In 2008, I recorded The Owl and The Pussycat with Amanda Pond, flutist, in the Great Hall at The Krannert Center for the Performing Arts in Urbana, Illinois. The composer, Robert Martin, and I have been collaborators for a number of years. (In 2009, I completed recording over a hundred of his piano pieces from a collection entitled Mt. Fuji.)

The Owl and The Pussycat contains three movements:

Introduction and Waltz
Coming To Terms
From Quiet Conversation to Passion

 

The included excerpt from movement I contains expansive material that can be performed essentially by grouping pairs between the hands. The pairs mostly entail either 7ths or 9ths so that there is not excessive variation in the spacing. Notice also that pedal changes are used sparingly with chromaticism achieved by the combination of the flute and harp. In the 4th system, the multiple harp glissando (executed by the simultaneous use of 2 or more fingers) is heightened by the flute glissando creating a special effect.

Although the two pages from the second movement, Coming to Terms, appear to be highly chromatic, it should be noted that there is only one pedal change over the entire span of both pages. The E natural that does occur on the second page should be placed in the preceding silent measure. For the most part, these two pages are quite accessible.

At the beginning of the excerpt from Quiet Conversation is a passage that requires special attention. By placing the first two notes of each group in the right hand and a series of the 8th notes in the left, I was able to perform these measures fairly comfortably. At the bottom of the page is a glissando employing rhythmic pedal changes in order to produce fluctuations in the pitches.