The name derives from the extended crab canon which follows the introduction.
Uses GPO Steinway, of course.
Quite an elaboration I guess. Beautiful disonance and romantic too.
MIDI AND SAMPLING TECHNOLOGY HAS OPENED AN ENTIRE NEW WORLD OF MUSIC!
I think I heard Erik Satie's ghost in the intro & in the 2nd section.
A nice work.
I would have liked to hear the 1st section in the extreme bass voice & also in the top voices. Kind of "grandpa" & "junior."
Well, you have befuddled me again but I did enjoy this.
I won' try to analyze it but just absorb it's musical richness.
The way the delicate dissonances tumble over each other is exquisite. A very beautiful composition.
I thought the final section had a leaning towards a barcarolle - night on or near the water.
Well, thanks for the comments. I thought it was time to do something calm and relaxing, so I did, in part, because I wanted to prove that I could write something a bit less intense and aggressive than most of my music.
There is a definite watery feel to this, as is a frequent happening with my music. I do now recognize a hint of Satie, but I don't know how that happened, as I don't know much of his music.
The idea of the canon at the beginning was to generate a mild surprise after the cadenza. I think it worked! Also, l should add that I like a crab canon, and look for excuses to use it.
I must say I enjoy your more contemplative side,
Richard; as well as the tightly structured compositional
sense of this piece... very satisfying! The whole latter
section is delicious; not just to the ear, but in how
you derived and executed it.