Variations for Piano

Dr. Kalve

I've never been enthusiastic about Seralism, but I rather enjoyed these, although I confess I don't see why you called them 'for piano?' The one time I experimented with this type of music, I found myself wanting to break the rules, and in fact wound up making a short piano piece that I like to listen to at the expense of 80% of the rules. I imagine the fault lies in me, or my musical experiences 55-60 years ago during the formative years.

I got a kick out of The Scherzo for Chamber Orchestra, which you posted elsewhere. Also enjoyed the commentary. I'm not so sure there is any place George could be exported to.

Still looking forward to hearing more Third Symphony.

all best,
mgj

Dear MGJ

I'm so glad you like these small pieces - and the Variations (for Piano)!

I like writing serial pieces, but I am looking at a number of other types of rows - especially the sort of scales that Messiaen employed in his music. Or perhaps I should consider Shostakovitch's approach to tone rows and use them melodically, rather than in a serial structure? I was fascinated to learn that you developed musically during that amazing period when serialism was first being developed -you say more about that? My only direct claim to fame with that period, is that I have autographed first editions in my library of the biography of Alban Berg by Willi Reich and Perle's book on atonality.

And - as a complete paradigm shift - my Third Symphony is progressing...slowly. It remains a tonal piece, and is now just over half way - some 260 bars so far.

With best wishes

Peter