Concertos
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A. Schinittke (1934-1998) Concerto for Piano and Strings (1979)
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E. Denisov (1929-1996) Piano Concerto (1975)
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J. Corigliano (b.1938) Piano Concerto (1968)
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A. Schinittke (1934-1998) Piano Concerto (1960)
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L. Fernandez (1897-1948) Symphonic Variations on a Brazilian Popular Theme (1948)
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B. Bartok (1881-1945) Piano Concerto No. 3 Sz. 119, BB 127 (1945)
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J. Francaix (1912-1997) Piano Concerto (1936)
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S. Prokofiev (1891-1953) Piano Concerto No. 4 (1931)
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A. Webern (1883-1945) Concerto for Nine Instruments Op. 24 (1934)
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A. Roussel (1869-1937) Piano Concerto Op. 36 (1927)
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S. Rachmaninoff (1873-1943) Piano Concerto No. 4 (1926)
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A. Berg (1885-1935) Chamber Concerto for Piano,Violin and 13 Wind Instruments (1925)
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S. Prokofiev (1891-1953) Piano Concertos No. 2 (1913)
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S. Rachmaninoff (1873-1943) Piano Concerto No. 3 (1909)
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M. D'Ollone (1875-1959) Fantasy for Piano and Orchestra (1897)
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A. Scriabin (1871-1915) Piano Concerto Op. 20 (1896)
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C. Debussy (1862-1918) Fantasy for Piano and Orchestra, L. 73 (1890)
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R. Strauss (1864-1949) Burlesque for Piano and Orchestra, AV 85 (1886)
- Premonition and Death -
Alexander Scriabin (1871-1915) - Piano Sonata Op. 6 No. 1 (1892) (22')
Alexander Scriabin (1971-1915) - Prelude and Nocturne Op. 9 (1894) (8')
Alexander Scriabin (1871-1915) - Piano Sonata Op. 19 No. 2 (1897) (12')
Leos Janacek (1854-1928) - Piano Sonata 1. X. 1905 (1905) (12') Alban Berg (1885-1935) - Piano Sonata Op. 1 (1909) (11')
Post Industrial Revolutions and preWorld War I, the music from 1890-1910 represents a World in accelerated transition, with the wild horse of Globalization crashing everything and everyone that isn't profitable. Janacek names the two movements of his Sonata Premonition and Death, in honor of the murdered Czech carpenter František Pavlík (1885–1905) that was bayoneted at a peaceful demonstration in favor of the construction of a Czech University in Brno. Thirteen years earlier, Scriabin was told he would never play the piano again, after injuring his right hand over-practicing Liszt's and Balakirev's music. His response to such dramatic news was to compose his Prelude and Nocturne Opus 9 for the left hand, and his piano sonata Op. 6 emerges as an outcry for healing and forgiveness. Scriabin takes a break from personal tragedy, slowly and unexpectedly recovering the movements of his right hand, and composing a second piano sonata-fantasy, also in two movements, that focus on elements of the dark night and the deep ocean. I end this deeply intense program with a one movement piano sonata, that Alban Berg wrote as a result of years studying music with Arnold Schoenberg. Berg wasn't able to find inspiration for extra movements, to what Schoenberg advised him that one movement was enough, as it was probably as much as he really had to say. The melancholia is very latent in Berg's deliberate attempts to deviate from the tonal center and from his careful intervalic crafting of the piece's theme. This recital is a small window into the dramatic instability and uneasenes of the early XX century.
Solo Recital
- Aurea Spiral -
Johannes Brahms/Paul Klengel Violin Sonata Op. 100 No. 2 (1886) (20')
Claude Debussy/Jacques Charlot Petite Piece & Premier Rhapsody (1910) (11')
Maurice Ravel/Jacques Charlot Ma Mere l'Oye (1910) (15')
Bela Bartok/Daniel Inamorato Music for Strings, Percussion and Celesta (1935) (32')
Bela Bartok intentionally indulges in the mathematical golden proportion to compose the first movement of his Music for Strings, Percussion and Celesta. This piece is a favorite of conductors that want to become professionals; while playing piano at many conducting lessons I realized that we lack a reduction of this piece, and that playing it from the full score was keeping pianists in a constant state of panic, as the piece is really demanding. I also found out that the counterpoint uniqueness of this orchestral piece is highly suitable for the piano.
Piano versions of orchestral music are very common in history and many times stand as concert pieces for solo instruments. In early 20th century France it was very common for musicians to meet at parties with writers, painters and music editors, and play for each other piano reductions of their orchestral music. Jacques Charlot was the cousin of Debussy's and Ravel's music publisher, and was responsible for a large number of piano renditions of music written by Ravel and Debussy, that was published at the same time it's original scores also came out. It is a privilege as an artist to go through Debussy's Premier Rhapsody with good clarinetists, to play Ravel's Ma Mere l'Oye in its four hands original format, or to perform Brahms Sonata Op 100 with great violinists, and it is even more of an honor to go through all these pieces as a piano soloist and find my own voice within this glorious variety of soundscapes.
