The Girl in My Alphabet (for Two Pianos, Eight Hands): Piano x2, 8 Hands

Eight-hand two-piano writing is rare enough in contemporary repertoire that finding a substantial 56-page work in this format is genuinely valuable. Wallen's approach to the medium avoids the potential awkwardness of multiple hands cramping the keyboard; instead, she writes with clear awareness of how shared space and multiple parts can create textural richness. The title promises narrative or thematic interest beyond pure technical display, making this piece rewarding for both the performers discovering it and audiences experiencing what contemporary two-piano writing can accomplish.

The title hints at narrative or associative content, suggesting emotional or imaginative substance beneath the surface. With eight hands distributed across two instruments, the work likely explores the interplay between independent voices and unified sound, creating moments of lyrical beauty alongside more densely textured passages. Contemporary in language yet rooted in the piano's tradition of dialogue and counterpoint, it rewards attentive listening from both performers and audience.

Advanced adult pianists or undergraduate and graduate music students who relish the challenge of collaborative keyboard music. This work suits ensembles with access to two quality pianos and performers comfortable reading complex ensemble textures. The 56-page length and sophisticated writing demand serious preparation, making it ideal for recital programs, chamber music festivals, or concert series devoted to contemporary keyboard music.

• Establish clear hand assignments and territory on each keyboard before rehearsal begins; mark the score or create a seating diagram so performers know exactly which regions they occupy during shared passages. This eliminates hesitation and prevents collisions.
• Use a metronome or click track during early rehearsals to lock the two pianos together, especially in sections where rhythmic precision matters more than expressive flexibility. Once synchronization is secure, you can shape phrasing more freely.
• Schedule ensemble rehearsals where all eight hands can sit at the pianos together; even if individual practice is necessary, at least one full-group run-through before performance ensures all performers hear how their parts fit into the larger sound world.
• Record a rehearsal and listen back as a group, paying attention to balance and clarity. With eight hands creating texture, some lines may disappear; this listening session reveals which voices need more projection or prominence.

Position this as a standalone contemporary work on a recital or chamber music concert, particularly one focused on new or recent music for keyboard ensembles. The substantial length justifies its own program slot, and the specific instrumentation makes it a natural centerpiece for a concert themed around collaborative or ensemble-based piano writing. Alternatively, it pairs well with other two-piano or multi-hand keyboard works as part of a broader exploration of 21st-century approaches to the instrument.

• Coordinating ensemble playing across two pianos with multiple performers sharing keyboard space
• Reading and executing complex polyphonic textures with multiple independent lines
• Balancing part consciousness in a densely voiced setting
• Interpreting contemporary notation and harmonic language
• Communicating and problem-solving with fellow performers in a collaborative context