Solo Piano

New in 2021:

Teeth in a hyena’s face always slide into place.

Teeth, a 10 minute lightly-staged dark comic micro-opera scored for solo piano and fixed media with optional video. Set in the pandemic year of 2020, our very dramatic heroine pianist sits, at the piano, home alone.  She muses cynically, grapples with losses in her community and debates who or what has the most responsibility for her mother’s death.  Her vivid, vaporous imagination invites us in. 

To be premiered in fall, 2021, presented by the League of Composers / ISCM, in NYC. The text for the work is an East African proverb, translated by A. M. Juster.

Thirteen Piano Preludes 

now available on Amazon.   For more info, visit Eliza Garth and see this review on textura.org.  

Thirteen pieces, between one and eight minutes long that range from epigrams to torrid essays. They can be performed separately or in groups, but when played in the given sequence, are a tour-de-force: they form a forty-five minute arch, with an extreme range, from powerful and thundering to gossamer and twinkling.
Eliza Garth recorded them at Dreamflower Studio.  They are available on her solo CD, Tour de Force, on Albany Records  and from Amazon.

Prelude No. 1: A short meditation that begs a question.

Prelude No 2: Moderato.  2′ 30″   Poses another question, much more urgently. 

Prelude No. 3: Gently, Steadily.  4′ 40″  A meditative query quickly veers away from ‘gentle’ to explosive textures, and alternates between the two extremes. 

Prelude No. 4: Moderato. 6′  Includes a pseudo-hymn. Long, and at times complex, it opens with dyads and continues probing and questioning.

Prelude No. 5: Lento. 3′  A slower piece that describes big open spaces with strings of lush chords. It has a few connections to No. 3.

Prelude No. 6: Allegro.  1′  A quick soliloquy, full of nervous tapping.

Prelude No. 7: Adagio.   2′ 40″  An arch of a piece.

Prelude No. 8: Dramatically.   3′  Another big arch, with a tad more force applied.

Prelude No. 9: Adagio. 6′ 30″  Starting from a  simple, delicate, and mercurial place, the music expands into the furious and indignant culmination of the set of thirteen preludes.

Prelude No. 10: Moderato.  2′ 35″  A bold and cheery 12-tone march that slows down and speeds up at the same time, and expands outward in almost all dimensions.

Prelude No. 11: Allegro.  2′ 40″  Thirds float upwards, almost in spirals.

Prelude No. 12: Quickly.  1′ 30″  An exploration of  twittering and stuttering arpeggios. 

Prelude No. 13: Moderato.  4′ 30″  Slippery tunes, squeezed into precise and slightly harsh and hesitant phrases.