Classical piano music

El presente trabajo expone una problemática común en la práctica del aprendizaje y enseñanza de la Guitarra Clásica, básicamente la elección de miembros y cuerdas para interpretar las partituras ya supone una elección estética y es necesario tener un abanico de opciones para tomar una decisión funcional y satisfactoria para el objetivo que se pretende. Se exponen diferentes herramientas para explorar posibilidades y contrastar criterios. Este artículo es una ampliación/actualización del artículo publicado en 2012 en el Foro Online Delcamp en Español.

El presente trabajo muestra las diversas posibilidades utilizadas por cuatro compositores ―tres peruanos y un italiano― de épocas distintas para transformar, desarrollar y recrear la música de una conocida danza tradicional del Cusco: la kachampa. La primera parte, trata sobre el contexto histórico-musical en el que se ubican las cuatro obras, a fin de establecer su relación con los estilos de escritura y las corrientes en boga de la época. La  segunda  parte,  describe  la  música  de  la  danza  tradicional,  subdividiéndola  en  frases  y estableciendo sus elementos de unidad y de variedad. Luego, empieza el análisis comparativo de cada obra académica en relación a la pieza musical tradicional tomada como punto de partida. Finalmente, se expondrán las conclusiones del trabajo. Se describe someramente las maneras cómo cada compositor enfrenta el problema que implica partir de una danza cuya intención original suele ser más social o ceremonial que musical y cómo estos compositores la han “recreado” con el propósito de darle un valor musical y artístico.

These piano technical exercises are based on the author’s years of piano practice experiments and provide the optimum level of practice for refining the abilities of and coordination between fingers. Although some exercises are similar to other piano technical training studies, such as the exercises by Louis Plaidy, Camille-Marie Stamaty, Isidor Philipp, and Brahms, and some of them are vaguely similar to some pianists’ private finger exercises, this volume I score by the author is more comprehensive, systematic, detailed, complete, and reliable for training the independence and coordination of each finger, especially with regard to the fingers’ physical movements. It should be noted that the exercises in this score are designed only for mechanical technical training and improvement of the finger movements and not for musicality.

Exploring the Distinctive Features of Chiang Wen-yeh’s Representative Works: An Analysis of His Integration of Traditional and Modern Musical Elements, with Emphasis on Melody, Orchestration, and Emotional Expression. Through in-depth study of these works, we may better understand his innovative spirit in musical creation and his role in preserving and developing traditional Chinese culture, thereby gaining new insights for the advancement of music composition.

The piano variations The People United will Never be Defeated by Rzewski contains many modern piano performance techniques and skills. The difficulties of these techniques and skills in these enormous variations are far beyond the boundaries of traditional piano performance techniques and skills. This analysis will give a specific classification for these modern piano performance techniques and skills in order to provide a more comprehensive guide for the piano performers.

George Crumb often writes his music in a radical way for the piano, constantly asking the performer to play on the inside of the piano, a technique in which he is pretty much a pioneer. This book talks about the exploitation of a new and hitherto unexplored range of color that can be accessed with the hands and fingers inside the piano or by inserting sound-altering devices into the strings. However, he writes in textures and styles that clearly relate to Debussy and Chopin, particularly in his use of the sustaining pedal, and in the way, he sets up a layer of sustained sound through the pedal into which he then places his melodic and rhythmic ideas. He often mentions his indebtedness to these great masters of the past in his music program notes. He even sometimes quotes directly the music of Chopin or Beethoven within his own compositions. In that regard, Crumb sees his music in an evolutionary way. In George Crumb’s piano music Makrokosmos Volume II, the pianist has the added issues of often having to play while standing, including playing on the keys and inside the piano while standing. These, and many other physical difficulties abound in this music, are dealt with throughout this technical guidebook.

Drawing from extensive experience in piano pedagogy and performance, the author has observed that the concepts of piano technique and skill often remain nebulous to students, educators, and even some pianists. This article aims to elucidate the definitions of technique and skill, delineate their distinctions, and explore their interplay. By examining these concepts from multiple perspectives, it seeks to provide readers with a clearer, more nuanced understanding of piano performance technique and skill.

