 | Pierné, Gabriel - "Canzonetta" for Clarinet & Piano Opus 19 Clarinette, Piano |
VoirPDF : "Canzonetta" (Opus 19) for Clarinet & Piano (5 pages - 316.55 Ko)2 358x⬇ VoirPDF : Clarinette Part (261.06 Ko) VoirPDF : Piano Part (271.28 Ko) MP3 : Audio principal (271.28 Ko)513x⬇ 3586x
Canzonetta for Clarinet & Piano
MP3 (3.05 Mo) : 
(par Magatagan, Michael)383x⬇ 583x
Canzonetta for Clarinet & Piano
MP3 (3.03 Mo) : (par Magatagan, Michael)431x⬇ 404x
Canzonetta for Clarinet & Piano
MP3 (3.11 Mo) : (par Leonard Anderson)347x⬇ 488x
Vidéo :
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| Compositeur : | Pierné, Gabriel (1863 - 1937) | ||
| Instrumentation : | Clarinette, Piano | ||
| Genre : | Romantique | ||
| Arrangeur : Editeur : | MAGATAGAN, MICHAEL (1960 - ) | ||
| Date : | 1888 | ||
| Droit d'auteur : | Public Domain | ||
| Ajoutée par magataganm, 15 Aoû 2013 Henri Constant Gabriel Pierné (1863 – 1937) was a French composer, conductor, and organist. Gabriel Pierné was born in Metz in 1863. His family moved to Paris to escape the Franco-Prussian War. He studied at the Paris Conservatoire, gaining first prizes for solfège, piano, organ, counterpoint and fugue. He won the French Prix de Rome in 1882, with his cantata Edith. His teachers included Antoine François Marmontel, Albert Lavignac, Émile Durand, César Franck (for the organ) and Jules Massenet (for composition). He succeeded César Franck as organist at Saint Clotilde Basilica in Paris from 1890 to 1898. He himself was succeeded by another distinguished Franck pupil, Charles Tournemire. Associated for many years with Édouard Colonne's concert series, the Concerts Colonne, from 1903, Pierné became chief conductor of this series in 1910. His most notable early performance was the world premiere of Igor Stravinsky's ballet The Firebird, at the Ballets Russes, Paris, on 25 June 1910. He remained in the post until 1933 (when Paul Paray took over his duties). He was a master musical craftsman, and his skill is as apparent in ear candy such as the Canzonetta for clarinet and piano, Op. 19 (probably composed sometime during the final decade of the nineteenth century), as it is in his more weighty, "serious" organ and dramatic music. The Canzonetta is dedicated "to [his] friend Charles Turban." The single-movement Canzonetta divides into several distinct but connected sections of music. The clarinet's wistful opening melody has hints of the siciliano in its dotted rhythms; it is followed by a new "scherzando" episode in C minor. Here the pianist is granted the body of thematic action while the clarinetist adds isolated arpeggios that are derived from the very first gesture the clarinetist played in the piece. The dotted rhythms of the opening are completely dissolved during a more syrupy section in A flat major (Più lento), but soon the players develop a hankering for those old siciliano rhythms and return to the opening music, this time with the tune in the piano. The close is magical if played well: the clarinetist makes a whispering run up the treble clef as the music drops from pianissimo to triple-piano, and then disappears into the very highest register of the instrument -- E flat three lines above the staff (written F on a B flat clarinet)! -- as the pianist provides a soft harmonic cushion. I created this transcription at the request of my friend Dr. leonard Anderson. | |||
