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| Fiser Lubos - Sonata Iv
Piano seul [Partition]
Barenreiter
PIANO SONATA NO. 4 from the years 1962?1964 is dedicated to the memory of Fiser?...(+)
PIANO SONATA NO. 4 from the years 1962?1964 is dedicated to the memory of Fiser?s friend, the pianist Antonín Jemelík, who died tragically. As a tribute to their friendship the composer incorporated into the introduction a quotation from their favourite work, Piano Sonata No. 10, Op. 70,by Alexander Scriabin. The tragedy of the death of the composer?s friend pervades the emotionally intense passage of unison octaves which follows the three-bar quotation. From a compositional point of view this work is a masterpiece of the mid-Sixties. Written as one movement, the piece is divided into numerous mutually contrasting segments which themselves are clearly grouped into two sections, exposition and development. The individual themes are introduced in the first section and thematically expanded in the second section. The motif treatment lies almost exclusively in the fragmenting or curtailing of the theme, or in the use of a combination of several themes, for the most part brief and eloquent. This compositional method, together with a clear-cut manner of execution, mainly semitonal melody and sharply contrastive dynamics, lends force and transparency to the piece. Piano Sonata No. 4 was completed in 1964 together with Symphonic Fresco, Concerto da camera for piano and orchestraand Fifteen Prints after Dürer?s Apocalypseand has earned its rightful place alongside them as masterpieces of Fiser?s ?uvre. The work was first performed by Pavel Stepán in Prague?s Rudolfinum in 1965. The new setting for this piece is based on the single edition to date (Panton, 1969) only with regard to a few inconsistencies in the score was it necessary to consult the composer?s manuscript (kept at the National Museum ? Czech Museum of Music, acquisition number 297/2006). H 7988, ISMN 979-2601-0447-1
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| Chant
Hébraïque
(CASTELNUOVO-TEDESCO
MARIO)
Violon et Piano
Leduc, Alphonse
Par CASTELNUOVO-TEDESCO MARIO.
Born into a family that had lived in Florence si...(+)
Par CASTELNUOVO-TEDESCO MARIO.
Born into a family that had lived in Florence since the expulsion of the Jews from Spain in 1492, Mario Castelnuovo-Tedesco (1895-1968) entertained only a distant relationship with the music he heard at synagogue: a Renaissance church held more appeal for the Florentine artist than the Oriental décor of his forefathers'
place of worship. It was only when he discovered Schelemo, a rhapsody for cello and orchestra written in 1916 by Ernest Bloch, that he began to understand what '
Jewish music” could be. It would take until the death of his maternal grandfather, and the discovery of a collection of prayers set to music among his papers, for the young Castelnuovo-Tedesco to begin to explore Jewish music.
In 1928, two years after publishing the Dances of King David, he wrote this Vocalise-E
tude for medium voice and piano at the request of vocal teacher Amédée-Landély Hettich, who wanted to include it in the Répertoire moderne de Vocalises-E
tudes published by Leduc. The piece became so popular that it led to several adaptations, and the composer asked his close friend Gioacchino Maglioni (1891-1966) to transcribe it for violin and piano.
Divided into three sections, the work opens with a poignant lamento that grieves the tragic fate of the Jewish people. Countering what he felt to be a tendency of Jewish music to transform into a '
Wailing Wall”, Castelnuovo-Tedesco follows the lamento with a folk dance whose brisk, '
lively and stubborn” movement has great panache. The third section returns to the initial poignant theme before briefly reiterating the dance motif, allowing the piece to conclude on a hopeful note./ Répertoire / Violon et Piano
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