An instrumental arrangement for intermediate level organ of Mozart’s Laudate Dominum from the Veperae solemnise de Confessore K.339 which dates from Show More...
An instrumental arrangement for intermediate level organ of Mozart’s Laudate Dominum from the Veperae solemnise de Confessore K.339 which dates from 1780. The arranger’s intention has been to prepare a performance piece containing the melody, the arpeggiated chordal accompaniment and bass line. This is classical music in its truest sense.
The realisation plays back at 36 dotted quarter notes or crotchet beats to the minute .
The text derived from the psalms suggests a prayer context which makes this an appropriate performance piece where reflection is appropriate.
As there is a reduction in the musical texture as some of the musical content has been omitted. As a movement lasting about 4 minutes at the suggested tempo players need to be aiming to be playing consistently.
A playing approach where two beats in the bar is communicated rather than two groups of three is suggested.
Vocal performances do tend to be performed at a slower tempo than those played by instruments.
Vocal models have been used for an interpretation of the ornaments in the realisation. They can of course be interpreted differently although consistency does need to prevail
in a performance. The ornaments have been written out in full in the video sheet music score which can be referenced on our YouTube channel if there is a need for clarification.
The piano and organ versions of the arrangement have slightly different bass lines simply reflecting the practicalities of the instrument.
The rhythms of the melody are determined very much by the patterns of the latin text and it would sensible for instrumentalists to be familiar with a recording or two of the original version of the work.
This is an excellent piece to study to see how the composer resolves dissonance and makes use the circle of fifths in his harmonic choices. Mozart’s approach to composition is always very disciplined and studied but at the same time musical ideas are always expressed originally and imaginatively. Appoggiaturas (leaning notes) are also a strong feature. Close
Added: 28th February, 2023 12:02 PM |
Views : 2140
A very attractive piece for organ or harpsichord just 56 bars in length but featuring strong musical shapes that explores the full range of the organ Show More...
A very attractive piece for organ or harpsichord just 56 bars in length but featuring strong musical shapes that explores the full range of the organ manual. A tempo in the range 84 – 96 quarter note beats to the minute is suggested with the realisation playing back at 84 quarter note beats to the minute. The movement can be played on a one manual instrument with an 8 foot stop suggested as an appropriate registration. Imitation, the use of sequence and repetition are compositional processes that feature with the full range of the keyboard being explored. The descending musical shapes and motifs need to be clearly articulated particularly at the beginning of phrases. There are 12 ornaments indicated in the score. The upper mordent note /note above/note is used on short notes while the trill is in place on notes a quarter note (crotchet) in length. As the movement progresses the texture becomes more complex and ornaments become less evident in the score. The video score which can be viewed on the YouTube channel has all the ornaments written out whilst the sheet music score has symbols in place. Ornamentation in music performance is a complex topic and additional ornaments could be added at important cadence points. The music editor argues the case for clarity and simplicity suggesting that ornaments are added when the movement can be played competently. Note that rests in silent voices are used rather inconsistently. The music editor has found recordings of this music where it has been attributed to A. Scarlatti. As music was hand copied and often shared between teachers and pupils this is a frequent occurrence in music from these early times. Domenico Zipoli (1688-1726) was an Italian Baroque composer who lived and worked as a Jesuit priest in South America. Born in Prato, near Florence he studied with Alessandro Scarlatti and Bernardo Pasquini and in Rome produced in 1716 a collection of keyboard pieces titled Sonate d’intavolatura per organo e cimbalo which includes this particular canzona. This music is still highly regarded and playable by an intermediate level player. Close
Added: 27th August, 2020 08:08 AM |
Views : 5816
The First Movement from Baldassare Galuppi’s Organ Sonata in D minor is in AB binary form. For those who wish to have more information on how the or Show More...
The First Movement from Baldassare Galuppi’s Organ Sonata in D minor is in AB binary form. For those who wish to have more information on how the ornaments are played then the music editor suggests referring to the video sheet music score on YouTube where the ornaments are written out in full. As an organ piece the movement can be effectively played on a one manual instrument with possibly a choice of 8’ stops. This is music composed in the transition period between the baroque and classical periods.
The A section is just 10 bars long and essentially comprises has two contrasting musical ideas or strains a and b with each strain being 5 bars long. The section closes in the dominant key of A minor.
