Music Around The World in 88 Keys

 Program

 

 

 

Program Notes

Gabriel Fauré – Dolly Suite, Op. 56 (1893–1896)

(For Piano Four Hands)

Gabriel Fauré’s Dolly Suite is one of the most charming works in the piano-four-hands repertoire. Written between 1893 and 1896, the suite is a musical portrait album dedicated to Hélène “Dolly” Bardac, the young daughter of Fauré’s close friend, the singer Emma Bardac. Each movement captures a moment of Dolly’s early childhood, full of warmth, affection, and delicate humor.

Although light in character, the suite displays Fauré’s unmistakable elegance: fluid melodies, subtle harmonies, and refined French lyricism. Its six miniatures have become beloved both in the concert hall and on recordings, and the opening movement is widely recognized thanks to its use in radio and television.

I. Berceuse

The suite opens with the famous Berceuse, a tender lullaby originally written for Dolly’s first birthday. Its rocking rhythm and glowing harmonies create an atmosphere of innocence and comfort, setting the gentle tone of the suite.

II. Mi-a-ou

Despite the title, this movement is not about a cat. “Mi-a-ou” was Dolly’s toddler nickname for her older brother Raoul. Fauré transforms this personal joke into a graceful scherzo, full of playful exchanges between the two pianists.

III. Le jardin de Dolly

A delicate garden scene, this movement evokes peaceful childhood moments outdoors. The music is lyrical and fragrant, shaped by Fauré’s characteristic harmonic subtlety. It is one of the suite’s most serene pages.

IV. Kitty-valse

“Kitty” refers to the family’s little dog. Fauré sketches a light, swirling waltz that captures the pet’s quick steps and gentle temperament. The music is graceful but also slightly teasing, as if observing a lively animal at play.

V. Tendresse

A moment of pure affection, Tendresse is the emotional heart of the suite. Rich, warm chords and long-breathed melodies convey a sense of closeness between Fauré and the child who inspired the work.

VI. Le pas espagnol

The suite ends with a burst of energy. Le pas espagnol is an exuberant, dance-like finale full of Iberian flair. Its rhythmic vitality and bright colors close the suite on a festive, sparkling note.

 

Pyotr Ilyich Tchaikovsky (1840–1893) – Selections from The Nutcracker, Op. 71

(arr. for Piano Four Hands)

Premiered in 1892, Tchaikovsky’s Nutcracker remains one of the most enchanting and enduring ballet scores ever written. Its suite of character dances showcases the composer’s extraordinary gift for orchestral color, melody, and atmosphere. The following selections each illuminate a different facet of the ballet’s magical world.

Trepak (Russian Dance)

Fast, fiery, and exuberant, Trepak is one of the most thrilling character dances in the ballet. Inspired by traditional Russian folk dance, it bursts with driving rhythms, bold accents, and relentless energy. Its whirlwind pace and brilliant orchestration make it an audience favorite—an electrifying celebration of virtuosity and festive spirit.

Dance of the Sugar Plum Fairy

Perhaps the most iconic music in the entire ballet, the Dance of the Sugar Plum Fairy embodies delicacy and wonder. Tchaikovsky wrote this piece specifically to feature the recently invented celesta, whose sparkling, bell-like timbre captures the shimmering, otherworldly presence of the Fairy who rules the Land of Sweets. Beneath the dainty surface lies the composer’s subtle harmonic craft, creating a sense of suspended enchantment.

Dance of the Reed Flutes (Mirlitons)

Light, graceful, and pastoral in character, this dance showcases Tchaikovsky’s elegance and refined charm. The lilting melody—often led by flutes and oboes—flows gently over a delicate accompaniment, evoking the image of dancers moving with precision and buoyancy. Dance of the Reed Flutes provides a moment of warmth and clarity, balancing the suite’s more dramatic or mystical episodes.

 

Samuel Barber (1910–1981) – Selection  from Souvenirs, Op. 28

(For Piano Four Hands)

Composed in 1951–52, Barber’s Souvenirs is a brilliant and affectionate tribute to the glamorous ballroom culture of the early 20th century. Originally written for piano four hands, the suite presents six character dances, each evoking a different style that might have been heard in an elegant New York or Paris hotel ballroom around 1914.

