This inexpensive compilation draws upon authoritative sources to present favorite Piano works of the Baroque era. Unlike many other anthologies of music from the era which vary widely in the quality of their content this collection comprises only the greatest works of the period. Intermediate and advanced Pianists will find these carefully chosen pieces a rewarding and satisfying reflection of the glories of the Baroque. Selections include Johann Sebastian Bach's Chromatic Fantasia and Fugue as well as the French Suite No. 5; Fantasia in C Minor BWV 906; and preludes and fugues from The Well-Tempered Clavier. Other works byBach include the great composer's transcriptions for keyboard of five violin concertos by Vivaldi reprinted from the definitive Bach-Gesellschaft edition. Other selections include several pieces by Handel among them the popular Air and Variations known as The Harmonious Blacksmith; four sonatas by Scarlatti; and works by Telemann Rameau and Purcell.
SKU: CF.PL1032
ISBN 9780825871276. UPC: 798408071271. 9x12 inches.
The Ultimate Collection of Piano Music is a collection of over 250 best-loved piano masterpieces from the Baroque period through the twentieth century. All-time favorite classical selections are perfect for late-beginners and intermediate players, and include works by such beloved composers as Bach, Bartók, Czerny, Beethoven, Dussek, Grieg, Haydn, Heller, Krebs, Mozart, Purcell, Schumann, Stravinsky, Tchaikovsky, and many more. This comprehensive volume provides an outstanding repertoire for endless hours of playing enjoyment, and is an essential collection for any piano library.
SKU: BT.EMBZ15083
English-German-Hungarian.
Bartók probably first played pieces by Domenico Scarlatti in public in 1911. During the next two decades he featured them in his piano recitals more than 60 times. His dedication to Italian and French Baroque music is also illustrated by the fact that, in 1920, he signed a contract with the Budapest publisher Rozsnyai to edit seven volumes of Baroque keyboard music. His plan was to select compositions by Couperin and Rameau in addition to pieces by Scarlatti, but during the 1920s it ended up being only two volumes of Couperin and another two comprising ten compositions by Scarlatti. In editing these masterpieces, Bartók's aim was primarily to counterbalance or evenovershadow the works by the Mendelssohn-Schumann epigones used in primary and secondary music education. The present, single-volume collection comprises Bartók's two Scarlatti volumes, complete with an editorial preface, his detailed performing instructions, and his commentary. The editor recommends these compositions for pianists with at least five years' experience, and gives practical recommendations for the grouping of individual items to form charming sonatina-like sets of pieces. Bartók spielte wahrscheinlich 1911 erstmals Werke von Domenico Scarlatti öffentlich und in den folgenden zwei Jahrzehnten ließ er sie an seinen Klavierabenden mehr als sechzig Mal erklingen. Seine Verbundenheit mit der italienischen und französischen Barockmusik beweist sich auch darin, dass er 1920 einen Vertrag mit dem Budapester Verlag Rozsnyai über die Herausgabe von sieben Heften mit Werken der Klaviermusik schloss. Geplant war, dass er das Material der Bände sowohl mit Werken Scarlattis als auch mit Kompositionen Couperins und Rameaus zusammenstellte. Im Laufe der 1920er-Jahre kam es schließlich zur Herausgabe einer Couperin-Auswahl in zwei Heften sowie - ebenso in zwei Heften - von zehn Scarlatti-Kompositionen. Mit der Veröffentlichung dieser Meisterwerke beabsichtigte Bartók in erster Linie, den Mendelssohn-Schumann-Epigonen bereits in der Musikausbildung in der Grund- und Mittelstufe entgegenwirken und ihre Werke in den Hintergrund treten zu lassen.
Die vorliegende Publikation versammelt in einem Band das Material der beiden mit Bartóks Vorwort, detaillierten Vortragsanweisungen und Anmerkungen erschienenen Scarlatti-Hefte. Der Herausgeber empfiehlt PianistInnen diese Kompositionen seit mindestens fünf Jahren zum Klavier spielen und gibt auch praktische Vorschläge dafür, wie man die einzelnen Stücke zu einem attraktiven Sonatina-artigen Ganzen gruppieren kann.