Pauline Viardot, (París, 1821-1910), fue una figura de capital importancia en el mundo artístico europeo del siglo XIX. Consiguió un merecido renombre internacional tanto como cantante lírica, compositora y pedagoga del canto, y funcionó como catalizadora de personalidades artísticas, políticas e intelectuales. El presente artículo se propone destacar, en primer lugar, la multiplicidad de posibles líneas de investigación en torno a su figura, tanto de role model de profesionalización exitosa, como de liderazgo y dirección musical de una mujer en el siglo XIX. En segundo lugar, se analizarán, dentro de su producción musical inédita, obras compuestas en las décadas finales del siglo XIX en las que la experimentación estética cobra protagonismo, y que proponen un matiz a la imagen sonora que se tiene de esta compositora, y que ella misma contribuyó a delinear. En todos los casos, se destaca la importancia del estudio basado en fuentes primarias, que posibilite visibilizar su perfil profesional, desligado de las narrativas de la historia de la música construidas alrededor de las figuras masculinas.

The aim of this paper is to solve a mystery. Oskar von Riesemann, who was a friend and biographer of Rachmaninoff, maintained that one of the composer's Etudes Tableaux was inspired by a painting by Arnold Böcklin entitled 'The Waves'. However, there is no painting with that title, and there is no Etude Tableau that fully satisfies Riesemann's description. This paper documents an investigation to determine which Etude Tableau and which painting he was referring to. A key conclusion is that a painting commonly assumed to be Rachmaninoff's inspiration for the relevant Etude Tableau (Op. 39 no. 1) is unlikely to be so - another much stronger candidate is proposed. Also, a link is identified to an earlier composition by Rachmaninoff, and a poem by Pushkin. The paper concludes by using the painting to inform a pianistic interpretation of the Etude Tableau, which some readers may find shocking.

Per quanto riguarda l'Italia, ma alcuni aspetti potremmo ritrovarli in molti Paesi europei, il periodo musicale tra il 1910 e il 1930 può essere considerato una vera fucina di nuovi pensieri e atteggiamenti culturali, fase in cui la ricerca di possibilità di rinnovamento nell'ambito della tradizione fu forte e radicale. Si collocò in questa ricerca anche l'indagine delle fonti del materiale musicale antico, studio che gettò le basi di una nuova musicologia d'impostazione 'scientifica', che si avvalse del lavoro di studiosi pionieri della vecchia generazione. L'approfondimento della musica strumentale pre-romantica va di pari passo con la nascita della musicologia. All'inizio, tali ricerche unirono musicologi e compositori militanti, studiosi d'estetica e letterati, per poi diversificarsi in posizioni anche lontane fra loro.

In the challenging, conservative and oppressive context of “fascist culture,” the musical activities carried on by Countess Anna Laetitia “Mimì” Pecci-Blunt in Rome during the 1930s were a shining exception. Managing to disentangle herself from the interference of power, and a public sometimes uninterested in European musical and artistic novelties, the Pecci-Blunt sphere – internationalist, aristocratic, cultured and progressive – established itself as one of the major, if not the only, social and artistic salons in the capital. Building on several inter-artistic initiatives already underway in Paris – such as the Société de la Sérénade, of which Pecci-Blunt was among the patrons - the countess inaugurated in Rome a series of musical initiatives first called Concerti di primavera (1934-36) and then Sabati di primavera (1937). Thanks to the musical advice of Vittorio Rieti and Mario Labroca, through a studied socio-cultural policy, and by means of a constant dialogue with the literature and art cultivated in the parallel institution of the Comet Gallery, each concert hosted both music from the Western tradition (from Palestrina to Ravel), the debut of the young Italian school (Petrassi, Salviucci, Dallapiccola etc.), as well as World, Italian or Roman premieres, performed by some of the most established soloists of the time or by the composers themselves, among whom the names of Stravinsky, Hindemith, Poulenc and Milhaud stand out.
Through the present research I intend not only to reconstruct these concert series for the first time, but also to shed light on the role of the Pecci-Blunt salon within the cultural politics of the Rome of the Ventennio, the function of the salonniére in a context dominated by “fascist virilities,” and thus to bring to light the dynamics and outcomes of the production and promotion of contemporary music of Europeanist tendencies in one of the periods and places least open to this kind of practice.

