Welcome to the extended program companion to Grace Jordan’s solo recital, An Evening of Grace, held on July 11, 2025 at the Balance Arts Center in New York City.
Whether you're a lifelong music lover or new to classical repertoire, we invite you to explore Grace’s curated notes, sacred inspirations, and historical gems below.
Johann Sebastian Bach (1685–1750), a towering figure of the Baroque era, devoted his life and music to the glory of God. His Well-Tempered Clavier is a two-volume collection of preludes and fugues written in every major and minor key—an ambitious demonstration of the expressive power of equal temperament. The Prelude & Fugue in D Minor showcases Bach’s brilliant craftsmanship: the prelude dances with steady rhythm and clarity, while the fugue builds complexity through layered voices.
In a fugue (fyoog), each voice enters one at a time with the same theme, weaving together in intricate harmony—a form that beautifully mirrors order and unity. Though purely instrumental, this music feels almost liturgical in its precision and depth. Bach famously signed his manuscripts with the Latin phrase Soli Deo Gloria — “To God alone be the glory.”
Grace’s Note: This music feels like architecture—mathematically perfect, yet expressive. I love how Bach’s work is an expression of love and reverence for God Almighty.
Ludwig van Beethoven (1770–1827), a pivotal figure straddling the Classical and Romantic eras, expanded the emotional and structural possibilities of music. His Sonata in G Major, op. 14 no. 2—composed in his early thirties—reflects both elegance and wit. The first movement (Allegro) is cheerful and sparkling, built around playful motifs and unexpected shifts in harmony, while the second movement (Andante) is shaped like a theme and variations—a form in which a melody is presented and then transformed in successive passages.
The Andante’s “music-box” quality and the sonata’s overall clarity reflect Beethoven’s Classical training under Haydn, yet glimpses of Romantic boldness peek through in its sudden dynamic changes and inventive textures. This balance of refinement and innovation became a hallmark of Beethoven’s style as he continued to reshape the future of music.
Grace’s Note: I love how this sonata shows Beethoven’s clever side—especially the sudden pauses and surprises. Even in a more “Classical” piece, you can hear the emotion bubbling beneath the surface.
Franz Schubert (1797–1828), an Austrian composer bridging the Classical and Romantic eras, is beloved for his lyrical gift and deeply expressive voice. Though he died at just 31, Schubert left behind over 600 art songs, chamber music, and works for solo piano—many born from quiet moments of reflection in nature.
This impromptu (im-PROMP-too) is one of a collection of four that Schubert wrote near the end of his life. The title suggests spontaneity, yet this piece is masterfully crafted with virtuosic runs and flowing melodies that require both sensitivity and precision.
Written in 1827, the Impromptu in E-flat Major blends elegance and urgency. It evokes both a gentle waltz and a powerful aria, unfolding like a seamless conversation—elegant, nostalgic, and emotionally rich. The middle section shifts dramatically in key, heightening tension before returning to the opening theme, transformed by all that came before. Schubert often composed while walking near water, and this piece echoes that sense of movement: cascading arpeggios, waves of sound, and melodies that gently carry the listener forward.
Grace’s Note: As I play this piece, I imagine being led by Schubert on a lyrical journey—wandering near water, through quiet paths, with flowing melodies that unfold like conversations beneath the trees. This masterpiece feels like storytelling at the piano—wistful, grand, and fleeting all at once.
Frédéric Chopin (1810–1849), the “poet of the piano,” was a leading figure of the Romantic era, celebrated for his deeply expressive works and revolutionary approach to piano technique. His Nouvelles Études, composed in 1839 as part of a pedagogical project for his friend Charles Hanon, are lesser-known than his famous Op. 10 and Op. 25 études, but just as rich in invention.
The Nouvelle Étude No. 1 explores flowing hand crossings and intricate finger work, requiring the pianist to shape phrases with both grace and clarity. Beneath the technical brilliance lies Chopin’s unmistakable lyricism—sorrowful yet refined. This étude, written in F minor, sings with quiet melancholy while challenging the performer to make something beautiful out of motion itself.
Grace’s Note: I fell in love with this étude the moment I heard it. It’s not flashy—but it’s full of hidden emotion. It feels like a whispered story told through movement and sound.
Franz Liszt (1811–1886), one of the most dazzling virtuosos of the 19th century, helped shape the Romantic era with his innovations in harmony, expression, and pianistic technique. Though famous for thunderous showpieces, Liszt also had a deeply spiritual side. His Six Consolations are quieter, reflective works—musical meditations meant to bring comfort to the soul.
Consolation No. 3 in D-flat Major is the most well-known of the set. Its gentle triplet rhythm, lyrical melody, and flowing accompaniment create a sense of serene contemplation. Written in the same key and similar spirit as Chopin’s famous Nocturne in D-flat, it has often been interpreted as a musical prayer—full of tenderness and quiet longing. Liszt, a devout Catholic, saw music as a bridge between earthly struggle and heavenly peace.
