Moonlight On The Lake: Living on a lake in the summertime, as Sharon and I have done on beautiful Oquaga Lake in New York, allows you to see reflections in the water any time during the day or night. One evening, the light from a full moon cast an image on the lake that set an exquisite mood which I was able to capture musically in Moonlight on the Lake.
MOONLIGHT ON THE LAKE- ITS CONCEPTION
Moonlight On The Lake: In composing the piece, I used the standard ABA song form but in a different way than most. Traditionally, the “A” melodic theme represents the initial inspiration. The middle part, also called the “B” part, presents a new musical idea before the “A”repeats. Usually, this middle section, sometimes called “the break”, is of less interest than the initial thus, making the listener long for the more catchy “A” melody to return. In Moonlight on the Lake, the “B” section introduces a new haunting theme. Its different rhythmic thrust breaks with the waltz/triple meter of the “A” theme and utilizes the duple/2:4 meter. The unusual format I use in the “B section is a theme with variations within.
The “A” Theme in Am lasts 48 bars
Theme B is 32 bars is 32 bars.
“B” Variation 1 has a Liszt-like romantic flare with arpeggios running up and down the keyboard played by crossing the hands- left over right in continual fashion – suggesting ripples of water. In concert performances, the crossing of hands adds showmanship.
“B” Variation 2 is inspired by the keyboard fireworks of the 1st movement of J.S. Bach’s Brandenburg Concerto No. 5 in D major marked “cembalo solo senza stromenti” (harpsichord solo without strings). I adapted it to fit the variation.
The “A” Theme returns.
This theme’s return after the middle section is welcomed. The end is realized by passionate arpeggios with a Chopinesque-like flare.