Jacques Hardel (c. 1643–1678) was an important figure of the 17th-century French harpsichord school and a pupil of Chambonnières. Eight pieces by him are known: one courante survives only in lute tablature, two works exist in both lute tablature and mensural notation for harpsichord, and five others survive only for harpsichord, though they can also be played on the lute. This reflects his familiarity with both instruments. The principal source for the harpsichord works is the Bauyn Manuscript (Paris, BnF, Rés. Vm7 674 and 675), while the lute pieces are preserved in the first part of the Vaudry de Saizenay Manuscript (Besançon, BM, ms. 279152).

In 1913, well before neoclassicism became a historiographical label, Alfredo Casella jotted down in his sketchbook a plan for a ‘Divertimento’, then amended to ‘Concerto (or Serenata) in Italian Style’, for string quartet, winds, guitar and mandolin. On the same page appear orchestral settings of two patriotic poems by D’Annunzio: The Night of Caprera and Ode to Rome. Overshadowed by the atonal experiments of the war years, this long-cherished program only materialized a decade later, as the ‘Return to Order’ convinced Casella that the time was ripe for musical and national revival. This article retraces the lines of continuity between the early ‘modernist turmoil’ and the ‘classicist adjustment’, that coincided with the advent of Fascism. Drawing on unpublished sources from the Casella archive, the discussion explores how the composer negotiated the dialectic between revolution and reaction, European cosmopolitanism and cultural autarchy. To demonstrate the alignment between Casella’s aesthetic-ideological premises and the substance of his musical writing, two string quartet works are considered, both emblematic of his transition toward a ‘clarified style’: the Five Pieces, op. 34 (1920) and the Concerto, op. 40 (1923–24).

At the turn of the 19th century Jean Sibelius (1865-1957) wrote several Karelian inspired or otherwise patriotic choral songs. Sibelius arranged many of these songs for different choral ensembles. In the following article I will discuss the problems arising, when preparing the critical edition of Sibelius’s choral arrangements. I will focus especially on the role of the original version used as a reference source in the editing of the arrangement.

A temática principal desse artigo é a apresentação de estratégias e poética composicional presente em um ciclo de obras composto em 1980 a partir de poemas visuais do poeta paulistano Edgard Braga. O artigo está publicado no livro Notas.Atos.Gestos, livro que reúne artigos sobre processos composicionais.

Oltrepassata l’epoca in cui la dimensione estetica del postmoderno permeava di sè i più disparati ambiti filosofici e artistici, il contesto accademico odierno si presenta quanto mai variegato e dinamico, riecheggiando in senso lato quella liquidità cui Zygmunt Bauman ha ricondotto la sua concezione della società contemporanea.
Con lo sguardo volto a considerare la pluralità di tendenze che contraddistingue gli attuali studi musicologici e in particolare sulla scorta dell’interesse suscitato dalla practice-led research quale affascinante orientamento di indagine tipico del nuovo millennio, la presente relazione intende fornire un’ulteriore angolatura espressiva del rapporto intercorrente tra il testo musicale e la sua interpretazione. Nello specifico, interrogando le fonti e la bibliografia rinvenuta e ponendo speciale attenzione alle ricerche inerenti alle prassi esecutive coeve, si procederà ad esporre un caso di studio nel corso del quale sono state analizzate alcune significative edizioni (Breitkopf & Härtel, Peters, Wolfson tra le altre) e messe a confronto con il manoscritto autografo della Fantasia in Fa minore D. 940 per pianoforte a quattro mani di Franz Schubert allo scopo di sperimentare un più ampio ventaglio di scelte interpretative.
L’intento in definitiva è quello di contribuire con ulteriori spunti di riflessione ad una rinnovata consapevolezza delle possibilità offerte dall’adozione di differenti approcci esecutivi inerenti ad una composizione-simbolo di questa tipologia di organico, evidenziando peraltro le potenzialità di una ricerca artistica musicale orientata in tal senso.

