I had a good forehead-smacking moment working on my Schumann Trilogy.
The first piece in the trilogy is called Fantasie. I was struggling with one of the transitions when I gave myself the aforementioned pink hairporch. “This piece is an homage to Schumann,” I thought, “to hell with the transitions!”
Many of Schumann’s early piano works are famously transitionless. Papillons, Carnaval and other collections are comprised of brief character pieces – miniatures — strung together, with abrupt contrasts the norm. The result, for me, is profoundly disorienting: to listen to some of these works is to enter into a pleasant kind of delirium.
So now I am starting over (have I ever mentioned how much I love starting a piece, then starting over?), with the Fantasiestücke model in mind. We’ll see where it leads – there are all kinds of interesting possibilities.