Thirteen pieces ranging from epigrams to torrid essays. They can be performed separately or in groups, but when played in the given sequence, are a pianistic tour-de-force from thunder to gossamer and twinkling.
They are available on Eliza Garth’s solo CD, Tour de Force, on Albany Records  and from Amazon.  Score is available from Subito, here.  Here is a review: 


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.