Fingering choices are among the first aspects considered when learning a musical work on the piano. These choices can be influenced by physical, motor, cognitive, and interpretive constraints (Parncutt; Troup, 2002). Although widely investigated in experimental contexts comprising sight-reading situations, the influences of such constraints in undergraduate students’ repertoire learning, particularly regarding changes of suggested fingerings on the score, have not yet been fully addressed. Aiming at examining which constraints take part in fingering choices made by an undergraduate student while learning the Scarlatti Sonata K. 271, the present study showed, by means of evidence from markings on the score, interviews, observation, and analysis of practice sessions and performances, that all constraints were present. Physical and motor constraints seemed to have a greater influence on fingering choices. Moreover, constraint combination patterns were observed, suggesting both convergence and divergence, the latter seeming to be related to problems regarding the consolidation of fingering in the short term.

A relação entre comportamentos de prática e expertise tem sido tema de crescente interesse no âmbito da pesquisa em música. Investigações das abordagens de prática de músicos mais e menos experientes, apesar de numerosos, pouco têm observado comparativamente como diferentes níveis de expertise se comportam nos estágios iniciais do aprendizado de uma mesma nova obra musical. A presente comunicação de pesquisa tem como objetivo identificar diferenças e semelhanças na abordagem de prática na primeira semana de aprendizado da Sonata K. 271 de D. Scarlatti por um pianista graduando e um profissional. Através de entrevistas, da observação da prática e da contabilização e análise dos segmentos de prática, foram constatadas semelhanças nos objetivos, na orientação e na delimitação estrutural da obra. Por outro lado, a velocidade no agrupamento das seções, o tempo despendido e manipulação de aspectos como erros, andamento, e segmentação da prática estão entre as diferenças observadas. Os resultados sugerem que diferentes níveis de expertise passaram por caminhos semelhantes, mas que se diferenciam quanto à velocidade e ao volume de informações processadas.

Venezuelan composers have featured on my concert programmes since my first public appearance at the age of seven when I played two popular pieces arranged for the piano by Flor Roffé, "Arroz con leche" and "El Santiguao". After my studies in Caracas and London, I had the opportunity of delving more deeply into the wonderful repertoire written for the piano by Venezuelan and Latin American composers and the effect it had on the audiences, students and amateurs of my instrument.

Desde os primórdios da música, do mais arcaico ao mais refinado, o compositor busca o Santo Graal da arte sonora: a melodia perfeita. Aquela que toca a alma do ouvinte, permeia cada célula e se expande através do espírito, elevando o Ser a um patamar de puro êxtase. A melodia guia e determina uma obra, permitindo que o ouvinte possa cantarolá-la e lembrar-se da música apenas por esse elemento. Por essa razão, a melodia se torna, sem discussão, o principal componente dentro de uma composição musical, independentemente do estilo. Ela emana os sentimentos mais profundos do compositor, aqueles que não podem ser ditos com palavras. Assim como na filosofia, a melodia absorve todo o emocional do Ser que a criou, seus anseios e desejos, sua tristeza e felicidade.

J. Brahms, Sonata n. 1 in sol maggiore op. 78 "Regensonate"; M. Ravel, Sonata n. 2 in sol maggiore; L.v. Beethoven Sonata “a Kreutzer” in la maggiore op. 47 – Sergej Krylov, violino, Michail Lifits, pianoforte, Teatro Lirico di Cagliari, 13.6.2023

Nella lettera indirizzata al compositore Alfredo Casella datata 4 dicembre 1932, Gabriele d'Annunzio prendeva atto del fallimento delle istanze di rinnovamento che sperava investissero la musica italiana. «Mio caro Alfredo, è lontano il tempo quando ci adunavamo nella Camerata di Gasparo ansiosi nel soffio delle nuove musiche. Fui deluso, Fummo delusi...».

Nella lettera indirizzata al compositore Alfredo Casella datata 4 dicembre 1932, Gabriele d'Annunzio prendeva atto del fallimento delle istanze di rinnovamento che sperava investissero la musica italiana. «Mio caro Alfredo, è lontano il tempo quando ci adunavamo nella Camerata di Gasparo ansiosi nel soffio delle nuove musiche. Fui deluso, Fummo delusi...».

