Multimedia Audio Collection Deluxe/Multimedia Audio Collection Deluxe.iso/pianist/memo1.txt

Text File | 1993-03-21 | 52KB | 850 lines

@120 Cecile Chaminade (b. Paris 1857; d Monte Carlo, 1944) was a
pianist and composer known for her graceful "salon" piano music. She was
a student of French violinist and composer Benjamin Godard and began
composing at the age of eight. From 1875, she began to give regular piano
recitals, including her own compositions. Her compositions include comic
opera, ballet, orchestral suites, a concert piece for piano and orchestra. Her
many piano pieces include Automne (Etude de concert), Op. 35, No. 2. Its
sentimental melody has made it popular.

@121 English composer and conductor Albert Ketelbey (1875-1959) was
best known for orchestral works such as In a Persian Market and In a
Monastery Garden, which we hear now in piano version.

@122 Franz Schubert made a setting of Ave Maria based on a German
translation of Walter Scott's poem from The Lady of the Lake (1810). As
an accompaniment, he used the Prelude in C from Bach's Well-Tempered
Clavier, Book 1 (included in The Pianist). Franz Liszt later arranged this
piano version.

@123 Liszt's Mephisto Waltz, subitlted A Dance in the Village Inn, was
composed between 1858-61. In fact, Liszt seems to have been fascinated
with the Faustian legend, composing a second Mephisto Waltz 20 years
later, a Mephisto Polka a few years later still and even starting yet another.
All of it was inspired by the poem Faust by poet Nicholas Lenau.
 The basic story is this: a peasant wedding is being celebrated in a village
inn when Mephistopheles and Faust, in disguise, enter. Faust is attracted to
one of the women but is too shy to make a move. The devil laughs, then
after critizing the musicians for playing too lethargically, grabs a fiddle
and begins to play. The dancing becomes wilder and wilder. Faust presses
the hand of the young woman, then together they dance out of the room
into the night and into the forest, as the devil's violin fades and becomes
mingled with the songs of nightingales.
 As one might expect from the pen of history's great piano virtuoso,
Mephisto Waltz is a torrent of sensuous and demonic piano virtuosity.

@124 Chopin's Scherzo No. 3 in C sharp minor was composed around
1839. Unlike the typical scherzo found as a movement in symphonies and
sonatas by Beethoven, Chopin's Scherzos are unique compositions, filled
with drama, tragedy and inspiration. In No. 3, the opening bare octave
principal theme rivets your attention. When he reaches the chords of the
Meno Mosso, the glittering cascade of falling broken chords creates a
magical effect. While this is not the most technically demanding of
Chopin's major works, it has an originallity and persuasive narrative power
which is enduring.

@125 Sir Edward Elgar (1857-1934) named his set of 5 marches for
symphonic orchestra Pomp and Circumstance, quote Act 3 of
Shakespeare's Othello. Pomp and Circumstance No. 1 in D, op. 39 was
first performed in Liverpool in 1901. Today, it is more commonly known
as music for college graduations.

@126 Granados' Oriental is from the composer's collection of 12 Danzas Espanolas (Spanish Dances), Op. 5.
It is sombre with hauntingly memorable melodies.

@127 La Campanella is the most famous of Liszt's six Paganini Etudes. Paganini, a contemporary of Liszt,
was of the great violin virtuoso of his time. Liszt arranged some of Paganini's violin etudes for the piano,
bringing an equivalent difficult and brilliance. La Campanella is a dazzling display of piano technique which
glitters particularly in the upper range of the instrument.

@128 No. 2 is the most famous of Liszt's Hungarian Rhapsodies. Its familiar dramatic opening evolves into a
wide range of pianistic exhibitionism, both playful and virtuosic.

@129 Villa-Lobos' Le Polichinelle (Punch) is an exciting little work with rapidly alternating hands, the right
hand playing white key chords, the left playing black keys. It is from his set of pieces called Prole do Bebe
(The Baby Dolls).

