Eric Gross: Klavierstucke III (1980-86)

Abstract

"Even though each of Eric Gross's Klavierstucke was composed on a quite separate occasion - the three pieces were written in 1980, 1983 and 1986 respectively - they do form a unified set, as the pieces all display similar fonnal devices ar1d stylistic characteristics. Formally, each of the Klavierstucke can be seen to be based upon the principle of variation set within contrasting sectional structures involving the development and metamorphosis of different thematic or motivic cells. Therefore, a modular or lattice-like structure is generated in which predominantly self contained musical fragments reappear in a modified, expanded or truncated form within a musical context quite different from that in which they first appeared. One may find, for example, two variants of different musical cells placed together even though the original cells appeared earlier in quite different sections of the piece. Such cells as well as wholes sections within each Klavierstuck are quite clearly defined and are frequently separated by a caesura or ritardando, or a sudden change in dynamic. The fundamental principle of variation, as a generator of musical material, is, of course, firmly rooted in the jazz tradition. Furthermore, even though each of the pieces has a clearly audible musical logic, the feeling of discontinuity caused by this mosaic variation structure tends to negate any sense of the classical notions of climax and repose. Several stylistic traits readily derivable from various jazz idioms may be seen at work in the Klavierstucke. From the softer, lyrical, jazz ballad and night club styles comes an often flexible approach to rhythm and tempo. Also common are arpeggio-derived or thick, lush and frequently dissonant chordal textures covering a large part of the piano keyboard." -- Ian Shanaham