The B section is 20 bars long and opens with the same shape and strain as the first section but in A minor. Some new material is introduced at bar 16 and then after a few passing modulations the movement returns to the home key and opening strain of Section A at bar 23.
Baldassare Galuppi (1706 – 1785) was born on the Venetian island of Burano and whilst he worked in Vienna, London and St. Petersburg he was mostly based in Venice where he held a number of important musical positions. He is one of an important group of composers that link the baroque with the classical age and is identified particularly with the style galant movement. Close
Added: 25th June, 2020 08:06 AM |
Views : 4679
The uplifting third movement from Baldassare Galuppi's Organ Sonata in D minor has strong rhythmic shapes and harmonic sequences. The video score play Show More...
The uplifting third movement from Baldassare Galuppi's Organ Sonata in D minor has strong rhythmic shapes and harmonic sequences. The video score plays back at 60 dotted quarter note (crotchet) beats to the minute. A lightness in the registration is appropriate whilst the movement can be played the without repeats. There is a lovely exploration of space in this music with the rhythmic shapes being a strong feature of the musical content. Galuppi is one of an important group of composers that link the baroque with the classical age and is identified particularly with the “galant style” movement. Galuppi’s music is not particularly well represented by publishers and one of the reasons for this is because of Napoleon’s invasion of Venice in 1797. As a consequence of this many of the composers’ manuscripts misplaced and lost. Close
Added: 25th June, 2020 08:06 AM |
Views : 4498
Carl Philip Emanuel Bach 1714 - 1788 is an important figure in music history and a composer that links the baroque with the classical era. He was an i Show More...
Carl Philip Emanuel Bach 1714 - 1788 is an important figure in music history and a composer that links the baroque with the classical era. He was an important influence on F.J.Haydn and L. van Beethoven who both held J. S. Bach’s composing son in high regard. This particular period in music history is a fascinating one and C.P.E Bach’s music is deserving of more attention both from the performance point of view and the need for well researched modern editions of his most popular music. This particular movement is in the “empfindsamer Stil” or sensitive style that is a feature in much of C.P.E.Bach’s music and other north German composers of the mid 18th century. It is approach that focuses on the expression of emotion in an intimate musical style that could be described as being declamatory or one that utilises both drama and dialogue. Whilst a movement with appeal there will be quite a challenge getting the piece to a performance standard.
A realisation score with the ornaments all written out is appended to the sheet music score so that keyboard players can make a thorough study of the ornamentation of this work. This is an often complex and contradictory area but understandable because this composition comes from a time of great change in music. Keyboard players should have a sense of an eighth note quaver beat whilst the video score plays back at a tempo of 58 quaver beats to the minute. C.P.E. Bach’s favourite keyboard instrument was the in fact the clavichord and he was not really known to be an organ virtuoso like his father. He composed relatively little for the organ but did write some sonatas music for the sister of Frederick II, the Great, Princess Anna Amalia of Prussia. This movement which is part of a three movement sonata was composed sometime around 1755. C.P.E. Bach was known as the “Berlin Bach” whilst he worked in Berlin and then the “Hamburg Bach” when he moved there to replace his godfather Telemann as Kapellmeister. This distinguished him from his brother J.C. Bach who was known as the “London Bach”. Close
Added: 24th June, 2020 20:06 PM |
Views : 4898
Domenico Cimarosa 1749-1801 was an Italian composer who whilst a widely travelled musician belongs to the Neapolitan (Naples) school and he is remembe Show More...
Domenico Cimarosa 1749-1801 was an Italian composer who whilst a widely travelled musician belongs to the Neapolitan (Naples) school and he is remembered particularly for his operas. His keyboard music is played on both the piano and the harpsichord and several pieces in more recent times have been transcribed for the classical guitar. In this arrangement for flute and classical guitar of his Sonata in G minor C.61 marked Adagio ma non troppo the flute melody need to be played legato. Players need to have a keen awareness of the eighth note or quaver pulse whilst the realisation plays at 42 quarter (crotchet) beats to the minute. The repetitive element in the music is strong and the ornaments have been written out in this video score. There is the opportunity to linger at the end of phrases but any exaggeration of the music whether in respect to rhythm, dynamic and melody needs to be avoided. Close
Added: 20th April, 2019 05:04 AM |
Views : 3276
Domenico Cimarosa 1749-1801 was an Italian composer who whilst a widely travelled musician belongs to the Neapolitan (Naples) school and he is remembe Show More...
