Up to date (2010), I am the only performer of this work. Since I recorded it in the 90’s (at the Pogo Studios in Champaign, Illinois), it is clear that Metaphysical Waltz is performable as written. In fact, I consider this piece to be quite idiomatic yet at the same time, I realize that it is learning intensive. Most of it is quite facile once the moves and timing are assimilated even though I would still consider this a virtuouso “avant garde” piece.

Upon examination of the score, it is evident that I employed techniques and symbols that became manifest in the works of Salzedo. At the beginning of page 3, I employ the half moon symbol to indicate the use of the fingernail on a glissando. Immediately following, I used rhythmic pedal changes in order to fluctuate the pitches of a long glissando segment. In measure 49, appears the use of the thunder effect created by aggressively twanging the bass wire strings so that they collide with each other. Although this passage, beginning in measure 49, looks very chromatic and therefore quite difficult, the pedals are actually set so that there are no changes during the descending 32nd notes and the hand placements are easily manageable 4 note scalar groupings.

On the final page are many different actions occurring in quick succession. At the end of measure 55, a bisbigliando indication is followed by a rapid gliss ending with a slap on the sounding board, the plucking of the wire F and then buzzing it with the fingernail followed by unusual but playable chords. In measure 57 are a couple of pedal glissandi after which are a series of chords to be played between the hands. With a close look at the chords, it becomes apparent that they involve repeated placements. The pedal setup makes them sound more complex.