El Auditorio Edgar Neville de la capital de la Costa del Sol volvió a colgar el cartel de “entradas agotadas” en el cuarto programa de la Orquesta Filarmónica de Málaga del XIII Ciclo “La Filarmónica frente al mar” el viernes 21 de febrero de 2025. Bajo la dirección de Iván Martín (1978), que también actuó como solista en la primera parte, la agrupación ofreció un concierto en dos secciones de dos horas de duración, breve descanso incluido, en el que se disfrutó de partituras de Mozart, Beethoven y Schubert.

Esta investigación pretende clasificar y analizar biomecánicamente las posturas anatómicas que los pianistas adoptamos para la interpretación del repertorio con técnicas extendidas. Las posturas han sido clasificadas teniendo en cuenta la perspectiva del intérprete. LISTA DE FIGURAS INTRODUCCIÓN a) Planteamiento b) Objetivos c) Estado de la cuestión d)Técnica extendida vs. técnica tradicional e) Fuentes f) Organización del trabajo

The rich and extensive archive of the pianist and composer Maria Kalogridou (1922–2001) found in the collections of the Music Library of Greece “Lilian Voudouri” has been the main source of primary material for this research. As a first research result is the creation of a short biography of Kalogridou. Further research outcomes consider her career as a pianist in central European cities. Moreover, her first works as a composer are also discussed. Pivotal in both her soloist and composition career was her stay in London and her apprenticeship next to Harold Craxton and Alan Bush. Overall, the life and work of Maria Kalogridou as emerged by the study of her archive constitute evidence of a lesser-known chapter of Greek Art music.

The musical genres that the avant-garde of the 1960s and 1970s rejected as nothing more than a set of time-honoured rules, continue to inspire contemporary composers in their exploration of new forms of musical language. Such an affinity is present in numerous piano concertos written by Polish composers at the turn of the 21st century. The article presents the results of research and analysis in relation to the composition 'King of the Cosmos Disappears. Concerto for Orchestra, Threads and Piano' by Aleksander Nowak, an intriguing example of the piano concerto genre in the oeuvre of a representative of the ‘middle generation’ of contemporary Polish composers. A number of innovative ideas used in the composition concern both the treatment of the core principles of the genre and the approach to the piano part. Gatunki muzyczne, które już w czasach II awangardy nie stanowiły dla kompozytorów jedynie zbiorów utrwalonych tradycją reguł, inspirują współczesnych twórców do poszukiwania nowych form ekspresji muzycznej. Potwierdzeniem tego stanu rzeczy są liczne koncerty fortepianowe kompozytorów polskich powstałe na przełomie XX i XXI wieku. W swoim wystąpieniu przedstawię wyniki badań i analiz w odniesieniu do kompozycji „Król kosmosu znika. Koncert na orkiestrę, nici i fortepian" Aleksandra Nowaka – intrygującego ujęcia gatunku koncertu fortepianowego w twórczości reprezentanta „średniego pokolenia” kompozytorów polskich. Szereg nowatorskich rozwiązań zastosowanych w kompozycji dotyczy zarówno ujęcia dystynktywnych cech gatunkowych koncertu fortepianowego, jak i sposobu wykorzystania instrumentu solowego. Licencja / License: CC-BY-NC-ND 4.0 https://creativecommons.org/licenses/by-nc-nd/4.0/

The 19 th century marked the emergence of storytelling through music, later known as "programmatic music." This style of narrative expression invites performers to engage their imagination to bring the music to life. For the performer, the interpretation of a piece is shaped by imaginative insight, which then guides its execution. Simultaneously, programmatic music provides listeners with a framework for forming expectations about the performance. In this context, it becomes crucial for the performer to decipher the composer's intended narrative through musical elements and notational cues. This imaginative approach to interpretation serves as a foundation for contemporary performance practices. Franz Liszt's Mephisto Waltz No. 1, a quintessential example of 19th-century programmatic music, holds a prominent place in piano literature. Its narrative, outlined by the composer in accompanying program notes, offers valuable interpretive guidance to performers.

Copyright © Bu kitabın Türkiye'deki her türlü yayın hakkı Eğitim Yayınevi'ne aittir. Bütün hakları saklıdır. Kitabın tamamı veya bir kısmı 5846 sayılı yasanın hükümlerine göre kitabı yayımlayan firmanın ve yazarlarının önceden izni olmadan elektronik/mekanik yolla, fotokopi yoluyla ya da herhangi bir kayıt sistemi ile çoğaltılamaz, yayımlanamaz.