Grace’s Note: This is one of the most peaceful pieces I’ve ever played. It feels like a lullaby for the soul—simple, but full of grace. I wanted each note to feel like a prayer.
Robert Schumann (1810–1856), a Romantic composer and passionate literary thinker, often blurred the lines between music and storytelling. His Fantasiestücke (fantasy pieces), op. 12, are musical character sketches inspired by the writings of E.T.A. Hoffmann, a German Romantic author whose fantastical tales explored the boundaries between imagination and reality—ideas that deeply resonated with Schumann’s artistic spirit.
The second piece, Aufschwung (pronounced owf-shvoong), means “Soaring.” It opens with bold, impassioned chords and leaps that seem to lift off the ground—like wings suddenly unfurled. Schumann uses quick contrasts between stormy outbursts and lyrical interludes to capture the feeling of emotional flight. The piece demands both technical agility and expressive storytelling from the performer.
Grace’s Note: This music feels like a gust of wind! I love how dramatic it is, but also how much color and nuance you can bring to it. It reminds me why Schumann is one of the most poetic composers of all time.
Leoš Janáček (1854–1928) was a Czech composer known for his deeply expressive and unconventional musical voice. Rooted in Moravian folk traditions and the natural rhythms of language, his music often feels raw, intimate, and emotionally unfiltered. In the Mists, composed in 1912, is a cycle of four piano pieces written during a time of personal and professional uncertainty. These works reflect introspection, solitude, and vulnerability.
The first movement, Andante, opens with a veiled, searching melody that seems to emerge from fog. Its harmonies drift between keys, creating a dreamlike uncertainty—like walking an unfamiliar path. The third movement, Andantino, is more lyrical and song-like, though no less mysterious. Janáček’s phrases imitate the natural cadence of speech, inviting the pianist to play as though telling a hushed, emotional story. Both movements ask for deep emotional honesty and restraint, revealing beauty in their quietude.
Grace’s Note: These pieces taught me to listen more closely—to every silence, every color, every breath. Janáček’s music isn’t flashy, but it speaks straight to the heart. I had to learn to trust the stillness.
Aram Khachaturian (1903–1978), one of the most celebrated Armenian composers of the 20th century, was known for blending Western classical traditions with the vivid musical colors of his Armenian heritage. His Masquerade Waltz was written in 1941 as incidental music for a stage adaptation of Masquerade, a dramatic play by Mikhail Lermontov (1814–1841), one of Russia’s great Romantic poets and playwrights. Lermontov’s story explores themes of love, secrecy, and mistaken identity—perfectly mirrored in the waltz’s theatrical flair.
The music opens with a sweeping violin melody and evolves into a dance that feels both graceful and mysterious—like a ballroom dream veiled in suspense. Though composed during World War II, the piece shimmers with elegance and tension, capturing both old-world grandeur and cinematic drama. Today, it remains one of Khachaturian’s most beloved and widely performed compositions.
Grace’s Note: This waltz is like musical drama! I love how it sways between elegance and suspense—it feels like a masquerade ball in sound.
This beloved sacred song was written in the early 1980s by Sondra Corbett-Wood, a worship leader, recording artist, and composer with a heart for ministering through music. Born into a musical family, Corbett-Wood began singing and writing from an early age and was part of the influential Christian music ensemble Truth, which helped launch the careers of many contemporary Christian artists. Her composition I Worship You, Almighty God came out of a season of quiet prayer and quickly became a treasured anthem in worship services across denominations.
The song’s lyrical simplicity and tender melody carry a profound message of reverence and awe: “There is none like You…” Though unpretentious in its musical structure, the piece invites listeners into a posture of humble praise. It became especially well-known through recordings by Don Moen and others, but the heart of the song remains deeply personal—a musical offering of love and surrender.
Grace’s Note: This song reminds me that worship doesn’t need to be complicated to be powerful. Its sincerity moves me every time I play it, and it calls me to pause and remember the greatness of God.
Mary Leaf is an American composer and educator known for crafting lyrical piano works that invite imagination and musical storytelling. A passionate teacher as well as a composer, she has created an extensive catalog of pieces that blend classical harmony with narrative charm. Her music is beloved by pianists of all ages for its emotional clarity and gentle expressiveness. (Fun fact: Mary Leaf often collaborates with her students, drawing inspiration from their experiences and imaginations when composing new works.)
Prairie Fantasy paints a peaceful, pastoral landscape where melody drifts like a breeze across open plains. Its songlike flow evokes images of swaying grasses, wide skies, and quiet wonder—like a musical daydream. Harmonies unfold with warmth and simplicity, offering space for phrasing and color.
Grace’s Note: This piece is like a breath of fresh air. It gave me space to just play with sound—like painting with a soft brush. I imagined golden fields, birds overhead, and the quiet joy of stillness.
