1. Intermezzo
2. Variations-Fantasy
3. Slavic Dance

I. Intermezzo

Reminiscent of Brahms's piano Intermezzi, this piece should have a fluid quality, with a clear sense of phrasing. To play it in strict tempo without regard for subtle slowing or pushing in certain areas would render the performance mechanical, rather than sculptured. The upper melody should always be brought out as the most important subject matter.

II. Variations-Fantasy

[Some of the material in this piece is a representation of a fragment from Rachmaninoff's Piano Concerto No. 1 (third movement, six measures after cur #48).]

This piece, based on a transitional passage in a Rachmaninoff piano concerto, is slower than the first. Again, it is essential that the sections be carefully projected. There is no strict tempo, but tempo variations should never be maudlin or exaggerated.

III. Slavic Dance

The dance should be boisterous, rollicking. The main tune in the pedal should be prominent. Again, phrasing considerations are important in cadential areas.

The composer most gratefully thanks the Guild for this commission, and respectfully dedicates the set of pieces to Bert Gerken, long-time friend and colleague.

—John Pozdro; Lawrence, Kansas; 1989