Choosing Pieces For Programmes

Got in the mood to work on my music on this lovely and went through my programme a few times consecutively. While going through the pieces, I got into an introspective mood and started asking myself why I had chosen those particular pieces in the first place. Of course, in the midst of practising those pieces, I had discovered the more intricate beauty of the pieces, but somehow, I felt a need to be re-captivated by the same qualities which had made me choose these particular pieces over the others in the first place. As my brain juggled with such thoughts, there seems to be this miraculous effect of enabling me to caress more musical sounds and phrases out of my instrument, despite having gone through the pieces a few times consecutively. Now, that's what I would consider a rare satisfying run and I certainly hope that I would be able to reproduce that form on the performance day.

A fellow studying musician suggested that I ought to go for my diploma certificate early next year. Well, I shrugged off her suggestion right away earlier today but I have to admit now that after looking at the Trinity syllabus, I am greatly tempted. It certainly caught my attention that a few pieces in the syllabus are already in my performance repertoire. Of course, I wouldn't be choosing the same pieces just to save some effort to acquire this paper qualification, but the very fact that I can easily churn out the pieces which was mentioned in the syllabus do signify that I might most probably be technically proficient to acquire a few of the other performance works mentioned in the same diploma into my repertoire in the next few months. And not to mention that it would certainly be exciting to start forming another new set of programme for this recital diploma.

Alright, let's take a look at the pieces which have caught my attention.

1. Grand Overture Op. 61 by Mauro Giuliani (A sumptuous work which I've been lusting over for the past few months but haven't gotten sufficient reason to start working on it) 8
2. Invocación y danza by Joaquin Rodrigo (One of the most hauntingly evocative works in the guitar repertoire. Love this work exceedingly) 9
3. Prelude, Fugue and Allegro by J.S. Bach (How can one do without Bach? Yes, this work is in my repertoire, but I've discovered a superior transcription from the lute to the guitar of it. Can't wait to try out the transcription.) 12
4. Valse en Skai by Roland Dyens

A pretty interesting mix of Baroque, Classical and Modern music, not suitable for a solo recital, but decent for a diploma programme. These are certainly big works and I have yet to try them. I'm apprehensive about mastering them by next diploma exam. Shall work on them soon later this month and see how fast my progress is before deciding.

I've decided to choose Yuquijiro Yocoh's arrangement of Sakura Theme and Variations for my teacher's Students' Concert as I'm really fascinated by the exotic sounds of the Japanese koto recently. That'll give me some pressure to practise due to the numerous techniques used in the different variations.