Thanks David and Riley. Seems like I may be doing some things right here
About the Llanto, your glissandos sound crisp. They might have a more powerful effect at a slower tempo, but that would change the piece entirely and I think the tempo right now works well. The simple block chord progressions remind me of Chopin's Op. 28 No. 20 Largo.
Arpeggios, not glissandos. I would not want to do it any slower, it's already on the funereal side but IMO that befits the occasion. The harmonies have little in common with Chopin's prelude.
About the Pregon: it is hard for me to get into. If you have read Aaron Copland's "What to listen for in music," he has a chapter on contemporary music. He classifies Shostakovitch as easy to approach, Prokofiev is "quite approachable," Bartok is "fairly difficult" and Alban Berg is "very tough." The harmonic language of this piece is like something of a Berg-composition, that is, it's very foreign to me.
With all respect to Copland, I think his categorization is just a little oversimplified.... Some of Shostakovich is totally abstract and forbidding, and some of Bartok is sweet and accessible. Composers thus caliber have many faces.
Strange that one perceives this as a sassy salon/encore piece and another as a rather abstract piece a la Berg.
About the Habanera, I think I have just listened to the first work by Halffter that appeals to a beginning listener of classical piano music. Ok... maybe intermediate listener, but this piece seems the most approachable of the lot. I agree with Monica, I hear a lot of Albeniz's Tango in the The rhythms, passing tones, cadences. Staccato could be a little sharper, to my aural taste.
It's certainly the most easy-going of the lot, and an immediate charmer. It could probably stand different interpretations but I think I well approach what the composer wrote (if maybe not what he meant
On the Dulcinee, sounds nice. Hearing this piece a second time, I like it a lot more than the first time. I like your phrasing interpretation around :52, there is a nice accel. and rall. there. Dynamics at 3:30 are well contrasted to the forte moments in the piece. I can't really tell where the slips are It seems like there should be a longer pause in between 3:18 ~ 3:20, but the continuous phrasing works ok. I don't think it would be worth recording again, I think this is a good performance. I am curious to hear how a pianist heard on naxos would play this? Maybe less expression?
I never heard this played by someone else, nor any of the others (though there is at least one pianist with complete Halffter on CD, not Naxos). Had to make up my own mind of how to go about them. This one is very much open for interpretation, I think, more so than the others. Despite its apparent simplicity it is really tricky and doesn't come easy. The 2 or 3 slips are very minor but irritate me all the same (as they were not in the first version
). So maybe, one more time yet....