Domenico Cimarosa 1749-1801 was an Italian composer who whilst a widely travelled musician belongs to the Neapolitan (Naples) school and he is remembered particularly for his operas. His keyboard music is played on both the piano and the harpsichord and several pieces in more recent times have been transcribed for the classical guitar. The movement marked Adagio ma non troppo requires a legato touch while the realisation plays at a steady 42 quarter (crotchet) beats to the minute. The score has been prepared for performance on a piano and the ossia stave has an interpretation provided for the playing of the ornaments in bar 2 although there is option to modify these suggestions which possibly lack some rhythmic flexibility. The repeat of the ornaments in bar 15 should be played as in bar 2. Keyboard players need to have a keen awareness of the eighth note or quaver pulse when they are playing. The repetitive element in the music is strong whilst there is the opportunity to linger at the end of phrases but any exaggeration of the music whether in respect to rhythm, dynamic and melody needs to be avoided. The keyboard sonatas attributed to Cimarosa are short one movement works and any groupings of works in the same key found in recordings are editorial. They are works with appeal and consistent in their quality. The composer’s music is deserving of more attention and the keyboard sonatas are excellent performance pieces. A plain music score is appended to the edited music score. Close
Added: 20th April, 2019 05:04 AM |
Views : 4041
Domenico Cimarosa 1749-1801 was an Italian composer who whilst a widely travelled musician belongs to the Neapolitan (Naples) school and he is remembe Show More...
Domenico Cimarosa 1749-1801 was an Italian composer who whilst a widely travelled musician belongs to the Neapolitan (Naples) school and he is remembered particularly for his operas. His keyboard music was played on both the piano and the harpsichord and several pieces have been transcribed for the classical guitar. This short movement requires a legato touch and the realisation plays at 42 dotted quarter (crotchet) beats to the minute. The ornaments are played quickly and start on the beat and whilst not indicated in the score some limited use of the sustaining pedal is suggested. From the performance point of view the rhythmic shape of the left hand part needs to be constant. The Siciliana rhythmic shape is best described as a slow lilting pattern in 6/8 or 12/8 time and has proved a popular template since baroque times. It can described as a slow jig. Cimarosa’s keyboard music is well worth investigating although his work still needs to be authenticated. The keyboard sonatas attributed to Cimarosa are short one movement works and any groupings of works in the same key found in recordings are editorial. They are works with appeal and consistent in their quality. There is some suggested fingering on the edited music score whilst a plain score is also appended. Close
Added: 10th February, 2019 16:02 PM |
Views : 4064
A theme and 10 variations selected from the set of twenty four published 1770. The writing suggests the music was intended for both the harpsichord an Show More...
A theme and 10 variations selected from the set of twenty four published 1770. The writing suggests the music was intended for both the harpsichord and fortepiano. The editor has selected variations particularly appropriate to the development of piano technique and has avoided including variations which are more baroque in character and suited to being played on the harpsichord. The musical content is both charming and appealing, well suited to developing technical skills and musical memory. The tempo of the theme is played at 76 quarter notes to the minute and generally, the tempo of the variations remains the same with the minor variation possibly played a little slower. The ornamentation is straight forward and the sheet music score has ossia staves with some of the ornaments written out in full. No pedal markings have been notated in the score although some use of the sustaining pedal may be used. This is excellent music for developing keyboard technique and the music editor is surprised that the movement is not more widely known. The German title for this music is Variationen über das lied "ich schlief, da träumte mir”. Close
Added: 12th October, 2018 11:10 AM |
Views : 3735
This music was composed in 1763 and anticipates particularly thematically and rhythmically musical directions later explored by Beethoven and others. Show More...
