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Alexander Scriabin advanced
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Alexander Scriabin advanced

Piano solo

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Three Chromicons for piano solo

Three Chromicons for piano solo #Piano solo #INTERMEDIATE/ADVANCED #Contemporary #Joseph Dillon Ford #Three Chromicons for piano sol #David Warin Solomons #SheetMusicPlus

Piano Solo - Advanced Intermediate - Digital Download Composed by Joseph Dillon Ford. 21st Century, Contemporary Classical, Impressionistic. Score. 2...(+)

Piano Solo - Advanced Intermediate - Digital Download Composed by Joseph Dillon Ford. 21st Century, Contemporary Classical, Impressionistic. Score. 22 pages. Published by David Warin Solomons
The pdf file contains the original score (in letter format) followed by the somewhat larger copy with dedication by the composer and fingerings by Valentin Bogolubov who premiered the 3 Chromicons.

The sound sample is the live performance.

The Three Chromicons were premiered by pianist Valentin Bogolubov at the Société de concerts de St-Bruno, Saint-Bruno, Quebec, Canada, on 27 January 2007. Bogolubov's adventurous, technically demanding program, which also featured the works of Alexander Scriabin and Jean Chatillon, was accompanied by video animation of numerous works of art, four of which were created by the composer (among them, the Chromicon No. 3).

Ford explains the significance of these unique scores:

"In both my earliest chromicons, which I had begun to create by the 1980s, and in those I continue to make today, color is the element that links what is seen to what is heard. Unlike composer Alexander Scriabin, who may have been a true synaesthete as the result of a rare neurological condition enabling him actually to hear colors, my approach to color music has been by way of analogy. Although the tones in a musical scale and the colors of a prism both result from specific vibratory frequencies, scales can be replicated in various octaves while there is no comparable transposition observable in the case of the spectrum. However, the analogy between pitch and hue is implicit in the term "chromatic scale" (the Greek chrôma signifies "color"), and on that basis it is possible to equate the twelve tones of Western music with the hues on a twelvefold color wheel: red, red-orange, orange, yellow-orange, yellow, yellow-green, green, blue-green, blue, blue-violet, violet, and red-violet."

"By placing the pitch names of the chromatic scale in a separate band around the periphery of a such color wheel, much like the numbers on the face of a clock, and by rotating the central color wheel, it is possible for any given pitch to be aligned and associated with any hue. Such an easily constructed device, which I have dubbed the "chromonomicon," is the key necessary to decipher the musical meaning of my chromicons. The chromicon can be thought of as a calligraphic text in which each discrete area of color is a separate letter."

"Although there are literally millions of possible colors, all of them can be categorized as one of the twelve hues shown on the chromonomicon. Instead of being written from left to right or from right to left, the color-letters in a chromicon are arranged concentrically. The shapes of the individual letters, usually painted in watercolor and "illuminated" with metallic paints, colored pencils, and other media, are the result of each artist's creative meditation. The personal meaning of the chromiconic text as a whole emerges during and after this meditation, and may be expressed by a conventional title or accompanying commentary."

"Now, anyone wishing to realize a chromicon is at liberty to follow any path—straight or curvilinear—from the centermost letter to the periphery, constructing a cantus (melody) by notating the musical pitches associated with each contiguous color-letter encountered along the way. The cantus thereafter serves as the structural basis of a new, freely composed work. The individual pitches in the cantus may be moved to any octave, and may be repeated any number of times before proceeding to the next pitch in the sequence. Customarily, once the final tone of the cantus is reached, the entire melody is heard in reverse (retrograde), resulting in a palindrome. That palindrome is itself subject to varied repetition, so that in formal terms, each realization of a chromicon amounts to a 'mirror' theme with variations."

"Chromicon No. 3 travels even further back in collective human memory to the eighteenth century. For all its contemporary melodic and harmonic inflections, the style is pervasively contrapuntal, summoning to mind the polyphonic keyboard textures of Bach and Handel. It eschews the worldly strife and diversions mirrored in the first two chromicons, maintaining a dignified, highly stylized manner throughout, but with its unexpected final cadence on D, there seems to be a fleeting intimation of transcendence."

Video of Chromicon III
https://www.youtube.com/watch?v=VHMw-vzZlGE

$12.00 ≈ 11.06€

Prelude

Prelude #Piano solo #ADVANCED #Nikolay Artcibouchev #Yury Chugunov and Zellev #7 March [O #Prelude #Zellev Music #SheetMusicPlus

Piano Solo - Level 5 - Digital Download SKU: A0.1239146 Composed by Nikolay Artcibouchev. Arranged by Yury Chugunov and Zellev. 20th Century,Classical,Co...(+)

Piano Solo - Level 5 - Digital Download SKU: A0.1239146 Composed by Nikolay Artcibouchev. Arranged by Yury Chugunov and Zellev. 20th Century,Classical,Contemporary,Grunge,Lent. Score. 3 pages. Zellev Music #834550. Published by Zellev Music (A0.1239146). Key Signature: Câ™¯ minorTime Signature: 12/8Tempo: Moderato assai (very moderately (126))Difficulty: AdvancedNikolai Vasilievich Artsybushev (Russian: ÐÐ¸ÐºÐ¾Ð»Ð°Ð¹ Ð’Ð°ÑÐ¸Ð»ÑŒÐµÐ²Ð¸Ñ‡ ÐÑ€Ñ†Ñ‹Ð±ÑƒÑˆÐµÐ²; 7 March [O.S. 23 February] 1858 â€“ 15 April 1937) was a Russian jurist, music publisher and promoter, and minor composer. His name is sometimes seen as Artsibushev, Artsybuchev, Artzibushev, Artzybushev, Artchibousheff, Arcybusev, etc.Artsybushev was born at Tsarskoye Selo in 1858. His legal studies were at the Imperial School of Jurisprudence in Saint Petersburg, after which he practised in St Petersburg as an attorney. He also dabbled in music composition, and Nikolai Rimsky-Korsakov gave him private lessons in music theory after Mily Balakirev said his works showed some promise.He also became acquainted with the music publisher Mitrofan Belyayev and participated in his regular weekly gatherings called Fridays (Vendredis). To mark these occasions, a group of 10 composers including Artsybushev collaborated on a 16-part suite for string quartet, called Les Vendredis. His contribution was a Serenade in A major. He also collaborated with others on Variations on a Russian Theme, in versions for both string quartet and orchestra.He was a member of the St Petersburg City Council. After Belyayev's death in 1903 he became chairman of the board of the Belyayev publishing house, in which capacity he had significant dealings with Alexander Scriabin. From 1908 to 1917 he was President of his city's branch of the Russian Musical Society, and later succeeded Rimsky-Korsakov as President of the Board of Trustees for the Society for the Encouragement of Russian Musicians.In 1920 he moved to Paris and became a director of the Belyayev publishing house there. He died in Paris in 1937, aged 79.His works other than those mentioned above are now little known, but include:-Polka caractÃ©ristique, Op. 4, orchestra-Valse-Fantaisie, Op. 9, orchestra-Scherzo in C, orchestra (this had its premiere at the same concert at which Rimsky-Korsakov's-Capriccio Espagnol was premiered)-Piano pieces-Orchestral and other arrangements of works by:--Borodin--Glazunov (Suite for string quartet, Op. 35)--Mussorgsky (Night on Bald Mountain, for piano 4-hands;world premiere recording) and--Rimsky-Korsakov (Sinfonietta on Russian Themes, Op. 31).[https://en.wikipedia.org/wiki/Nikolai_Artsybushev].

$5.00 ≈ 4.61€