@130 Islamey by Mily Balakirev (1837-1910) may be one of the most
difficult piano works ever composed and is thus rarely heard in concert. It
was composed in 1869 and based on themes from Armenia and the
Caucasus region. There is an abundance of Lisztian technical challenges.
Two oriental-type themes are given a series of difficult variations. In 1908,
Islamey was orchestrated by Alfredo Casella.

@131 The Italian Concerto, regarded as one of Bach's best single pieces,
was published in 1735 as Concerto in the Italian Manner. It is a piece
meant for solo performance on a harpsichord with two keyboards. One
keyboard emulates the orchestral tutti against which the other keyboard
plays the solo part. In typical Italian concerto style, the piece is written in
three movements: the Allegro, the Andante, and the Presto.
 The first movement is played at an allegro tempo. The solo melodic voice
is played against a battery of robust, Italian-style chords.

@132 The Italian Concerto, regarded as one of Bach's best single pieces,
was published in 1735 as Concerto in the Italian Manner. It is a piece
meant for solo performance on a harpsichord with two keyboards. One
keyboard emulates the orchestral tutti against which the other keyboard
plays the solo part. In typical Italian concerto style, the piece is written in
three movements: the Allegro, the Andante, and the Presto.
 The Andante movement of Bach's Italian-style concerto uses syncopation
and recitatives to create a dramatic mood and lyrical melody.

 @133 The Italian Concerto, regarded as one of Bach's best single pieces,
was published in 1735 as Concerto in the Italian Manner. It is a piece
meant for solo performance on a harpsichord with two keyboards. One
keyboard emulates the orchestral tutti against which the other keyboard
plays the solo part. In typical Italian concerto style, the piece is written in
three movements: the Allegro, the Andante, and the Presto.
 In this joyful Presto final movement, Bach deliberately and skillfully
places musical opposition between the soloist and tutti accompaniment.

@134 The Sonata in C minor, op. 13, is one of Beethoven's most
celebrated and popular works. Subtitled Path tique by Beethoven's
publishers, it was originally dedicated to Prince Karl von Lichnowski in
1799. Its subtitle, a French adjective meaning "moving" or "touching",
describes the prevailing mood of this sonata. At once, the sonata expresses
Beethoven's sadness, and defiance of the deafness which was gradually
engulfing him.
 The first movement is prefaced by a slow and dramatic introduction,
intended to dominate the entire piece with tragic and melancholy
overtones. This powerful introduction is echoed in the Allegro second
theme, an agitated illustration of sadness and futility.

@135 The Sonata in C minor, op. 13, is one of Beethoven's most
celebrated and popular works. Subtitled Path tique by Beethoven's
publishers, it was originally dedicated to Prince Karl von Lichnowski in
1799. Its subtitle, a French adjective meaning "moving" or "touching",
describes the prevailing mood of this sonata. At once, the sonata expresses
Beethoven's sadness, and defiance of the deafness which was gradually
engulfing him.
 The second movement of the Path tique, in magnificent rondo form, is
played Adagio cantabile. It has a definite lyrical quality.

@136 The Sonata in C minor, op. 13, is one of Beethoven's most
celebrated and popular works. Subtitled Path tique by Beethoven's
publishers, it was originally dedicated to Prince Karl von Lichnowski in
1799. Its subtitle, a French adjective meaning "moving" or "touching",
describes the prevailing mood of this sonata. At once, the sonata expresses
Beethoven's sadness, and defiance of the deafness which was gradually
engulfing him.
 The third and final movement of the Path tique is a classic Rondo and is
consummated by a grandiose coda.

@137 In 1802, Beethoven's Sonatina Quasi una Fantasia was published
under the subtitle Moonlight. Beethoven's publishers were prompted to dub
the sonata "Moonlight" by Heinrich Rellstab, who wrote that the first
movement inspired the vision "of a boat on Lake Lucerne by a luminous
night." The Moonlight Sonata in C sharp minor, Op. 27, was dedicated to
one of Beethoven's many loves: the Countess Giulietta Guicciardi. Upon
hearing the Moonlight Sonata, the listener is repeatedly reminded of
Beethoven's remarkable emotive humanity.
 By beginning the Moonlight Sonata with a movement played Adagio
sostenuto, Beethoven broke with traditional sonata form. Expessively lyric,
this first movement is written in slow, melodic, eighth-note triplets, giving
the piece a tranquil sadness.