This music was composed in 1763 and anticipates particularly thematically and rhythmically musical directions later explored by Beethoven and others. Pianists need to approach playing this movement with clarity in their rhythmic intention and demonstrate an understanding of the context of the triplet figuration that dominates the movement. Whilst the realisation indicates the music editor’s intention as to how the music should be approached the piano touch could be on the lighter side and there could be a little more “ebb and flow” tempo wise in the cadenza like sections (bars 22-23, bars 55-56 & bars 78-79) and at cadences. Although the music texturally isn’t complicated, the piece is quite demanding to play in that a consistency of touch and articulation is required. The instrument needs to be played with a lightness of touch with the player intent upon communicating the beauty of the music. Understandably there is no evidence of performance practice from C.P.E Bach’s own time and the music editor suggests that it is quite possibly that approaches to playing of music from this period have changed over time. A tempo of 120 quarter note (crotchet) beats to the minute is used in the realisation. The music copy has been prepared with the modern piano intended as the performance instrument. Limited use of the sustaining pedal can be considered and ornaments need to be
played with a similar rhythmic clarity and an understanding of context. Not many people play C.P.E.Bach’s music which is a shame because he composed works of quality and he has an important position in music history linking the Baroque with the Classical era. Both Haydn and Beethoven were influenced by his compositional approach. The music editor also suggests listening to the available recordings of the work played on a variety of different keyboard instruments. Interestingly there are many different approaches to playing this piece particularly with respect to tempo and rhythmic interpretation. Some performers approach the piece as if it is a piece of classical music even suggesting tempos and a playing approach in the style and manner of playing a Beethoven piano sonata. Recordings also have different acoustic properties although many in the music editor’s opinion are much too reverberant and consequently “rather cloudy”. The challenge is to play the piece with the intention of revealing its beauty, its texture, it’s rhythmic intention and the composer’s individual style whilst acknowledging its historical context. Whilst the music, texturally, belongs to the baroque both thematically and rhythmically the musical content looks forward and anticipates much of the keyboard music style of Haydn and Beethoven. This is an ideal challenge for some test piece at a competition or music festival because it invites so many different approaches.
There is a commentary on how to play the ornaments in the score. Close
Added: 11th October, 2018 13:10 PM |
Views : 4379
This movement is the third and last movement of a sonata published as part of a collection of harpsichord sonatas in 1742. Whilst there is evidence in Show More...
This movement is the third and last movement of a sonata published as part of a collection of harpsichord sonatas in 1742. Whilst there is evidence in the score of its harpsichord origins it is nevertheless a piece very suited to being performed on a modern piano. The counterpoint or combination of lines of music lines is a particularly strong element in the composition. A tempo of 132 quarter note (crotchet) beats to the minute is used in the realisation although a target of 120 quarter note (crotchet) beats to the minute is probably a fair target in the first instance. Contemporary performances of the piece generally have the first section repeated and the second section played without a repeat. There is quite an amount of dramatic tension in the music arising from the detached notes and the concise two bar phrasing suggesting at times an almost hushed urgency. The ornaments include trills which start on the note, crushed notes or acciaccaturas and the odd appoggiatura which have sometimes been written out as in bar 7. The ornaments in the section from bar 86 to 91 are best played as crushed notes giving the music a more classical spirit to it although in some scores they are notated as appoggiaturas. The music editor always references contemporary performance practice when preparing scores and favours crushed notes in this instance. As usual the music editor has been very consistent in his approach to ornamentation and advises players to keep matters as simple and straightforward as possible. Keep the trills metrical and the editor suggests that it is best to avoid a triplet ending to the trills although they are inclined to sneak in to ones playing almost unnoticed. Spread chords are a feature and some work is required to sort out the sharing of the work load between the two hands. This is an excellent example of music that is for want of a better description is pre-classical composed in the period between the baroque and classical era. C. P. E. Bach’s music is deserving of being played and listened to more regularly in what is one of the most interesting and fascinating times in music history. The music editor is keen to hear that this piece is being played and would value receiving feedback. Whilst a sheet music score has been prepared as if the piece is a classical work there is a plain score appended to the edited music score. Close
Added: 20th May, 2018 15:05 PM |
Views : 4160
A dramatic and spirited movement which whilst very different texturally to Beethoven’s music harmonically it does point in his direction. In charact Show More...
A dramatic and spirited movement which whilst very different texturally to Beethoven’s music harmonically it does point in his direction. In character the music is almost a conversational piece although formally it can be described as a rondo which is a piece with a recurring theme. The phrase structure is not particularly regular and there are several changes of mood in the various section although the main thematic motive is always clearly recognisable. The sheet music score has been prepared for the performance on the piano and only limited use of the sustaining pedal is suggested. For clarity the music editor suggests essentially the one ornament shape when performing the work which reflects current practice in the interpretation of music of this period. Too many different ornaments can be distracting both to the performer and listener alike. The opening ornaments are notated on ossia staves and the player should continue with the same shapes through the movement. The slight slowing down appropriate at the ends of the phrases are not marked in the score. There are recordings available of this work played on the modern piano, fortepiano and the harpsichord. C.P.E Bach was a prolific composer and an important transition figure in music history linking the baroque with the classical age in music history. He was very aware of contemporary practice and contributed much to developing style and form although at the same time he was able to remain surprisingly free spirited. C.P. Bach’s music is worthy of attention and for piano players there is a wealth of excellent music for the developing pianist. This work composed in 1786 and published in 1787 comes from period near the end of his life. Close
Added: 14th May, 2018 11:05 AM |
Views : 4134
J.C.F.Bach was the fourth and youngest composing son of J.S.Bach. Many songs in different languages have been based on this familiar French song know Show More...
