Variazioni su un Tema di Mozart, tbp 43bis (Novegno, Roberto)

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Travelsbypiano (2018/9/25)

Performers Haruno
Publisher Info. Roberto Novegno
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Misc. Notes synthesized audio file
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General Information

Work Title Variazioni su un Tema di Mozart, tbp 43 bis
Alternative. Title
Composer Novegno, Roberto
Opus/Catalogue NumberOp./Cat. No. tbp43bis
I-Catalogue NumberI-Cat. No. IRN 57
Key G minor
Movements/SectionsMov'ts/Sec's 8 (extended theme, 4 variations, theme repetition, 2 more variations and closing)
Year/Date of CompositionY/D of Comp. 2000
Composer Time PeriodComp. Period Modern
Piece Style Modern
Instrumentation SFX pad (2 voices)
Related Works based on Wolfgang Amadeus Mozart's Fantasia for Piano in C minor KV.475 "Più Allegro" section, starting in G minor (see misc. comments)

Misc. Comments

The theme is from Mozart's Fantasia for Piano in C minor KV.475, specifically from the G minor "Più Allegro" section; you know, the one right after the "Andantino" in B flat. This particular section has always been to me the most moving of the whole piece. It is built on a chord progression which Mozart chooses to starts in G minor, his most heart-rending key. The "theme" part I took is however limited to the first 6 bars of that section. From that point Mozart breaks off the loop going D flat major instead of C sharp minor and letting the music flow to the next stage (wonderful passage). Instead I noticed that the chord progression from the D flat major point could instead be carried on following the same schema, so C# minor instead of D flat major, progressing up to D major and then looping back to G minor, like this: G minor -> C7 -> F minor -> Bb7 -> E flat minor -> Ab7 -> C sharp minor -> F#7 -> B minor -> E7 -> A minor -> D7 -> G minor. So the "theme" I used is actually an extended, looping version of that 6-bar harmonic progression. The D7 part is just slightly modified to rise back to the correct octave when returning to G minor. The variations that follow are very very simple from the composer's perspective but quickly become fiendishly difficult to play on a piano at that speed; well, I guess even vars. 2, 3, 4, could still be played at a much slower speed, as an etude, but that's not the point. In fact this piece is not meant to be played on the piano by a human, but by a computer with a synth instrument - although with only two voices, like a piano. The point of the composition was to try and complete the harmonic progression as a loop and repeat a few times with simple variations, just to seep in longer in that moving flow of chords. Just a little experiment in composition and a very, very modest homage to Mozart. I chose to end the piece in G major; I simply felt I had to. In the last bars, the bass (left hand?) says: "C-D-D(lower)-G" - a device I consciously borrowed from... Scarlatti!! CDDG is a "template" bass line to wrap up in G, but I purposely used it as the last but one: the true last line is a playfully "mirrored" version of it, saying *E*-D-D(upper)-G. This was meant just as a playful device, a little experiment inside a larger experiment, but that natural E also works very well to definitely "scatter away" the minor mood clouds.