Closing Recital Pieces

[r-pista]

This is a nice complement to the discussion about ‘opening a recital’.
I am trying to decide on a good closing piece for a recital at the end of May, but have a limited amount of time for practice. I’d like to use something that’s already in my repertoire such as the “Sonatine” by Tournier or the Faure “Impromptu”.

[Saul Davis Zlatkovski]

It depends what comes before it. Tournier’s Sonatine would be a lot weaker than ending with the Faure Impromptu. There aren’t a lot of great ending pieces. Some are too short, or not showy enough, or just don’t grab the audience enough to pull them to their feet for a standing ovation. It depends a lot on what has come before. Shaping a program is like writing a musical. The songs have to fit emotionally as well as energetically. They always put an emotional number before the big ending, they call that an 11 O’Clock song. Actually, I think it’s emotion they’re after, I’m not sure how they’re defined, haven’t been to that many shows. In A Little Night Music, I’m pretty sure it’s The Miller’s Son, which alternates between sad resignation and excitement.

That is why Scintillation will perhaps always be the ultimate closing piece, because it is full of many emotions, incredible colors and a truly grand finale. It’s very end is also the hardest part, I find.

Other pieces I do or would end with: Salzedo’s Variations, Ballade, Preludes, a concerto perhaps, the Faure Impromptu, Scintillation, Recessional, Scintillation, Scintillation, umm, hmm, what else is there? I don’t like being made to listen to the usual

[Saul Davis Zlatkovski]

To get back to your specific question, multiple movements isn’t the issue, it’s the cumulative effect and the specific ending involved. Rota’s Sarabande and Toccata can sometimes work well. You could conceivably end with the C.P.E. Bach Sonata if you play the movements Allegro-Adagio-Allegro.

[Saul Davis Zlatkovski]

And, so, the Handel Concerto is a good ending piece.

[r-pista]

Thanks for your help Saul! I agree about the shaping of a program and the “11 o clock” piece, as you put it. I love Scintillation and it looks fun to play, but I am not sure if I have time to learn it.

[milena-stanisic]

It is so nice to read other harpist’s opinion about closing piece for a recital!

In my opinion Faure is a great opening of a recital. Also, I have heard beautiful recital that ended with Bach-Grandjany: Etude no. 12. The ending was fantastic and amazing.

[lionel-vargas]

I’ve seen quite a few concerts given by prominent harpists and winners of international harp competitions and from what I remember they closed their program with Salzedo’s Ballade, Renie’s Legende, Viejo Zortzico, Faure’s Une Chatelaine en Sa Tour to name a few. I think

[r-pista]

Well, for this particular program I am obligated to play most of the repertoire from a competition I won in Mexico in October. The recital is for the RioHarp Festival- part of the prize. The pieces I will include from are the Hindemith Sonata, Maqamat by Ami Maayani, Fugue in d minor by Bach (Grandjany etude #2), and Torre Bermeja by Albeniz. I am padding it out with other pieces of course (Parry Sonata, Caplet- ‘a la francaise’, Mauldin ‘Birds in Winter’, and Faure Impromptu). I thought of putting “Torre Bermeja” at the end because it is upbeat and exciting, but I was concerned that it was too short for a closing piece. I love the suggestions that people are writing, but I’m also aware that I want to play as beautifully (and comfortably) as possible as this is a high pressure situation, rather than try to learn a ‘fireworks’ piece to impress.

[Saul Davis Zlatkovski]

I would start with Parry, then Bach, then Caplet, then Hindemith. On the second half I would do Mauldin, Maayani, Albeniz, Faure.

I would never end with a Bach piece if I had the Variations on the same program. Ending with Une Chatelaine en sa Tour would be a real let-down of energy. It’s a great piece for the middle somewhere, or even the beginning if you dare. But it does depend on the individual and how they come across, too.

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