Barber described the work as “worn perfume” and imagined it taking place in the old Plaza Hotel—music filtered through memory, nostalgia, and a touch of satire. Although playful and witty on the surface, the suite reveals his sophisticated craftsmanship, lyrical instinct, and sharp rhythmic sense.

I. Waltz

A graceful opening with sweeping phrases and nostalgic charm. The music glides effortlessly, balancing elegance with a slightly bittersweet atmosphere.

 

Ignacio Cervantes (1847–1905) – Danzas Cubanas

(For Piano / Piano Four Hands)

Ignacio Cervantes is considered one of the founding figures of Cuban classical music, and his Danzas Cubanas are among the most elegant and expressive works in the island’s 19th-century salon tradition. Written across several decades, these short pieces blend European dance forms with distinctly Cuban rhythms, melodic turns, and a refined sense of charm.

Cervantes studied in Paris with Charles-Wilfrid de Bériot and met composers such as Rossini, Gounod, and Liszt, yet his music remained grounded in the sounds of Havana—its street songs, contradanzas, and danzones. Each of the Danzas Cubanas is a miniature character piece, often witty or bittersweet, always infused with rhythmic subtlety and melodic grace.

Although deceptively light on the surface, these dances offer sophisticated craftsmanship. Syncopations, Afro-Cuban rhythmic gestures, and sudden harmonic shifts reveal Cervantes’s ability to merge classical clarity with unmistakably Cuban identity.

In performance, the Danzas Cubanas create a vivid musical tapestry: elegant, playful, nostalgic, and quietly virtuosic. Whether heard individually or as a suite, they stand as some of the most enduring and poetic piano works from Latin America’s Romantic period—capturing the soul of Cuban musical life with warmth and refinement.

 

Astor Piazzolla (1921–1992) – Libertango

(arr. for Piano Four Hands)

Composed in 1974, Libertango is one of Astor Piazzolla’s most iconic works and a defining statement of nuevo tango, the modern, jazz-infused reinvention of Argentine tango he pioneered. The title itself blends libertad (freedom) and tango, signaling Piazzolla’s artistic break from traditional tango forms and his embrace of a more assertive, liberated musical language.

Libertango is driven by a relentless rhythmic pulse, propulsive bass lines, and sharp, syncopated accents. Its bold melodic fragments—simple yet instantly recognizable—unfold over a tight, energetic groove, creating a sense of forward motion and simmering tension. The piece’s repetitive structure and escalating intensity draw the listener into a world that is both hypnotic and electrifying.

Originally written for bandoneon, strings, and percussion, Libertango has since been arranged for countless ensembles, from solo instruments to full orchestra. Its unmistakable rhythmic swagger and dramatic flair have made it a staple of the concert stage, a symbol of Piazzolla’s revolutionary impact on 20th-century music, and a vivid celebration of the tango’s enduring spirit.

 

Ottorino Respighi (1879–1936) – Album di bambini / Miniature for Piano Four Hands

This charming cycle of short pieces for piano four hands reveals Respighi at his most intimate, imaginative, and playful. Written with children—or the idea of childhood—in mind, these miniatures blend simple, folk-like melodies with Respighi’s refined harmonic colors and his fascination with musical cultures beyond Italy. Even in these small forms, his gift for atmosphere and storytelling shines through.

What unites the collection is not virtuosity but character. Each piece paints a vivid, self-contained scene, inviting listeners into a world of innocence, imagination, and folkloric color.

I. Romanza

A warm, lyrical opening, Romanza sets the tender tone of the collection. A graceful cantabile line floats above gentle harmonies, already displaying Respighi’s unmistakable melodic voice. The simplicity of the theme is part of its charm—an intimate vignette that feels like the musical equivalent of a quiet daydream.