J.C.F.Bach was the fourth and youngest composing son of J.S.Bach. Many songs in different languages have been based on this familiar French song known as "Ah! vous dirai-je, maman" including "Twinkle, Twinkle, Little Star" and "Baa, Baa, Black Sheep." These set of variations provide an excellent summary of keyboard technique available and used during the late baroque/ early classical period. The score has been prepared for performance on a modern piano. The pianist may want to add some sustaining pedal particularly in Variations 4, 8, 9 and 10 although pedal markings are not indicated in the score. The changing meters does add a complication as to how the bars of music are counted. Understand that each variation has its own tempo. When playing variations don’t think that all variations need to be played at the same tempo. The ornament used in this set of variations is an upper mordent comprising the note, the note above and then the note itself again. Most of the musical content is classical in spirit and the phrase structure is understandably symmetrical which makes it a good piece to memorise. The score also has some suggested fingering. The music editor suggests that when performing the variations it would good idea to choose a selection of the variations to play. Suggested performances patterns could be: Option 1 Theme + Var. 1 + Var. 2 + Var. 3 + Var. 4 + Var. 5 + Var. 9 and for Option 2 Theme + Var. 7 + Var. 8 + Var. 9 + Var. 10 + Var. 11 + Var. 12. Close
Added: 23rd April, 2018 08:04 AM |
Views : 5162
Cimarosa 1749-1801 was an Italian composer who belonged to the Neapolitan school and he is remembered particularly for his operas. His keyboard music Show More...
Cimarosa 1749-1801 was an Italian composer who belonged to the Neapolitan school and he is remembered particularly for his operas. His keyboard music was played on both the piano and the harpsichord whilst many pieces have been transcribed for the classical guitar. Most of his keyboard movements requires a lightness of keyboard touch - the realisation plays at 92 quarter (crotchet) beats to the minute. In the hands of a skilled player thoroughly conversant with keyboard style of the period there are opportunities to embellish the melody line and add additional ornaments. The music is full of charm and musical ideas offering the opportunity to develop staccato, staccatissimo and legato playing. The music editor suggests that generally on repeating notes changing the finger used on each note is the best option. Cimarosa’s keyboard music is well worth investigating although authentication of his work is a something yet to be confirmed. Understand that the keyboard sonatas attributed to Cimarosa are short one movement works and any groupings of works in the same key found on recordings are editorial. They are works with appeal and consistent in their quality. A plain score is appended to the edited music score. Close
Added: 16th April, 2018 08:04 AM |
Views : 4394
Cimarosa 1749-1801 was an Italian composer who belonged to the Neapolitan school and he is remembered particularly for his operas. His keyboard music Show More...
Cimarosa 1749-1801 was an Italian composer who belonged to the Neapolitan school and he is remembered particularly for his operas. His keyboard music was played on both the piano and the harpsichord whilst many pieces have been transcribed for the classical guitar. This short movement requires a lightness of touch - the realisation plays at 86 quarter (crotchet) beats to the minute. This relatively short movement is music that is full of charm and musical ideas offering the opportunity to develop staccato, staccatissimo and legato playing. The music editor suggests that generally on repeating notes as found in the accompaniment changing the finger used on each note is the best option. However, the fingering patterns can be changed particularly with the running thirds in the last section of the composition. Secure fingering needs to be in place when performing the movement and the best advice or working principle is to avoid the use of the thumb on the black notes especially when playing thirds. Cimarosa’s keyboard music is well worth investigating although authentication of his work is a something yet to be confirmed. Understand that the keyboard sonatas attributed to Cimarosa are short one movement works and any groupings of works in the same key found on recordings are editorial. They are works with appeal and consistent in their quality. A plain score is appended to the edited music score. Close
Added: 16th April, 2018 08:04 AM |
Views : 4514
Cimarosa 1749-1801 was an Italian composer who belonged to the Neapolitan school and he is remembered particularly for his operas. His keyboard music Show More...
