Harpsichord Pieces, Book 2, Suite 9, No.4: La Princesse de Sens Rondeau

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Prokofiev Piano Sonata No. Allegro inquieto — Andantino Martin James Bartlett. Shostakovich Symphony No. Busoni Piano Concerto: II. Poulenc Flute Sonata arr. Roxanna Panufnik Love Abide — I. Mendelssohn Piano Concerto No. Mahler Symphony No. Mozart Symphony No. Myaskovsky Cello Sonata No. Falla La vida breve, Act 1: Ah, ande la tarea, que hay que trabajar!

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Max Bruch Die Loreley, Op. Adagio — Vivace Wihan Quartet. Corelli Concerto grosso in F: IV. Berlioz Symphonie fantastique: II.

1715 compositions

Bernstein Mass: No. A Simple Song Arr. Liszt Sardanapalo: Vieni!

Hoffmeister Double Bass Quartet No. Haydn Concerto per il Corno da caccia in D: I. Verdi et al. Messa per Rossini: Allegro vivace Tasmin Little, John Lenehan. Berlioz Harold en Italie: 3. Schubert Symphony No.

Second livre de pièces de clavecin (Couperin, François)

Berlioz Harold in Italy: II. Molto vivace Tasmin Little, John Lenehan. In his collection Lamartine waxes rapturous over the divine presence in all creation and Liszt, who as a teenager had wanted to become a priest and who was later to take minor orders in the Catholic Church, could not agree more. Whence comes, oh my God, this peace that floods over me? A lunga pausa leads to an episode Andante based on a quietly questioning dotted motive and a serenely stable pedal point in the bass, emblematic of the reassuring presence of the divine.

A new man is born within me and starts off anew. Bach set the tone for the practice in the last Contrapunctus of his Art of the Fugue, a massive quadruple fugue in which the 3rd subject spells out his own name, B-A-C-H in German, B refers to what we call B-flat, and H to B-natural. Originally an organ work, composed for the consecration ceremony of a new instrument in the Merseberg Cathedral in Saxony-Anhalt in , Liszt produced a revised version of the work for piano solo in This piano solo version in no way tones down the original snarling organ score to suit the more modest sonorous capabilities of the pianoforte but rather, like the organ version, aims to set the walls shaking and the rafters quivering in whichever hall it is performed.

But then again, self-aggrandizing showmanship and pious humility were ever the poles between which this complex artistic personality so often shuttled. The work as a whole is characterized by an almost neurotic obsession with the musical motive B-A-C-H, which is thunderously announced in the bass in the opening bars and which permeates the texture of nearly every subsequent measure, whether booming out majestically as fortissimo chords or informing the smallest levels of ornamental passagework.

Read e-book Harpsichord Pieces, Book 1, Suite 5, No.6: La Tendre Fanchon rondeau

This will unfortunately be the reaction of most audience members hearing for the first time of this great earlyth-century Russian musician. Better known, even in Russia, as a pianist than a composer, Samuil Feinberg was an ardent admirer and tireless performer of the works of Johann Sebastian Bach, the first in his country to perform the Well-Tempered Clavier Book I in public recital. In his early period, of which his Sonata in E-flat minor Op. His single-movement E-flat minor Sonata is opulently scored over a wide range of the keyboard, its expansive but well-balanced chord structures unfolding with little sense of harmonic resolution but leaving behind a warm afterglow of emotional resonance.

He also shares with Scriabin a rhythmic suppleness and mysterious murkiness of pulse that results from his extensive use of irregular metrical units within the bar, alternating with moments of hammering emphasis. In short, there is a kind of wild impulsiveness that his music incarnates, a sort of dark ecstasy longing to come out, indicated most clearly by his tempo and performance markings: Presto impetuoso, burrascoso stormily , poco languido, luminoso. The erratic pacing of this sonata, combined with its textural richness, makes it somewhat difficult to organize in the ear, especially on a first hearing, but it makes a strong case for an earlyth-century Russian avant-garde that was not limited to Scriabin alone.

Traditional diatonic harmonies have little driving force in these pieces, replaced by modal melodies and harmonic constructions based on whole-tone scales that elicit less hierarchical aural expectations in the listener. Tonal ambiguity and blurred harmonic focus have changed from defects to prized features. Widely spaced sonorities measure the distance outwardly travelled.

The highest register glistens dazzlingly with glints of sunlight. Vivid as the scene is in the ear, the experience of taking it in is ultimately a mysterious enterprise, symbolized by recurring glimpses of the echoing musical motive: A-flat, F, E-flat. The composer is remembered in a slow, purposeful sarabande, moving forward at a processional pace.

