Variations on a Theme by Brouwer
Variations on a Theme by Brouwer
for Solo Piano
Duration: 11 minutes
The piece centers around the melancholic theme from Brouwer’s Dia de Noviembre, which Mayz has transcribed for the piano. The original work’s well-known opening (A section) is heard first in its entirety. Instead of carrying on with the contrasting B section, Mayz begins her series of original piano variations. Variation 1 is marked “lontano; unanticipated,” and presents a Brouwer-influenced yet distinguishable compositional language of the composer-performer herself. The variations move from one to the next with fluidity; often with textures that elide or transition organically between sections. The variations are steeped in the musical language of Brouwer— especially in the interjection of short, angular melodic cells— but also inarguably imbued with knowledge of the vast Theme and Variations tradition of the solo piano repertoire. Furthermore, there is an awareness of the Latin American musical canon that Mayz employs in her composition. There are moments seemingly borrowed from Ginastera with the joyous layering of rhythmic chords; other moments of brash tonal tension taken from composers of the mid to late 20th century; and a sensitive understanding of the importance of improvisation within the Latin American music tradition that brings the variations through stream-of-consciousness soundworlds.
Un Dia de Noviembre (“A Day in November''), is one of Leo Brouwer’s most iconic melodies, and was originally composed as the theme for the 1972 movie of the same name by Cuban director Humberto Solás. Originally conceived for guitar and small orchestra, Brouwer later arranged the piece for solo guitar— the solo version is now a piece firmly established in the guitar repertoire, embraced widely by two generations of international players.
Variations on a Theme by Brouwer
for Solo Piano
Duration: 11 minutes
The piece centers around the melancholic theme from Brouwer’s Dia de Noviembre, which Mayz has transcribed for the piano. The original work’s well-known opening (A section) is heard first in its entirety. Instead of carrying on with the contrasting B section, Mayz begins her series of original piano variations. Variation 1 is marked “lontano; unanticipated,” and presents a Brouwer-influenced yet distinguishable compositional language of the composer-performer herself. The variations move from one to the next with fluidity; often with textures that elide or transition organically between sections. The variations are steeped in the musical language of Brouwer— especially in the interjection of short, angular melodic cells— but also inarguably imbued with knowledge of the vast Theme and Variations tradition of the solo piano repertoire. Furthermore, there is an awareness of the Latin American musical canon that Mayz employs in her composition. There are moments seemingly borrowed from Ginastera with the joyous layering of rhythmic chords; other moments of brash tonal tension taken from composers of the mid to late 20th century; and a sensitive understanding of the importance of improvisation within the Latin American music tradition that brings the variations through stream-of-consciousness soundworlds.
Un Dia de Noviembre (“A Day in November''), is one of Leo Brouwer’s most iconic melodies, and was originally composed as the theme for the 1972 movie of the same name by Cuban director Humberto Solás. Originally conceived for guitar and small orchestra, Brouwer later arranged the piece for solo guitar— the solo version is now a piece firmly established in the guitar repertoire, embraced widely by two generations of international players.
Variations on a Theme by Brouwer
for Solo Piano
Duration: 11 minutes
The piece centers around the melancholic theme from Brouwer’s Dia de Noviembre, which Mayz has transcribed for the piano. The original work’s well-known opening (A section) is heard first in its entirety. Instead of carrying on with the contrasting B section, Mayz begins her series of original piano variations. Variation 1 is marked “lontano; unanticipated,” and presents a Brouwer-influenced yet distinguishable compositional language of the composer-performer herself. The variations move from one to the next with fluidity; often with textures that elide or transition organically between sections. The variations are steeped in the musical language of Brouwer— especially in the interjection of short, angular melodic cells— but also inarguably imbued with knowledge of the vast Theme and Variations tradition of the solo piano repertoire. Furthermore, there is an awareness of the Latin American musical canon that Mayz employs in her composition. There are moments seemingly borrowed from Ginastera with the joyous layering of rhythmic chords; other moments of brash tonal tension taken from composers of the mid to late 20th century; and a sensitive understanding of the importance of improvisation within the Latin American music tradition that brings the variations through stream-of-consciousness soundworlds.
Un Dia de Noviembre (“A Day in November''), is one of Leo Brouwer’s most iconic melodies, and was originally composed as the theme for the 1972 movie of the same name by Cuban director Humberto Solás. Originally conceived for guitar and small orchestra, Brouwer later arranged the piece for solo guitar— the solo version is now a piece firmly established in the guitar repertoire, embraced widely by two generations of international players.