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New York Waltzes
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This chapter examines Beyer's solo piano pieces. The titles for her three major piano suites—Gebrauchs-Musik, Dissonant Counterpoint, and Clusters—derive from techniques in the air during the mid-1930s. Beyer's Gebrauchs-Musik (1934) consists of five short, mostly two-voice pieces. The undated Dissonant Counterpoint likewise explores repeating and evolving rhythmic patterns, as well as additive rhythm ideas, expanding the length of individual measures within an ametrical setting and creating discretely separate phrase structures similar to techniques used in her clarinet suites. Like much of Beyer's music, these pieces frequently include difficult polyrhythms. Indeed, the pieces in these suites tend to alternate between a quick, rhythmic style and a slow, static one.
Title: New York Waltzes
Description:
This chapter examines Beyer's solo piano pieces.
The titles for her three major piano suites—Gebrauchs-Musik, Dissonant Counterpoint, and Clusters—derive from techniques in the air during the mid-1930s.
Beyer's Gebrauchs-Musik (1934) consists of five short, mostly two-voice pieces.
The undated Dissonant Counterpoint likewise explores repeating and evolving rhythmic patterns, as well as additive rhythm ideas, expanding the length of individual measures within an ametrical setting and creating discretely separate phrase structures similar to techniques used in her clarinet suites.
Like much of Beyer's music, these pieces frequently include difficult polyrhythms.
Indeed, the pieces in these suites tend to alternate between a quick, rhythmic style and a slow, static one.
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