Solo Recital
- Not Quite Said -
Arvo Part (b-1935)
Fur Alina (1976) (3'30")
Aaron Travers (b-1975)
Not Quite Said (2002) (7')
Francisco Cortes-Alvarez (b-1983)
Danza del Parque de las Acacias (2004) (7')
Edison Denisov (1929-1996)
Three Preludes for Piano (1994) (5')
Theme and Variation (1961) (5')
Marlos Nobre (b-1939)
Marlos Nobre Theme and Variation (1962) (10')
Homage a Arthur Rubinstein (1973) (3')
Tocatina, Ponteio, Final Op. 12 (1969) (4')
Alfred Schnittke (1934-1998)
Improvisation and Fugue (1965) (6')
Peter Eotvos (b-1944)
Erdenklavier-Himmelklavier (2003) (2'30")
Un taxi l'attend, mais Tchekhov prefere aller a pied (2004) (3')
Michael Jarrell
...Mais Les Images Restant... (2004) (14')
Reminiscent images; words that haven't really been said; a taxi driver without a passenger; a busy park in Mexico City with it's daily passersby; all intensely depicted here through the sounds these composers experience in daily life, with the strangeness of a non-conforming World that not always makes sense! These amazing composers dare to transform such conundrums into music. The repertoire in this recital spans from 1961-2004 and is rarely, if ever, heard in live concerts.
Solo Recital
- Stocking up on Mozart! -
Amadeus Mozart - Sonata in A Major K.331 (14')
Amadeus Mozart - Fantasia in D Minor K.397 (6')
Amadeus Mozart - Sonata in D Major K. 576 (14')
Amadeus Mozart - Fantasia in F Minor K.594 (8')
Amadeus Mozart - Sonata in F Major K. 332 (18')
Amadeus Mozart - Gigue in G Major K.574 (2')
Solo Recital
- Nebula's Toys -
Note: This is a PG concert, content might not be suitable for children and parental guidance is advised.
Equipament: Piano (preferably a Grand piano); sound system (ideally 8 channel suround), five microphones. Harpsichord tuned to 415Hz. A rigger and equipament to hang performer from ceiling. Adaptations for Art Galleries and Outdoors spaces are available under further consideration and repertoire changes are possible.
Sergio Leal (1977)
Nebula's Arrival (2017). For grand piano,
five toy pianos, electronics and drag queen
performer. (8')
Brady Lanier (1970) - Reclaiming,
Remembering, Reinventing (2018). For
five toy pianos, electronics and
Butoh dancer. (11')
John Cage (1912-1992)/Daniel Inamorato (1987) Toy Piano Suite (1948/2019) (12')
David Loeb (1939) Obsessions (2019) For Harpsichord and Viola da Gamba or Toy Piano and Viola da Gamba (composed for Daniel Inamorato and Brady Lanier). (10')
Frederic Rzewki (1938) Falling Music (1971) For Piano and Sound Sculpture. (18')
Daniel Inamorato (1987) - Tarot (2020) For multi-instrumentation and audience participation.
This concert is inspired by Japanese Butoh Dancers, Drag Queens, Toy Pianists, Tarot Readers and Electronic Music Composers, elaborated during my ongoing research on the influence of images, symbolism, gestures and faith in music performance. This performance is also a personal statement on gender fluidity; it represents my vision for a modern era where we fight for freshness on how the human body is treated performance wise, including acknowledging the important uniqueness of each body/audience-member on the architectural spaces we claim for performances. The audience can choose to participate at the last piece when I read tarot cards to each audience member individually, while they leave, or not, the concert Hall; by interpreting and translating the tarot cards into sound using my toy piano collection. This unprecedented performance develops a soundscape that connects me directly to the people that came to watch me in my most exposed physical and emotional states, hoping to send them home with a personalized message and the understanding that the performance space belongs to all of us!
Chamber Music
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Robert Schumann (1810-1856)
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Drei Fantasiestücke Op. 73 (1849)
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Oboe: Alex Klein
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Felix Mendelsshon (1809-1847)
Trio for Piano, Violin and Violoncello
Op. 66 (1845)
Violin: Eric Auerbach
Violoncello: Noreen Silver
Igor Stravinsky (1882-1971)
L'Histoire du soldat
(The Soldier's Tale) (1919)
Violin: Erasmo Solerti
Clarinet: Vicente Alexim
Edward Elgar (1857–1934)
Capricieuse Op 17 (1891)
Viola: Ori Kam
Waldemar Henrique (1905-1995)
Boi-Bumbá
Voice: Bruno Sandes
Astor Piazzolla (1921-1992)
Milonga de Angel
Cuarteto Tanguero
Viola: Ori Kam
Leonard Bernstein (1918-1990)
Elegy for Mippy (1959)
Horn: David Fenner
Astor Piazzolla (1921-1992)
Tocata Rea (1968)
Cuarteto Tanguero
Reinhold Gliere (1875-1956)
Intermezzo Op. 9 No 1
Tarantella Op. 9 No. 2
Bass: Milton Masciadri
Frederic Chopin (1910-1949)
Complete Song Cycle
(demo promotional video)
Voice: Angelica Menezes. Rodrigo Theodoro.
Camila Bruner. Vivian Delfini.
Translations and Narration: Alexandre Palma
Fly of the Bumblebee - 5/4 Arrangement
Arranger and Musette: Alex Klein