella.......................................................Liszt
Italian Concerto Mvt. 1...........................................Bach
Delmo.....................................Mussorgsky/Rachmaninoff
Hopak..............................................Argt. Rachmaninoff
Johnny..........................................................Argt. Pratt
She says, “I’m Sorry.”...........................................Pratt
3rd Ballade........................................................Chopin
Twinkle Twinkle....................................................Pratt
Mockingbird Sonata: 1st Movement
Performance notes and commentary
As soon as the music begins the theme to the Mockingbird is present. However the theme is hidden within the music. Therefore, and usually, the initial presence of the Mockingbird theme is not heard by a listener who is not previously made aware of this fact. Included in this edition are the words to the Mockingbird theme. They are not intended to be sung except in practice by the performer, although circumstances may present themselves where this would be beneficial for the audience. If used as a vocal composition, the melodic line, which is not written, should be relatively obvious to decide upon.
Early in the composition the particular pitch of the notes falls short of the Mockingbird melody; it is the rhythm that is important. Depending upon the strength, position, and accent of notes, the performer has a great deal of control over when the audience will discover the theme. One important thought to remember is that once an individual is made aware of the melody at the beginning of the composition he will be aware of the melody from that point forward, each time he hears the composition. Care should be taken not to rush the awareness of this melody. I much prefer that an audience learn of the theme’s presence over the course of more then one hearing. I see this as the natural course of things as opposed to a spoiling of a surprise.
The transition into Schubert’s Impromptu should remain smooth with no pause being taken. As the Mockingbird theme was gradually uncovered so shall it be with the Impromptu. The character of the downward chord progression of the Impromptu has been taken up long before the Impromptu begins. Use this as a way to delay the audiences realization that you have entered into the Impromptu. Alternately you can create the illusion that the Impromptu is about to begin, teasing the audience a great deal. Personally I prefer that the audience wonders silently when the Mockingbird ended and the Impromptu began.
The finale of the Impromptu should be taken in traditional style with the exception of the final Ab chord. It is depressed as usual but held throughout the downward chord progression until the revival of the Mockingbird theme. It is overtones that are sought with the Ab notes.
There are two layers I will reveal regarding this movement of the mockingbird sonata. The first is the hidden Mockingbird theme. The second is the true concept of the composition. Likely you have realized that the Mockingbird is an analogy. You may have correctly questioned what business the Impromptu has within the Sonata, regardless of how well they work together. You would be right to do so.
This Sonata is the analogy of an individual who is searching for his path in life, seeking what he feels he is supposed to do in his time on earth. Many have found that early on in their lives the path is hidden from them. However as time moves along they may become more and more aware of that path. The Mockingbird is the path. The gradual introduction of the Mockingbird represents the gradual awareness of that path. As in life there may come a time where we decide to leave the path we are on in order to pursue a different path. The Impromptu is representative of that other path. One might pose the question to me that there is nothing wrong with leaving the pursuit of one path for another. I can agree to this with condition. It is the condition that both the path you are on and leaving behind and the path you are taking up are indeed your path. That was essential in the choice of the Impromptu. Regardless of how well someone may argue the Impromptu seems to work in the composition there can be no denying that the two paths do not belong to the same source. One path is of Bruce Pratt Jr. and one is the path of Franz Schubert. With that in mind the Schubert was not the path but a detour. In the final portion of the movement the detour is left behind and the true path is once again sought. We must, after all, remember why we are here. It was not for the Impromptu but for the Mockingbird.
And finally, should you be troubled with individuals who feel the need to applaud following the Impromptu but prior to the movements completion, do not despair. Compassion is the right course. We all stumble from time to time as we make our way along the path.
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Mockingbird Sonata: 2nd Movement
Performance notes and commentary
Unlike the first movement there is no theme hidden within the music at the beginning of the second movement. The theme is brought in gradually in segments. For here marks a difference, a distinction. The first movement seeks to discover something that has not yet been found. The second movement starts at the point of discovery.
This is noted by the uplifting entrance of the second movement as opposed to the relative minor of the first movement. Both movements flirt between major and minor but the approach is reversed. This occurs through the duration of both the first and second movement. This is the first of four distinct differences between the two movements.
