Very good and very different from your past works. Is there a story behind the changes in the movements? Pretty lighthearted in places. I really like the last sections, starting around page 10. As a side note, Didn't your parents have a Chevy Caprice in the late 60s?
Thanks for the kind words! Two previous works "Trilogy I" and "Trilogy II" were both in G minor and major, though that was not planned. When I started this one, my ear and thoughts went to the same tonality before I realized I was doing it again. That made want to differentiate this work somehow, so I'm pleased it sounds different! (BTW I've started a "Trilogy III", which will definitely not be in G) The story on "Caprice": I started with thoughts of a prelude and fugue, but decided to pursue a continuously evolving piece tied together by thematic elements. As a result, the slow minor theme becomes a direct outline for the contrasting major waltz.The fugal section starts with the repeated staccatos used in both the slow theme and the waltz. After the fugue exposition and some episodes, it too flows into a dance (page 10) based on a snippets of the fugue, including the repeated staccatos. Finally, the dance flows right back into a fugue recap, stretto, and conclusion. All I can plead is that it seemed like a good idea at the time. In music, a caprice is usually lively and fairly free in form.That definition seemed to come close, hence the title. And you are correct about the Chevy Caprice. A 1966 silver coupe.
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Very good and very different from your past works. Is there a story behind the changes in the movements? Pretty lighthearted in places. I really like the last sections, starting around page 10. As a side note, Didn't your parents have a Chevy Caprice in the late 60s?
Thanks for the kind words! Two previous works "Trilogy I" and "Trilogy II" were both in G minor and major, though that was not planned. When I started this one, my ear and thoughts went to the same tonality before I realized I was doing it again. That made want to differentiate this work somehow, so I'm pleased it sounds different! (BTW I've started a "Trilogy III", which will definitely not be in G)
The story on "Caprice": I started with thoughts of a prelude and fugue, but decided to pursue a continuously evolving piece tied together by thematic elements. As a result, the slow minor theme becomes a direct outline for the contrasting major waltz.The fugal section starts with the repeated staccatos used in both the slow theme and the waltz. After the fugue exposition and some episodes, it too flows into a dance (page 10) based on a snippets of the fugue, including the repeated staccatos. Finally, the dance flows right back into a fugue recap, stretto, and conclusion. All I can plead is that it seemed like a good idea at the time.
In music, a caprice is usually lively and fairly free in form.That definition seemed to come close, hence the title. And you are correct about the Chevy Caprice. A 1966 silver coupe.