II. Canto di caccia siciliano

Here Respighi evokes the rustic sounds of a Sicilian hunt. Pastoral drones, echoing calls, and lively rhythmic gestures create a landscape full of sun and earthy texture. The modal inflections and lilting motion recall traditional Sicilian tunes, filtered through Respighi’s elegant, impressionistic touch.

III. Canzone armena

A poignant tribute to Armenian folk tradition, this piece carries a gentle melancholy. Its modal contour and expressive ornament-like turns give it a distinctly Eastern color. Respighi—an avid collector and admirer of folk melodies—treats the tune with noble simplicity, allowing its natural beauty to speak.

IV. Natale, Natale

Bright, festive, and stamped with childlike joy, Natale Natale captures the spirit of an Italian Christmas. Bells, dances, and little musical smiles animate the texture, while Respighi’s warm harmonies evoke the glow of holiday lights. It feels like a musical postcard from a joyful winter celebration.

V. Cantilena scozzese

Returning to the world of Celtic song, this “Scottish Cantilena” sings with gentle lilt and open intervals that recall Highland airs. Respighi keeps the texture light and transparent, letting the melody sway with natural, folk-like simplicity. The result is both nostalgic and tender.

VI. Piccoli Highlander

The set ends with delightful energy: “Little Highlanders” march in with playful swagger. A miniature portrait of Scottish children dancing or parading, the piece sparkles with rhythmic bounce and bright humor. It is Respighi at his most charming—light, characterful, and utterly delightful.

In Context

These pieces show a different side of Respighi from his famous Roman tone poems. Instead of grand orchestral spectacle, he offers six small windows into the poetry of simple melodies and childhood imagination. Yet the fingerprints of the mature composer are all here: rich modal colors, sensitivity to national styles, and a storyteller’s instinct for atmosphere.

Perfect for piano four hands, these works invite performers to share not only the keyboard but also a sense of intimacy, warmth, and playful partnership—just as Respighi intended.

 

Johann Strauss (1804-1849) – Radetzky March, Op. 228

(arr. for Piano Four Hands)

Few works in the 19th-century orchestral repertory have achieved the universal recognition and festive spirit of Johann Strauss I’s Radetzky March. Composed in 1848, the piece was written to honor Field Marshal Joseph Radetzky von Radetz, a celebrated commander of the Austrian Empire. Premiered at a time of political unrest, the march quickly became a symbol of military pride and national unity, and it remains one of Strauss’s most enduring contributions to the Austro-Hungarian musical tradition.

The Radetzky March is instantly recognizable for its buoyant rhythms, crisp fanfare figures, and infectious energy. The work’s signature character—cheerful, triumphant, and irresistibly rhythmic—has made it a perennial favorite, famously concluding the annual Vienna Philharmonic New Year’s Concert, where audiences clap along in time.

In the piano four-hands arrangement, the march takes on a particularly engaging form. The duet version distills the brilliance of the full orchestra into the intimacy of a single keyboard, requiring tight ensemble coordination and clear articulation. The Primo player often carries the bright melodic lines and sparkling figurations, while the Secondo provides the firm, march-like accompaniment that drives the music forward. The result is a lively interplay between partners that showcases both the precision and camaraderie essential to duet performance.

Though written more than 175 years ago, the Radetzky March retains its unmistakable charm, continuing to evoke celebration, ceremony, and a sense of collective joy. In this four-hand setting, listeners can experience the iconic march in a fresh, chamber-scaled perspective that highlights Strauss’s gift for melody, rhythm, and good-natured exuberance.

 

Johannes Brahms (1833–1897) – Hungarian Dances, Nos. 1 and 5**

(For Piano Four Hands)

Johannes Brahms’s Hungarian Dances are among his most beloved works—vibrant, fiery pieces inspired by the Hungarian and Romani musical traditions he encountered during his early career in Vienna. Originally written for piano four hands (and later arranged in numerous versions), the dances blend folk energy with Brahms’s sophisticated craftsmanship, resulting in music that is at once spontaneous and masterfully shaped.