The second distinction is more subtle. In the first movement there was a general building towards a high point which was ultimately the Schubert Impromptu. Again, this is held in a major key. As stated in the first commentary the problem with this was that the Impromptu was not the intended path but was a distraction. In the second movement the general building leads the listener not into a distraction but rather into the Mockingbird theme at its most powerful of the Sonata. As a mirror to the Impromptu, this is held in minor.
The third difference between movement one and movement two is found in this way. The first movement leaves the Impromptu and returns to the Mockingbird theme but it is bittersweet. Almost as if the theme was recalled from some faded dream. In the second movement the return to the opening theme is more joyful then in its origin. This effect is caused through the sudden exiting of strong minor into shining major.
The fourth and final distinction lies in each movements completion. At the end of the first movement there was a return to what was already uncovered, the Mockingbird theme. In the second movement the final measures do not revisit what has already been but what will be, the Brahms Lullaby. This is looking forward as opposed to locking back. This is the difference between searching for the path and the traveling on the path discovered.
Mockingbird Sonata: 3rd Movement
Performance notes and commentary
The primary concept of the third movement is straight forward. This is an index of the entire Sonata. It brings the listener from the beginning of the first movement to the conclusion of the third movement. This is achieved through contrast of musical style.
The third movement has found the ability to view the picture in its entirety from a distance. One aspect of viewing something from a distance is that it allows for greater clarity. As you back away, individual lines blend together to reveal a more accurate view of what is there. Therefore the strong contrast of major and minor transition found in the first two movements is replaced in the third movement by a more gentle transition between the two modes. A possible exception to this is the almost tango style found midway through the third movement. This obviously represents the Impromptu of the first movement.
The third movement closes as it should and as was meant to be with the theme to the Mockingbird. The last few measures of the third movement are the clearest and cleanest model of the Mockingbird theme represented within the Sonata.
The third movement represents an ability to step back and view something that it is a part of. Should we try to view ourselves as a whole we would fail. For whatever we use to look back upon ourselves is part of us. If it is part of us we are seeing ourselves not whole but minus where we stand looking back. We can see ourselves from many sides. And yes, a mirror is a reflection of who we are. But it is only a reflection and we should remember that we are in control of what it is that the mirror reflects.
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Teapot
Performance notes and commentary
How childish would it be to include I’m a little teapot within a formal concert program? Not childish enough. “In our society, at the age of five, 90% of the population measures “high creativity.” The percentage of adults with high creativity is only two percent.” - Finley Eversole.
If we, as adults, had the ability to maintain the creative ability of children, the arts (among other things) would be greatly enhanced. This composition is designed to make use of an audiences preconceived notion of I’m a little teapot.
I prefer to begin this composition with a four measure introduction. I play the original theme of I’m a little tea pot in the middle register using a romantic period, or should I say “childish”, style. This is followed by a long pause. This allows time for the theme to stir thoughts or questions in the mind of the audience.
The formal entrance of the composition is played in traditional baroque style: dry, detached touch and no tone fluctuation or rhythmic liberty.
The first theme is stated. It is then restated with the bass of Bach’s Musette. The second theme, Bach’s Musette, is then introduced. Those familiar with the Musette will notice slight fluctuations in the theme especially at bars 17 and 22. Bars 23-26 prepare the listener for the arrival of new ideas. Bars 27-40 allow the listener time to understand the basic concept of what is happening. The two themes at first answer each other’s questions. This changes as the themes complete the thoughts of the other in bar 36-40.
Bar 41 marks the beginning of musical development as opposed to the superficial conversation of the two themes that began in bar 27 . This development continues to bar 59 and beyond.
At bar 90 the first theme appears in the bass and is quickly continued with the alto in bar 91. The second theme appears in the bass of bar 92 with only a supporting role. It is not until bar 123 that the Musette, the second theme, can be clearly detected. It is then that the second theme plays a key role within the melodic structure. It is the second theme that completes and concludes the development.
Finally in bar 141 the piece states its concluding statements. The modifications and developments are undone or reversed when compared to the first page of the composition. In the end you are left where you
began- the statement of the first theme.
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$5.00 Plus Shipping ($.88)
$5.00 Plus Shipping ($.88)
$5.00 Plus Shipping ($.88)
$5.00 Plus Shipping ($.88)
$5.00 Plus Shipping ($.88)