Cimarosa 1749-1801 was an Italian composer who belonged to the Neapolitan school and he is remembered particularly for his operas. His keyboard music was played on both the piano and the harpsichord and many pieces have been transcribed for classical guitar. The score for the Sonata in C minor and the realisation is a straightforward “translation” of the score. The movement has poise defined very much by the choice of C minor as the key and the quite symmetrical rhythmic shapes and patterns. Many performances of this particularly movement are approached more as a “free translation” in that the figuration is interpreted decoratively and much ornamentally almost to the extent of becoming an improvisation although this was an aspect of continuo playing in the baroque period. Cimarosa’s keyboard music is well worth investigating although authentication of his work is a something yet to be confirmed. The music editor has made bar 11 a two beats to the bar measure. Understand that the keyboard sonatas attributed to Cimarosa are short one movement works and any groupings of works in the same key found on recordings are editorial. They are works with appeal and consistent in their quality. A plain score is appended to the edited music score. Close
Added: 16th April, 2018 08:04 AM |
Views : 4833
This movement is in rondo form which can be represented formally by the letters ABACA - a rondo is a piece with a recurring theme having its origins a Show More...
This movement is in rondo form which can be represented formally by the letters ABACA - a rondo is a piece with a recurring theme having its origins as a dance.Changing the finger on a repeating note is a piano technique that can be usefully explored in this movement if only to give to a lightness to the touch which is required if the movement is to be played at tempo. In fast playing the dynamics also need to be controlled and I would avoid playing the movement too loudly. A performance tempo of 100 quarter note beats to the minute is a good first target. The realisation playback tempo is 144 quarter note (crotchet) beats to the minute with the repeats for a change played in the realisation. Ornaments and appoggiaturas are written out in the edited music score with trills beginning on the note. Understand that there are several options and solutions available as far as "suggested" fingering is concerned but it is a work in which legato, staccato and staccatissimo touches can be explored. In the repeats gifted and sensitive interpreters of Haydn's music add additional ornaments and figurations whilst possibly varying the dynamic and tempo but all keeping to the musical style. This is an excellent piece for developing musical memory and when possible players should try and put the sheet music aside. The movement composed in the late 1770's has more than a suggestion of the spirit of the composer and his evident humour. A plain score is also appended to the edited sheet music score allowing the player some flexibility in their approach. Close
Added: 19th February, 2018 15:02 PM |
Views : 3653
This is a pianistic and surprisingly technically quite straight forward to play. The main challenge is playing at a consistent tempo in the loud secti Show More...
This is a pianistic and surprisingly technically quite straight forward to play. The main challenge is playing at a consistent tempo in the loud sections. The realisation is plays at 132 quarter note (crotchet) beats to the minute although it can be played faster!
A very light pianistic touch is required particularly at the tempo that this piece requires. Staccatissimo markings (a very short staccato and an identifiable keyboard touch imitating a plucking action on the keys) have been used in the score together with staccato markings indicating that a short note is to be played.
Some use of the sustaining pedal is suggested particularly when arpeggiated chords are played although this has not been indicated on the score.
The closing section should be played at a steady two beats in the bar feel and needs to be understood as being a link to the second slow movement of the sonata.
This piece is also excellent for developing rotation skills in the wrist and forearm. C.P.E.Bach's favourite keyboard instrument was the clavichord which is a very quiet sounding instrument and it is evident from his considerable output of music that he was a very hard working musician and composer.
The ornaments, apart from the crushed notes or acciaccaturas have been written out in full to add clarity to the score whilst the repeats are not played in the realisation.
The music editor suggests listening to performances of this movement played on different types of keyboard instruments. Close
Added: 29th January, 2018 14:01 PM |
Views : 3738
This is a piece possessing great melodic beauty and players should understand that the melody is the main musical focus in a performance. This is an A Show More...
