Solo Piano (2014)

4 pieces with a total duration of ca. 25 Minutes
The work has 3 possible versions which can be performed in the following orders :
1 /  1 – 2 /  1 – 2 – 3 – 4
Dedicated to Małgorzata Walentynowicz

Małgorzata Walentynowicz performing @
Voertman Hall, Denton USA  — Mar 22 2017,  8pm
Clarke Recital Hall, Miami USA — Mar 25 2017,  8pm
Bird Recital Hall, Louisville USA — Mar 27 2017,  7pm

Jonida Lazellari performing “No.1 from Op.4” @
Pianodrom International Festival, Tirana ALBANIA— Dec 17 2015, 8pm

Afërdita Bufaj performing “No.1 from Op.4” @
Pianodrom International Festival, Tirana ALBANIA— Nov 15 2014, 8pm

Bosendorfer CEUS performing “No.1+2 from Op.4” @
MEIT, Denton USA— Mar 24 2014, 8pm

I. and II. are opposites that stem from an identical material.
III. is their synthesis as well as an opening into a quotational world.
IV. is partly a consequence and partly an origin.

Having foolishly interpreted in the past J.L.Borges’ “Pierre Menard the Author of Don Quixote” as a clever post-modern example, I had to attempt something similar myself in order to experience its more serious weight, and to discard first-hand any ironical interpretation of both Borges’ story and my Opus 4 – note: irony, not lightness! I would like to highlight two similarities (taken from the story) and one difference among Menard-Borges and myself, chosen among a multitude of others:

1. «Two texts of differing value inspired Menard’s undertaking. One was that philological fragment (number 2005 in the Dresden edition) in which Novalis outlines the notion of total identification with a particular author.»
2. «Pierre Menard was not out to write another Don Quixote – which would have been easy – but Don Quixote itself. Needless to add, he never envisaged a mindless transcription of the original; it was not his intention to copy it. His ambition, an admirable one, was to produce a handful of pages that matched word for word and line for line those of Miguel de Cervantes.» (trans. N.T. di Giovanni)

The difference is that I have gone further than Menard’s mysterious reconstruction: Composing A.Scriabin’s 10th Sonata as IV. was not my summum bonum, but as equally important as inventing its preceding antecedent-consequent trajectory.