Though Brahms thought of them as arrangements of traditional melodies, many of the themes—especially in Nos. 1 and 5—are now believed to be original tunes or heavily re-imagined folk material filtered through his artistic voice.

Hungarian Dance No. 1 in G minor

Dance No. 1 sets the tone for the entire collection: bold, dramatic, and richly colored. The piece follows the verbunkosstyle, a Hungarian dance tradition characterized by sharply contrasting tempos and expressive ornamentation. The opening features sweeping minor-key gestures and strong rhythmic accents, creating a sense of fiery tension.

Brahms contrasts this with moments of lyrical warmth before building to a powerful and exhilarating conclusion. The interplay between sudden dynamic changes and elastic rubato captures the spirit of improvisation that was central to Hungarian folk performance. In a four-hand version, the rich bass lines of the Secondo combine with the agile melodic flourishes of the Primo to recreate the vigor of a full ensemble.

Hungarian Dance No. 5 in F# minor

Perhaps the best-known of all the Hungarian Dances, No. 5 showcases Brahms at his most captivating. Its unforgettable opening rhythm—snappy, syncopated, and teasing—immediately pulls the listener in. This dance also employs the verbunkos style, alternating slow, smoldering passages with exhilarating bursts of speed.

The middle section briefly shifts into a more lyrical character before the music whips back into its fiery refrain. The sudden tempo changes, sharp accents, and brilliant melodic lines demand both precision and flair from performers. In its piano four-hand form, the dance becomes an exhilarating dialogue between players, full of color, contrast, and spirited energy.

A Final Note

Together, Dances Nos. 1 and 5 highlight Brahms’s deep affection for Hungarian musical idioms and his ability to blend folk vitality with refined classical structure. Their irresistible charm and rhythmic bite have made them enduring favorites in both recital halls and orchestral programs around the world.

 

Meet the Artists

Peruvian pianist Pedro Uceda keeps an active musical career as a teacher, soloist and chamber musician. He has performed extensively in numerous venues across Latin America, Europe, and The United States, including Auditorio Vincenzo Vitale, Palazzo Chigi Saracini in Italy, Saint-Julien-le-Pauvre, Téâthre du Capitole  and Salle Cortot in France, Auditorio Manuel de Falla and Auditorio Kursaal in Spain, Sala Alzedo, Teatro Municipal in Peru, The Pittsburgh Carnegie Music Hall, The Mellon Institute Auditorium, Kresge Recital Hall, Simon Center for the Arts to mention a few.

A laureate in several international piano competitions, Mr. Uceda has been invited to perform at such international festivals as the Piccolo Spoleto Festival in the United States, Encuentro de Música de Cámara Perú-Mexico in Perú, the Nuits Musicales du Suquet à Cannes, Festival de Musique Sur Ciel in France, The Stresa Music Festival, the Alta Pusteria Festival, Maggio Musicale Fiorentino in Italy, the Quincena Musical de San Sebastián, the Festival Musical de Alava, and the Festival Internacional de Música de Vitoria-Gasteiz in Spain.  

Born in Lima, Mr. Uceda holds a Bachelor’s degree in piano performance and music history from the Conservatory of Music of Lima, a Master’s degree and Performance Diploma in piano performance from Carnegie Mellon University, and certificates from L’Ecole Normale de Musique in France and Accademia Chigiana in Italy. Some of his main teachers include Elsa Pulgar-Vidal, Jean-Claude Pennetier and Enrique Graf. He has also worked privately with François-René Duchable, Aldo Ciccolini, Paul Badura-Skoda, Alicia de Larrocha in Europe, and Earl Wild, Abbey Simon, Leon Fleisher, Ilana Vered, and Russel Sherman in the United States.  

An experienced and effective teacher, Mr. Uceda, has served on the faculties of the Conservatory of Music of Lima, San Marcos University in Lima, Carnegie Mellon University in Pittsburgh, the College of Charleston, and the Charleston Academy of Music in South Carolina, and has also been invited to offer masterclasses and lectures at several musical institutions. He currently serves as a piano faculty member at the Merit School of Music in Chicago. 

Roberta Terchi Nocentini

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