This is a piece possessing great melodic beauty and players should understand that the melody is the main musical focus in a performance. This is an Adagio movement and pianists/keyboard players should avoid playing the movement too quickly. Sadly, much of this composer's music was lost when Napoleon invaded Venice in 1796 and for the music editor this composer has been a recent discovery. The trills begin on the note whilst the spread chord does not sound as a spread chord in the in the realisation. There are some rhythmic options when playing the melody given in ossia staves. Keyboard players have wish to add additional ornaments but do ensure that these do not detract from the beauty of the melody. Close
Added: 29th January, 2018 13:01 PM |
Views : 4459
The tempo indication Allegro con brio is possibly a bit on the strong side for this movement which has character and charm rather than vigour. Scherza Show More...
The tempo indication Allegro con brio is possibly a bit on the strong side for this movement which has character and charm rather than vigour. Scherzando is a direction to play in a playful manner whilst the realisation playback tempo is 110 quarter note (crotchet) beats to the minute with the repeats not played. The realisation is functional but understandably does lack the subtlety that is communicated in a performance. Ornaments and appoggiaturas are written out in the edited music score with trills beginning on the note and having a 5 note shape reflecting current performance practice. Composed in the late 1770's the work that reminds us that Haydn's did possess a sense of humour which is often evident on his music. Understand that there are several options available as far as "suggested" fingering is concerned but it is a work in which legato, staccato and staccatissimo touches can be explored in performance. The thumb is generally avoided on the black notes and there is an opportunity to explore changing the finger on a repeating note.
A source score is appended to the sheet music score allowing the player some flexibility in their approach.
In the repeats gifted and sensitive interpreters of Haydn's music add additional ornaments and figurations whilst possibly varying the dynamic and tempo but all keeping with the musical style. Close
Added: 29th January, 2018 13:01 PM |
Views : 4703
Johann Christian Bach (1735-1782) is often referred to as the "London Bach" and important because he influenced Mozart's concerto style and is identif Show More...
Johann Christian Bach (1735-1782) is often referred to as the "London Bach" and important because he influenced Mozart's concerto style and is identified with the musical style known as "style galant." His keyboard music was generally performed on the fortepiano and there are recordings available of this sonata played on the harpsichord, clavichord, fortepiano and modern piano. The music copy is prepared the sonata to be played on a modern piano although the music editor does suggest listening to recordings of performances on other keyboard instruments. of the sustaining pedal can be considered particularly in the chordal sections although this has not been indicated in the score.
This is one of a number of excellent and appealing pieces for the intermediate level pianist/keyboard player ensuring that a basic skill set is in place for the developing player. A tempo from 100 to 110 quarter note beats to the minute is suggested and 110 quarter note beats to the minute has been used in the realisation with the repeats not being played.
Ornaments need to be played rhythmically and consistently although the music editor suggests leaving them out in the early stages of learning the piece. Trills do vary in length according to their context. The right and left hand parts are not always rhythmically independent - in passages where there are triplets the trills need to be adjusted so that there is a some sharing of the overall dominating rhythmic pattern. The score detail in respect to this is clearly indicated. Close
Added: 29th January, 2018 12:01 PM |
Views : 4422
This work provides something of a puzzle because whilst it is attributed to W.F.Bach more than likely it was composed by someone else. Understand that Show More...
This work provides something of a puzzle because whilst it is attributed to W.F.Bach more than likely it was composed by someone else. Understand that the Bach family and their many pupils copied and shared much music and compositions were frequently credited to the wrong person. The realisation is played without repeats and the bar 33-36 link or transition does not always appear in all printed copies. It is a short piece that has unity, concise musical ideas and appeal both for the player and the listener. Score detail is in place for performance on a piano. A plain copy of the score is also appended to the edited music score. Close
Added: 29th January, 2018 12:01 PM |
Views : 3559
This piece has a misleading title because really it would be better described as a toccata. Keyboard players in the past particularly of small instrum Show More...
This piece has a misleading title because really it would be better described as a toccata. Keyboard players in the past particularly of small instruments like the clavichord were required to tune their instruments before playing them simply because instruments very quickly went out of tune. This is the origin of these "touch" or "tuning" pieces and C.P.E.Bach's Solfeggieto was composed very much in this style. Many of these touch pieces became in the hands of J.S.Bach and others very sophisticated compositions which were written down and described as toccatas. This is C.P.E. Bach's most familiar work and is an excellent piece for encouraging a light touch and dexterity in the fingers. There is a plain score appended to the edited score which the player can use if preferred. Close
Added: 29th January, 2018 11:01 AM |
Views : 3902
Galuppi was an Italian composer very much associated with the city of Venice and in his life time was known particularly for his comic operas. He was Show More...
