SKU: BR.EB-8647
ISBN 9790004183403. 9 x 12 inches.
Gone are the days when chamber music was relegated to the sidelines of piano instruction. TWOgether contains two pieces each, mostly original, for piano and the most popular classical melody instruments. It is clear that the pieces make equal musical demands on both the piano and the melody instrument. Thanks to this stylistically varied book, young pianists or their teachers can go out recruiting all kinds of different musical partners. Facilitating their access to the pieces are the informative comments of the editors, which include thoughts on chamber music, and the intonations provided by Oskar Aichinger.
SKU: FL.FX071177
The title of this Piece is a pun on Cubans rhythms. The opposition between the tone and used homonymous tone, as well as the rhythmic formula chosen on theme B are a typical feature of South America music. Concerning the melody, it is a stylistics composition on quarter note triplets!
SKU: VD.ED11337
ISBN 9790202023372. 11.69 x 8.26 inches.
SKU: HL.50566006
ISBN 9781705164884. UPC: 196288068549. 9.0x12.0x0.268 inches.
“Musique française†is a series designed for students and teachers as well as professionals. These editions offer masterworks in French music, with performance suggestions and historical and stylistic commentary by noted scholars. Francis Poulenc's Sonate for violin and piano is a dramatic, vivid and haunting work, full of contrasts. The work alternates between charged, even brutal rhythmic drive, flowing lyricism and carnival-like dance music.
SKU: HH.HH473-FSP
ISBN 9790708146841.
The model for this sonata is Mozart, specifically his Sonata in B flat major, K.454, written in 1784. Eberl borrows many structural and stylistic features from K.454: the grand, slow introduction of the first movement; the song-like second movement opening over rocking accompaniment; and the gavotte-like closing rondo. Eberl even quotes directly from K.454. But the work also looks forward to Beethoven’s contributions to the genre, and in its duration, formal and harmonic novelty, and in the lively relationship between the violin and keyboard, Op.50 shares much of the musical ambition and quality of Beethoven’s early works in this genre.
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