This medley pairs a beloved 19th-century hymn with one of the most stirring themes in the Romantic piano repertoire. The hymn It Is Well with My Soul was penned in 1873 by Horatio Spafford (1828–1888) after enduring a series of heartbreaking tragedies, including the loss of his four daughters in a shipwreck. His poetic words—“When peace like a river attendeth my way...”–express unwavering trust in God’s sovereignty even amid sorrow. Composer Philip Bliss (1838–1876) set those words to music shortly afterward, creating a hymn that has brought comfort and peace to generations.
Sergei Rachmaninoff (1873–1943), a Russian Romantic composer and virtuoso pianist, included the famous 18th variation in his Rhapsody on a Theme of Paganini, written in 1934. The variation inverts Paganini’s theme and transforms it into a soaring, lyrical melody—one that feels deeply emotional, almost like a prayer. It’s one of Rachmaninoff’s most beloved and recognizable musical moments.
In this arrangement, the hymn and the Rachmaninoff variation intertwine seamlessly. The result is both devotional and cinematic—two voices, one sacred and one Romantic, united in peace and hope.
Grace’s Note: This pairing gives me goosebumps every time. Both melodies carry so much emotion, and together they remind me that beauty can rise even from sorrow.
This pairing brings together two elegant streams of pastoral beauty: the timeless comfort of a traditional hymn and the lyrical grace of a French melody. The King of Love My Shepherd Is is a 19th-century hymn based on Psalm 23, set to the gentle Irish tune St. Columba. The hymn’s text was written in 1868 by Henry Williams Baker (1821–1877), whose poetry lovingly paraphrases “The Lord is my shepherd...” with a tone of tender trust. The Irish melody that carries it is simple, flowing, and deeply rooted in a musical tradition of peace and reverence.
Gabriel Fauré (1845–1924), one of France’s most beloved composers, wrote Sicilienne in 1893 as incidental music for a theatrical production. With its lilting 6/8 rhythm and graceful melodic lines, the piece evokes an air of gentle melancholy. Though originally written for cello and orchestra, it has since become a favorite for many instruments, including piano.
Together, these two works create a sacred reverie—one grounded in Scripture and the other in expressive lyricism. They sing of trust, grace, and the beauty of still waters.
Grace’s Note: This pairing feels like a lullaby for the soul. It’s gentle and flowing—reminding me that even in uncertainty, we are led beside still waters and into peace.
Catherine Rollin is an American composer, pianist, and educator whose music blends classical technique with the rhythmic vitality of jazz and modern musical styles. Sounds of an American City is a vibrant suite that captures the pulse, energy, and texture of urban life. Each movement evokes a different scene: early morning rush, towering architecture, traffic horns, or the hum of a bustling café. The suite invites the listener to hear music in the movement of a crowd or the rhythm of passing footsteps.
Rollin’s writing in this work is bold and syncopated. She layers jazz harmonies and shifting accents, challenging the performer to balance clarity with spontaneity. Though the music is written in a structured form, it carries the soul of improvisation—calling to mind the liveliness and complexity of any major American city.
Grace’s Note: I loved how this suite let me explore rhythm in a new way. Each section tells a different story, and it made me think about how music can describe the places we live—without using any words.
Grace Jordan’s original composition A Light in Winter offers a classical-sacred crossover built upon the beloved Christmas hymn What Child Is This, originally penned by William Chatterton Dix in 1865 and set to the traditional English melody Greensleeves.
With a harmonic language shaped by Romantic and Impressionist influences, Grace reimagines the familiar carol through expressive rubato, layered textures, and gentle modal shifts. The result is a musical meditation that moves between wonder, warmth, and worship—echoing both the mystery of the incarnation and the tenderness of the nativity.
Grace’s Note: I wanted this piece to feel like candlelight—glowing softly, flickering with hope. It was inspired by the line, “This, this is Christ the King,” and the idea that something quiet can still shine brightly.
Full Hymn Texts & Reflections
Several selections in this recital are rooted in sacred texts and beloved hymns. If you’d like to revisit the lyrics, we invite you to explore them below:
Included Hymns:
- It Is Well with My Soul — Text by Horatio Spafford (1873)
- The King of Love My Shepherd Is — Text by Henry W. Baker (1868)
- I Worship You, Almighty God — Sondra Corbett-Wood (1992)
In Closing
Thank you for joining me for An Evening of Grace. Each piece in this program was chosen with care—some for their beauty, others for their challenge, and many for their spiritual resonance. Music has a way of speaking to the soul, and I hope something you heard at my recital stayed with you.
Whether you’re a fellow musician, a curious listener, or a longtime friend of music, I’m grateful for your presence. May this extended program companion inspire you to explore more—more composers, more hymns, more stories Behind the Music.
Support Grace’s Musical Journey
If Grace’s music moved you, would you consider supporting her continued studies? As a young pianist, vocalist, and aspiring musicologist, she is deeply grateful for every note of encouragement—especially those that help make future recitals, recordings, and training possible.
“Let the favor of the Lord our God be upon us, and establish the work of our hands upon us; yes, establish the work of our hands!” —Psalm 90:17 (ESV)