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NOCTURNE FOR PIANO by Marc Douyon is based on the Haitian folk song, “Ouangolo.” The main theme quotes this folk melody, which is then developed with various compositional techniques. Original secondary themes and motives by the composer are an integral part of the colorful musical tapestry as well. The work begins with an accompaniment that has the feel of someone gently rocking a chair and enjoying the relaxation it brings to the body. Among various themes heard in succession, the first is developed through variations and tempo changes. Shortly thereafter follow, new melodic fragments and accompaniment styles, a change of key, a recitative, all which bring a new sense of motion. Near the end, the last theme of the first section returns. The work closes with a coda which suggests that the person in the rocking chair has fallen asleep. Learn More

RECUERDOS DE ESPAÑA “Memories of Spain” for solo piano by Marc Douyon was inspired by the very diverse music of Spain. This colorful and engaging work uses a triplet rhythm that prevails throughout much of the composition. The music starts with an ambiguity of keys between major and minor, and subsequently travels to different keys. The first two sections are military-like, and feature the melody mostly in the left hand. The middle section is relatively calm with melodic fragments played over an ostinato-like figure in a sequential fashion. The fourth section features idiomatic Spanish rhythms reminiscent of the Andalusian region of Spain. Here, melodic fragments are played over a relentless bass accompaniment. Learn More

TOCCATA AND RETRO-INVENTION for solo piano by Howard J. Buss is dedicated to University of Arizona piano professor, Dr. Rex Woods. The titles of the two movements of this composition form a kinship with the toccatas and inventions of the Baroque era, but with a modern twist. They capture the spirit of the earlier forms, rather than the actual compositional procedures. Learn More

La Sonata modello “The Template Sonata” for solo piano by Howard J. Buss is dedicated to pianist James Helton. The music traverses a wide rage of moods and sonic atmospheres. The composer designed a template of meter changes derived from the numerical series in mathematics codified by the medieval Italian mathematician, Leonardo Fibonacci. In this adaptation of the Fibonacci sequence each number represents a quarter note and is expressed in the succession of meters 4/4, 3/4, 5/4, 4/4, 4/4, 5/4, 3/4, 5/4, 4/4, 4/4, 4/4, 4/4, and 5/4. This series of measures is repeated throughout the work. While each 13-bar segment implies that the music fits into a particular metrical scheme, the composer exerts independence in a variety of ways, such as with phrasing that sometimes ignores the underlying structure. Buss states: “This metrical template was at times useful, but often seemed arbitrary and counter to the thrust and development of the musical material. My challenge was to find a way to work with the template while using its rigidity to spark creative solutions. Although the music evolves within the template, my ultimate goal was that the listener be unaware of the structural underpinnings and simply enjoy the beauty of the music.” Learn More

IMPROMPTU FOR PIANO by Marc Douyon is an intriguing and vibrant composition. Its rapid notes, relaxed rhythm, and quick tempo changes, contribute to the improvisatory character that permeates the work. The interplay of the different melodic ideas and motives, key changes, rhythmic figures, and the extensive range of the composition create a sense of purpose and direction. Learn More

PRELUDE AND TOCCATA FOR PIANO by Marc Douyon is based on the Haitian folk tune “Linglinsou.” The main theme quotes this folk melody, which is then developed with various compositional techniques. Original secondary themes and motives by the composer are an integral part of the colorful musical tapestry as well. The composition opens with a lyrical melody that suggests an atmosphere of complaint, anguish, and despair. But soon, the lyrical main theme, which makes use of hemiola figures, takes the shape of a gracious tribal dance in compound meter. Shortly thereafter, however, the character of the piece changes into an agitated toccata characterized by driving staccato notes, accents, and a close hand position at the piano. The final moments of the piece are heroic-like in nature, but also convey a sense of calm after the storm. Learn More