The most distinctive element in pianist David Greilsammer's recital of music from the eighteenth through the twentieth centuries is the way he organizes the pieces. In the program notes he writes that he wanted the pieces to "converse, confide in one another, sometimes intertwine." At the center of the program is Mozart's great Fantasy in C minor, and the pieces by the other composers are flanked around it. The other composers are each represented by two pieces, one played before the Mozart and one following it, but with ...
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The most distinctive element in pianist David Greilsammer's recital of music from the eighteenth through the twentieth centuries is the way he organizes the pieces. In the program notes he writes that he wanted the pieces to "converse, confide in one another, sometimes intertwine." At the center of the program is Mozart's great Fantasy in C minor, and the pieces by the other composers are flanked around it. The other composers are each represented by two pieces, one played before the Mozart and one following it, but with the ones played after it reversed in order, so the Mozart is nested within concentric circles. The Mozart is set between two Cage sonatas for prepared piano, then movements of the Janácek Sonata; movements from Ligeti's Musica Ricercata; movements from Schoenberg's Six Little Pieces, Op. 19; two of Brahms' Fantasies, Op. 116; new works by Jonathan Keren, with the set opening with the Fantasy from Bach's Chromatic Fantasy and Fugue in D minor, and closing with the Fugue. The program...
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