John Cage’s 1958–59 European tour, which spanned multiple countries and featured his first appearance at the Darmstadt Summer Courses, concluded with a series of five unplanned concerts in Italy. These performances, where Cage collaborated with Luciano Berio and Sylvano Bussotti, were not without controversy. They were pivotal in shaping the composer’s reception in the country, providing many local audiences and critics with their first opportunity to experience his works. As in Germany, Cage’s music faced harsh criticism, but the local political climate added some distinct traits to its reception. In Italy, Cage benefitted from trans-Atlantic politics and diplomacy. The United States Information Service, a key agency in promoting American culture overseas with political aims, played a significant role in supporting his two major concerts in Milan and Rome. This endorsement did not go unnoticed in a country where a strong Communist Party was widening polarisation during the Cold War. Critic Luigi Pestalozza, a Marxist, included anti-American claims in his attacks on Cage’s music. Fedele D’Amico dismissed the concert in Rome as a product of capitalist society. By contrast, Heinz-Klaus Metzger, who had come from Germany to support Cage, modelled the composer as a fighter for freedom in a leftist European sense. This article examines how musicians, institutions, critics, and the audience engaged with Cage during this series of concerts, also shedding light on the political dimensions that informed his arrival in Italy. The aim is to expand the perspective on the 1958–59 European reception of Cage beyond Germany. This is accomplished by broadening the geographical and chronological scope of existing studies and discussing the impact of the local political context.

EL SAXOFÓN EN LA MÚSICA DE CONCIERTO BRASILEÑA EN LAS ÚLTIMAS CUATRO DÉCADAS: UN RECORRIDO DESDE 230 EAST 51 st. STREET NUEVA YORK POR ALMEIDA PRADO (1983), TRADUCCIÓN AL CASTELLANO.

UNIVERSIDADE FEDERAL DO ESTADO DO RIO DE JANEIRO. CENTRO DE LETRAS E ARTES. PROGRAMA DE PÓS-GRADUAÇÃO EM MÚSICA - PPGM / UNIRIO. TEORIA E PRÁTICA DA INTERPRETAÇÃO.

The purposes of this paper are to impart the skills necessary for adaptation of existing music to novice ballet pianists and to expand their repertoire. New dance musicians often struggle with the choice of existing music for the ballet class. Publications written specifically for the purpose are good sources but can be outdated or limiting. The compositions pianists are familiar with usually need to be adapted to fit an exercise in the ballet class, as each exercise requires a certain musical structure. Pianists have been trained to follow the score reverently and thus need guidance on how to edit existing music for the ballet class. It is preferable to use intermediate rather than advanced piano repertoire as it is less technically demanding and requires less editing. Therefore, the author attempts to elucidate the process of adapting intermediate piano music by using Tchaikovsky’s Children’s Album, Op. 39, as a guiding model. Through the creation of a complete music edition of Children’s Album adapted for the ballet class and video demonstrations with dancers from The University of Arizona School of Dance, the author illustrates how to approach the following adaptations: adding preparatory measures (introduction); changing phrase length (phrase reduction, phrase extension, balances, finishes); changing the form (repeats, order of phrases, transitions); changing accompaniment patterns; making metric alterations (changing time signature, shifting the barline); and finally, reinterpreting markings on the score (tempo, dynamics, accents) to fit the dance.

Music Review
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Singstimme und Klavier, Band I (Selected Songs for Voice and Piano, Volume I). Miriam-
Alexandra Wigbers, editor. Urtext, Breitkopf & Härtel, 2020.
● Changyong, Liao, and Hartmut Höll, editors. Three Wishes from a Rose: 16 Ausgewählte
chinesische Kunstlieder. Urtext, Breitkopf & Härtel, 2021.
● Tobienski, Dennis, Eric Saroian, and Connor Johnson, editors. Anthology of New Music:
Trans and Nonbinary Voices, Volume I. Curated by Aiden K. Feltkamp. NewMusicShelf,
2021.