Died: December 28, , Paris, France. Composed : Written in as a piano work; orchestrated in Previous MSO performance : Duration : In this case the person being honored is a gracioso , someone who is funny or witty. Pizzicato strings and harp open this work with a lively texture meant to meant to evoke the strumming of a guitar.
Colorfully-orchestrated melodies with distinctive Spanish rhythms spring up from this background, accented by castanets and tambourine, though the mood changes abruptly after a biting orchestral chord. The middle section begins with a soulful and rhythmically free bassoon solo, answered by the strings. The closing section is filled with sometimes chaotic good humor before it builds up into a wild conclusion.
Born: April 1,, Oneg, Russia. Died: March 28, , Hollywood, California. Like many composers, Rachmaninoff used the theme from the demonically difficult Caprice No. Composed : July-August, Duration : By the s Rachmaninoff was well-established as one of the leading pianists of his age, and spent much of his time touring successfully in Europe and America. In he visited Switzerland and decided to build a home in the village of Hertenstein, on the shore of Lake Lucerne.
He composed two of his final large works while in Switzerland: the Symphony No. Serie 2, Band 12 Budapest: Editio Musica , Plate Z.
Arranger Ferruccio Busoni Boca Raton: Edwin F. Kalmus , n. Catalog A Arranger Mikhail Petukhov b. Editor Ferruccio Busoni — The overall color of this music is gloomy and severe.
The two last chords — ff — make a strong final command. Almost forgotten by pianists today, the Polonaise No. During the 19th century, though, it used to be part of the regular concert repertoire of Busoni and Rachmaninov. The listener always perceives the generous variety of pianistic textures presented.
In fact, those who have heard first these great piano pieces with their rich variety of colors, texture, and overall brilliance, might well prefer them forever at least this is my personal experience. The Ballade, Op. The piece is a big, lyrical-epic canvas, embodied in variation form. The Ballade intersperses lyrical, melancholic reflections with variations spanning a wide variety of moods, including a strongly rhythmic Halling Norwegian folk dance.
The beautiful return of the unchanged, original sad melody frames the big-scale picture with a touch of eternity as no words could. The rather unusual, almost elusive form of the Ballade requires special attention from both performer and listener. The whole piece sounds like an inspired improvisation. The harmonic language of the Ballade is highly distinct and sounds fresh even today.
It is worth mentioning the clarity of the well-proportioned big-concept and form, and the variety of piano techniques represented. Note the chain of variations in the Canzona the middle section : a non-stop fountain of creativity. The fiery, joyful finale is also captivating. It is interesting that Chopin composed the Funeral March — the focal point of the whole concept — several years before he wrote the rest of the Sonata, which he finished in The great Russian musician was virtually the first to comprehend fully the magnitude of the sonata and initiated its enormous popularity.
We finish the disc with Liszt again, and one of the most brilliant piano pieces ever written. One may say that, with the exception of double notes, the Spanish Rhapsody incorporates virtually every kind of piano technique.
Liszt wrote it during his last Roman period in the s. The Rhapsody is based on two Spanish folk melodies, Jota from Aragon and the equally popular La Folia, which until recently had been attributed to Corelli. At the end, the fiery and pianistically very effective culmination of the Jota turns spontaneously into an exultant last transformation of La Folia, hardly recognizable in this hymn of life and rejoicing.
Your Shopping Cart Close. It took him only three weeks to finish it. This would turn out to be his only original solo piano piece composed after leaving Russia. Bach and Franz Liszt all used this theme to compose their own variations. The op. This encourages the thought that Kreisler might have even enticed Rachmaninoff to compose the Variations. However, in the Op.
They have a rather introspective, dreamy character, not very impassioned and almost diametrically opposite to Variation 18 of the Rhapsody.
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