Among Griffes’ wholly original works, the influence of the so-called Impressionist composers, namely Debussy, is clear. The use of whole tone collections, evocative titles, and floating, non-functional harmony (in other words, lacking clear dominant-tonic cadences or other conventional chord progressions) imparts a distinct atmosphere to these mature works composed in the final decade or so of his life.

The prefatory remarks found on the following pages (“Practice & Performance”) are designed to anticipate and assist with various technical and interpretive challenges that may be encountered. These suggestions are merely a starting point, meant both to propose specific frameworks for exploration as well as to spur the pianist’s own creativity in approaching matters of dynamics, touch, rhythm, pedaling, and expression. While these comments aim for accessibility in their use of technical language and the concepts under discussion, they also strive to fuel the imaginations and enhance the practice regimens of more advanced pianists.