Format : Score
SKU: CY.CC3085
ISBN 9790530110621. 8.5 x 11 in inches.
Fantasy Piece is an early work of Rachmaninoff, part of a grouping of five short pieces called Morceau de Fantasie. One of his most famous works, the Prelude in C-sharp minor is from this same group of music. Opus 3, No. 3 is also sometimes referred to as the Melody in E major. It's slow tempo allows the mood of the work to reach a giant climax. Rachmaninoff's lush harmonies and gorgeous melody work very well with this arrangement by Ralph Sauer. For moderately advanced performers this movement is about 5 minutes in length.
SKU: BT.EMBZ1971
'The significance of the Rhapsody composed in 1904 in Gerlicepuszta and Pozsony is well shown by the fact that Bartók subsequently reserved the designation 'Opus 1' of his last, mature opus numbering for this piece. By choosing this genre Bartók was clearly following in Liszt's footsteps. But he did not merely follow the Hungarian Rhapsodies with their parading of folkloristic art songs in a virtuoso instrumental fantasy. The formal coherence of Bartók's work allows us to infer the influence of the large-scale Liszt compositions he then knew, such as the B minor Sonata. Unlike Liszt, Bartók builds his Rhapsody not on familiar melodies but on themes of his own invention, yet hisstyle is still that of nineteenth-century folkiness, and draws on the art-music tradition based on the verbunkos and the csárdás.' (HCD 32524 Bartók New Series Vol. 24, István G. Németh).
SKU: HL.50511390
ISBN 9790080019719. UPC: 073999576511. 9.0x12.0x0.095 inches.
'The significance of the Rhapsody composed in 1904 in Gerlicepuszta and Pozsony is well shown by the fact that Bartok subsequently reserved the designation 'Opus 1' of his last, mature opus numbering for this piece. By choosing this genre Bartok was clearly following in Liszt's footsteps. But he did not merely follow the Hungarian Rhapsodies with their parading of folkloristic art songs in a virtuoso instrumental fantasy. The formal coherence of Bartok's work allows us to infer the influence of the large-scale Liszt compositions he then knew, such as the B minor Sonata. Unlike Liszt, Bartok builds his Rhapsody not on familiar melodies but on themes of his own invention, yet hisstyle is still that of nineteenth-century folkiness, and draws on the art-music tradition based on the verbunkos and the csardas.' (HCD 32524 Bartok New Series Vol. 24, Istvan G. Nemeth).
SKU: BR.EB-8993
ISBN 9790004187227. 9 x 12 inches.
The three piano sonatas by Joachim Raff (1822-1882), representing his three main creative phases, occupy a special position among his more than 100 piano pieces. They reflect a significant compositional aspiration whereas Raff otherwise frequently leans towards the salon-music genre in his piano music. Raff composed the early sonata op. 14 in 1844 after his first works were positively evaluated and Felix Mendelssohn Bartholdy had encouraged him to venture a career as a composer. The Fantasie-Sonate [Fantasy Sonata] in d minor op. 168, Raff wrote in 1871 at the height of his fame as one of Germany's then most-played composers. Its dedication to Camille Saint-Saens shows his opposition to the rampant German disapproval of France and its music representatives in the wake of the Franco-Prussian war of 1870/71. The second version of the sonata op. 14, composed in the fall of 1881, had only the opus number in common with the earlier version. In this late work Raff had created an entirely new sonata. ,,Beautifully presented on cream paper, with exceptional clarity and generous spacing. The Fantasie-Sonate in D minor Op. 168, in particular, is a masterpiece which manifests both considerable power and exquisite craftsmanship. (www.pianodao.com).
SKU: HL.191946
ISBN 9788361142829.
The Polonaises, Op. 40 belong to that later group. They comprise two works: a Polonaise in A major and a Polonaise in C minor. These two works comprise the second opus of piano polonaises to be published by Chopin, and they form a powrful contrastwith one another, representing two varietes of the heroic polonaise: the triumphant and the tragic. They also mark a further stage in the evolution of the polonaise: on the hand, in the direction of monumentalisation; on the other, towards a gradualweakening of its dance features, so that the dance in transformed into a kind of dance fantasy.
