Download A Pianist's A-Z: A piano lover's reader by Alfred Brendel PDF

By Alfred Brendel

'This ebook distils what, at my complex age, i think capable of say approximately track, musicians, and issues of my pianistic profession.'

Ever considering Alfred Brendel bid farewell to the live performance level after six a long time of appearing, he has been passing on his perception and event within the kind of lectures, readings and master-classes. This reader for fanatics of the piano distils his musical and linguistic eloquence and big wisdom, and should end up necessary to someone with an curiosity within the method, heritage and repertoire of the piano.

Erudite, witty, enlightening and deeply own, A Pianist's A to Z is the precise booklet for all piano fanatics, musicians and tune aficionados: hardly has the device been defined in such an enjoyable and clever model.

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Additional info for A Pianist's A-Z: A piano lover's reader

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72 Though the autograph of this first version, which may be dated 11 December 1830, has not survived, there is an undated manuscript copy in the Bodleian Library, titled Ouverture zur einsamen Insel, with some corrections possibly in Mendelssohn's hand (no. 4). 73 This source appears to transmit the earliest completed form of the overture, a version substantially longer than the printed version (323 versus 268 bars). On 16 December 1830, less than a week later, Mendelssohn completed a second version, which he entitled Die Hebriden (no.

A few bars later the octave is divided into Musical influences Ex. 14 The Hebrides Overture tetrachords: Fft-Cf-B-F|t (Ex. 14). Both divisions resemble varieties of gapped scales common in Scottish folk music; in particular, the second became almost emblematic for Scottish subjects in European art music. 29 To be sure, Mendelssohn did not cite recognizable folk melodies in The Hebrides Overture. Nevertheless, he did endeavour to capture the flavour of the sounds he heard in Scotland, which ultimately determined the special character of the composition.

Nevertheless, he did endeavour to capture the flavour of the sounds he heard in Scotland, which ultimately determined the special character of the composition. Formal considerations: a synoptic overview Mendelssohn founded all three overtures upon the traditional principles of sonata form, yet in each case he modified the structural plan to fit the programmatic requirements of the specific subject-matter, as if to permit the extra-musical elements to vie with formal considerations. This is an approach he pursued in other overtures, for example to the cantata Die erste Walpurgisnacht (Op.

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