Galuppi was an Italian composer very much associated with the city of Venice and in his life time was known particularly for his comic operas. He was a fine keyboard player and as a composer is associated with the “style galant.” movement which was an important artistic movement in the 19th century. As a result of Napoleon’s invasion of Venice in 1797 many of the composer’s manuscripts were lost. This piece that has charm and beauty reminiscent of a slow movement from a Mozart keyboard sonata. The ornaments comprise acciaccaturas (crushed notes) appoggiaturas (leaning notes) mordents and trills. The mordent is a simple note, note above, repeat of note device whilst the trills beginning on the note are longer and need to played so that the symmetry and shape of the music is maintained. There are some trills that start on the note above but these are indicated in the score. Understand that no two performers play the ornaments in the same way. A further complication is the same ornament may actually be played differently in a performance or recording and on the playing of the repeat sections additional ornaments can be added at the player’s discretion. The best advice is that if some of the ornaments are difficult to deliver leave them out but be consistent in your approach. The sheet music download comprises both a performance score and an appended realisation/recording score of the flute part to enable players to understand how the ornaments are to be played. In time, when players have an understanding of the style of this music they may well want to revise and even expand on how the ornaments are played. The tempo of the realisation is 50 quarter note (crotchet) beats to the minute and whilst the repeats are indicated in the scores they do not sound in the recording. Close
Added: 18th December, 2017 09:12 AM |
Views : 3395
Galuppi was an Italian composer very much associated with the city of Venice and in his life time was known particularly for his comic operas. He was Show More...
Galuppi was an Italian composer very much associated with the city of Venice and in his life time was known particularly for his comic operas. He was a fine keyboard player and as a composer is associated with the “style galant” movement which was an important artistic movement in the 19th century. As a result of Napoleon’s invasion of Venice in 1797 many of the composer’s manuscripts were lost. This piece that has charm and beauty reminiscent of a slow movement from a Mozart keyboard sonata. The ornaments comprise acciaccaturas (crushed notes) appoggiaturas (leaning notes) mordents and trills. The mordent is a simple note, note above, repeat of note device whilst the trills beginning on the note are longer and need to played so that the symmetry and shape of the music is maintained. There are some trills that start on the note above but these are indicated in the score. Understand that no two performers play the ornaments in the same way. A further complication is the same ornament may actually be played differently in a performance or recording and on the playing of the repeat sections additional ornaments can be added at the player’s discretion. The best advice is that if some of the ornaments are difficult to deliver leave them out but be consistent in your approach. The sheet music download comprises both a performance score and an appended realisation/recording score so as to enable players to understand how the ornaments are played. In time, when players have an understanding of the style of this music they may well want to revise and even expand on how the ornaments are played. The piano melody does have score detail relating to articulation. The tempo of the realisation is 50 quarter note (crotchet) beats to the minute and whilst the repeats are indicated in the scores they are not played in the recording. Pianists may wish to make use of the sustaining pedal although this also has not been indicated in the scores. Close
Added: 18th December, 2017 09:12 AM |
Views : 3742
A piece that possesses a haunting beauty written by a composer who knew C. P. E. Bach and who in 1794 settled in Moscow. Described as a sonata there Show More...
A piece that possesses a haunting beauty written by a composer who knew C. P. E. Bach and who in 1794 settled in Moscow. Described as a sonata there are recordings featuring both the harpsichord and the piano. A tempo of 80 quarter note beats to the minute has been used in the realisation although the tempo needs to slow down at the approach to cadences. Quite clearly it is impossible to evidence how this music was performed in its own day but the structure would suggest that there would be tempo variations between the sections. The opening 8 bar phrase is repeated three times exploring the range of the instrument before the first of several quasi fantasia / cadenza sections which express music a different mood and benefit from being played at a slightly slower tempo. Performance conventions and articulations clearly differ between the piano and the harpsichord and the music editor suggests listening to different recordings and possibly adding some appropriate ornamentation at the cadences which provide the sectional framework for the structure of the piece. There are ossia staves to clarify some notation issues and provide suggested solutions to the playing of the ornaments. The passage work is at times exquisite and both musically and pianistically anticipates the compositional techniques adopted by later composers. The repeats are not played in the realisation Close
Added: 20th November, 2017 09:11 AM |
Views : 3707
