Sonatas for Harpsichord. Composed by Domenico Scarlatti (1685-1757). Edit...(+)
Sonatas for
Harpsichord. Composed
by Domenico Scarlatti
(1685-1757). Edited by
Emilia Fadini and Marco
Moiraghi. Piano.
Softcover. 296 pages.
Ricordi #ER2757.
Published by Ricordi
(HL.50600627).
Chamber Music Harpsichord SKU: PR.110418390 Composed by Eric Ewazen. Full...(+)
Chamber Music Harpsichord
SKU: PR.110418390
Composed by Eric Ewazen.
Full score. 11 pages.
Duration 10 minutes.
Theodore Presser Company
#110-41839. Published by
Theodore Presser Company
(PR.110418390).
ISBN
9781491134603. UPC:
680160685158.
Eric
Ewazen’s THREE
INVENTIONS were inspired
by Bach’s Two-part
Inventions, yet they
sound thoroughly like
Ewazen. Composed for
harpsichord (with a piano
adaptation following
later), Ewazen’s
inventions maintain a
pure “one note per
hand†texture until
their final chord, with
strong-but-free imitative
counterpoint between the
two voices. While Ewazen
may be best known for his
wind music, he is a
pianist himself, and
composers’ works
for their own instrument
are a direct insight into
how they write for their
own performances. The
piano adaptation of THREE
INVENTIONS is also
available as a separate
publication. THREE
INVENTIONS was written
for my dear friend Maria
Rojas, who premiered the
work on a faculty recital
at Juilliard. Maria is
both a pianist and a
harpsichordist, and I
first met her when she
gave a demonstration of
the harpsichord for the
students in my theory
classes.I’ve
always been captivated by
Bach’s series of
Two-Part and Three-Part
Inventions. With the
Two-Part Inventions,
I’m amazed how
Bach could create such
wonderful intricacy and
counterpoint with only
two voices. I
consequently modeled my
inventions after the
counterpoint of Bach,
involving the traditional
contrapuntal devices he
used: imitation,
development, harmonic and
modal shifts,
fragmentation, and
sequence, essentially
creating a dialog between
two completely equal
voices conversing with
each other!Bach wrote 15
Two-Part Inventions (as
well as 15 Three-Part
Inventions, not to
mention the 48 preludes
and fugues in The
Well-Tempered Clavier!),
and that’s just
the start of his
voluminous repertoire for
the keyboard! I was happy
just to write
three!!!Each of my
inventions has a
distinctive mood. The
first is in a relaxed,
yet cheerful C Major
tonality (as a nod to
Bach’s Invention
No. 1 in C Major); the
second is heartfelt and
lyrical; and the third
invention (involving a
Gigue rhythm in the
compound meter of 12/8)
is energetic, and full of
life and spontaneity. The
third is primarily in a
minor tonality, resulting
in a feeling of drama,
bringing the THREE
INVENTIONS to an exciting
finale.
(fur Cembalo). By Jiri Gemrot. For harpsichord. Prague Spring. Czech title: Hry ...(+)
(fur Cembalo). By Jiri
Gemrot. For harpsichord.
Prague Spring. Czech
title: Hry pro cembalo.
Classical. Performance
score. Published by
Editio Baerenreiter Praha
. Performance score.
Classical.
Harpsichord SKU: HL.295386 For Harpsichord. Composed by Zygmunt Kr...(+)
Harpsichord
SKU:
HL.295386
For
Harpsichord. Composed
by Zygmunt Krauze. PWM.
Classical. Softcover. 20
pages. Polskie
Wydawnictwo Muzyczne
#12375010. Published by
Polskie Wydawnictwo
Muzyczne (HL.295386).
ISBN 9781540055873.
UPC: 888680946807.
9.25x12.0x0.102
inches.
Harpsichord SKU: FG.55011-764-8 Composed by Esa Pietilä. Classical, co...(+)
Harpsichord
SKU:
FG.55011-764-8
Composed by Esa
Pietilä. Classical,
contemporary. Book.
Fennica Gehrman
#55011-764-8. Published
by Fennica Gehrman
(FG.55011-764-8).
ISBN
9790550117648.
The
title of Esa
Pietilä’s solo
harpsichord work Fata
morgana (2019) refers to
a special weather
con-dition, which creates
illusory effect of
mirage-like fairy
castle-like monuments in
the horizon of the sea.
The piece brings forth
the frightening bass
sonority on double
manual, full size
harpsichord and the
brightness on the treble
and makes a dialogue out
of them. “I got
fasci-nated by the
sonority, character and
power of the low register
sound on the instrument,
es-pecially when used in
non-traditional way and
found some kind of
especially delightful and
outlandish cluster-mud
and airy glimmering
things which seem to play
together, the com-poser
describes. The challenges
of the piece lie in
rhythmical ideas, which
are surprisingly
multi-faceted and in the
short, improvised
section.
Duration: c.
6’
Esa
Pietilän
soolo-cembalolle tehdyn
sävellyksen otsikko
Fata morgana (2019)
viittaa erityisen
sääil-miön
aiheuttamaan
illusatoriseen
kangastuksen tapaiseen
efektiin, joka tuo esiin
satulinnojen kaltaisten
rakennelmien
ilmaantumisen meren
horisonttiin. Sävellys
tuo esiin cembalon
bas-sorekisterin
pelottavuuden sekä
diskantin kirkkauden ja
käy niillä
vuoropuhelua. Haltioiduin
cembalon alarekisterin
erityisestä soinnista,
karakteerista ja
voimasta, jos sitä
käyttää hyvinkin
ei-perinteisesti.
Löysin myös
erityisen hauskasti
soivaa klusteri-mutaa ja
ilmavaa kimallusta, jotka
sointuvat yhteen,
Pietilä kuvaa
sävellystään.
Kappaleen haasteena ovat
rytmisesti
yllät-tävät ja
monitahoiset ideat
sekä lyhyt
improvisaatiojakso.