Its melody walks within the narrow range of the pentatonic scale, and its rhythm is virtually flat. But this apparent surface serenity is made emotional and impactful by the bright harmonic colouring that Debussy attaches to these simple compositional elements. Mouvement , as its name suggests, is a study in movement-movement propelled forward by a constant whirl of triplets in the mid-range around which fanfare motives blare out on either side. The very obstinacy of these moto perpetuo 16ths suggests mechanized motion, a twirling lathe, perhaps. The Polish-American pianist, composer and pedagogue Leopold Godowsky was almost entirely self-taught.

Bach, Johann Sebastian | Grove Music

His extraordinary technical facility at the keyboard prompted him to write hair-raisingly difficult paraphrases of well-known works in the repertoire, bringing them in line with own florid style of delivery. This work represents well both the breadth of his musical imagination and the grandeur of his conception of idiomatic writing for the keyboard.

The texture is distinctly orchestral in sonority due to the vast range of keyboard real estate covered by the hands in each phrase. Dating from , the very year in which Beethoven accepted that he was going deaf, it gives scarce evidence of coming from a composer remembered for his rebellious unorthodoxies, one who bequeathed a deeply personal intimacy to instrumental music.

This sonata, by contrast, is sociable and chatty, marked by an uncomplicated joyfulness. It appears to typify rather than challenge the achievements of the Classical era. Its clear phrasing and transparent textures point to Mozart while its vigour and wit are classic Haydn.

It opens with a run scurrying back and forth, issuing into a rising arpeggio capped o by a comical chirp from the violin, like Tweety Bird chiming in late, after the beat, in a Bugs Bunny skit. The second theme is surprisingly in a minor key, but every bit as energetic as the first. Finally, a nonchalant closing theme, skipping merrily over a drone bass, completes the line-up. A steady eight- note pulse and many tremolo figures, exploited thoroughly in the development section, keep this movement bustling and bubbling along in a style that pre-figures the buoyancy of Mendelssohn.

There is no slow movement. Instead comes a real, danceable minuet, moving in even careful steps, with all the graceful pauses that would allow courtiers to exchange polite glances, and a wealth of turns and trills to go with their frilly cuffs and collars. Or so it seems, until Beethoven takes this courtly dance for a stroll in a few other directions, with many a diversion into the minor mode and even an oom-pah-pah rhythm.

But the straight-laced minuet tune keeps coming back again and again, and maybe this contrast is the whole point. The last movement has been called a Rondo alla musette and for good reason.


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Chewing over the two parts of its theme — one in 16ths, the other in 8ths — it conjures up images of village dancing and presents a daunting challenge to those who frown on toe-tapping during recitals. The sonata, originally written for flute and then adapted for violin, is diatonic in its harmonies, as immediate in its appeal as any film score, and its layout in the four movements of the traditional sonata, each clearly structured, makes it especially accessible to audiences familiar with the major works of the classical canon. The first movement Moderato opens with a dreamy violin melody suspended in the air above a solid steady-as-she-goes piano accompaniment.

The second theme in a dotted rhythm is more jaunty, but eminently whistleable. And you can hardly blame him. Nonetheless, it manages to be full of almost dancelike sections, and even stops to smell the roses in a more lyrical but still quirky middle section. The third movement Andante opens with a wide-ranging but pleasing melody of a beguiling simplicity.

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It picks up the pace, however, in an almost jazzy middle section that seems obsessed with all the di erent combinations of notes you can invent within the space of a major third. These two melodies, the broad lyrical one and the busy decorative one, are brought together to close off the movement in a spirit of chumminess and mutual cooperation. The exuberant fourth movement Allegro con brio presents and balances an extraordinary range of themes, beginning with a strutting, nostril-flaring march in the violin.

A further section sees the piano stuck in the mud, plodding along repetitively in the bass while the violin performs pirouettes in the air above it. A complete contrast is provided by a lyrical section that bursts gloriously into song halfway through. Gluing the whole movement together is a constant, faithful pulse of 8th notes in the piano that swells in the final pages to end the work in a state of joyous exaltation. Representing as they do all the major and minor keys, in strict order, the set invites comparisons with similar collections by Bach and Chopin. The personal, individual stamp that each prelude receives is wholly Chopinesque, while neo-baroque Bachian contrapuntal textures abound.

Each prelude is sharply etched in mood, with a concentration of effect resulting from an elemental simplicity of texture. Arrangements of these pieces abound. The tension in these pieces is between expectation and arrival. Almost as shocking, however, is when they manage to arrive at a perfectly conventional and pleasing cadence. The final result is a kind of thrilling grotesqueness, easily interpretable as having a satiric bite, but not entirely dismissible as pure comedy: the aura of melancholy and lament is far too vivid in the ear.

The mock-waltz feel is even stronger in No. By the time it finally breaks into song, the piece, sadly is almost over.