@138 In 1802, Beethoven's Sonatina Quasi una Fantasia was published
under the subtitle Moonlight. Beethoven's publishers were prompted to dub
the sonata "Moonlight" by Heinrich Rellstab, who wrote that the first
movement inspired the vision "of a boat on Lake Lucerne by a luminous
night." The Moonlight Sonata in C sharp minor, Op. 27, was dedicated to
one of Beethoven's many loves: the Countess Giulietta Guicciardi. Upon
hearing the Moonlight Sonata, the listener is repeatedly reminded of
Beethoven's remarkable emotive humanity.
 Franz Liszt described the second movement of Beethoven's Moonlight
Sonata as "a flower between abysses". The lively and invigorating scherzo
is played Allegretto and contrasts brightly against the darker first and
second movements that surround it.

@139 Doctor Gradys ad Parnassum, the first piece in Debussy's Children's
Corner suite, is a humorous poke at the set of piano exercises by Clementi
of the same name. One imagines a child seated at the keyboard, diligently
practising the scale-like exercises, although it is itself a brilliant sounding,
delightful piece of music.
 The Children's Corner suite (or Coin des Enfants) of six little piano pieces
was published in July 1908 and musically describes things from a child's
point of view. The front cover of the first edition had a drawing of an
elephant holding the string of a balloon or golliwogg, as well as a stamped
autograph of Debussy. Included is a dedication to the composer's daughter
Claude-Emma ("to my dear Chou-Chou, with the tender apologies of her
father for what is to follow").
 The suite was composed between 1906 and 1908, and performed in Paris
on Dec. 18, 1908. All the titles are in English (apparently "Anglomania"
was the rage in Paris at the time. Debussy's second wife Emma Bardac
insisted that Chou-Chou be raised by an English nanny and surrounded her
with English engravings of children's scenes).
@140 In Jimbo's Lullaby, the second piece in Debussy's Children's Corner
suite, Jimbo (actually, Debussy misspelled Jumbo) is a toy elephant. One
can imagine the animal taking clumsy steps in this little child's cradle
song.
 The Children's Corner suite (or Coin des Enfants) of six little piano pieces
was published in July 1908 and musically describes things from a child's
point of view. The front cover of the first edition had a drawing of an
elephant holding the string of a balloon or golliwogg, as well as a stamped
autograph of Debussy. Included is a dedication to the composer's daughter
Claude-Emma ("to my dear Chou-Chou, with the tender apologies of her
father for what is to follow").
 The suite was composed between 1906 and 1908, and performed in Paris
on Dec. 18, 1908. All the titles are in English (apparently "Anglomania"
was the rage in Paris at the time. Debussy's second wife Emma Bardac
insisted that Chou-Chou be raised by an English nanny and surrounded her
with English engravings of children's scenes).

@141 Serenade for the Doll, the third piece in Debussy's Children's Corner
suite, is a tribute to the composer's daughter Chou-Chou's most prized
possession.
 The Children's Corner suite (or Coin des Enfants) of six little piano pieces
was published in July 1908 and musically describes things from a child's
point of view. The front cover of the first edition had a drawing of an
elephant holding the string of a balloon or golliwogg, as well as a stamped
autograph of Debussy. Included is a dedication to the composer's daughter
Claude-Emma ("to my dear Chou-Chou, with the tender apologies of her
father for what is to follow").
 The suite was composed between 1906 and 1908, and performed in Paris
on Dec. 18, 1908. All the titles are in English (apparently "Anglomania"
was the rage in Paris at the time. Debussy's second wife Emma Bardac
insisted that Chou-Chou be raised by an English nanny and surrounded her
with English engravings of children's scenes).

@142 In 1802, Beethoven's Sonatina Quasi una Fantasia was published
under the subtitle Moonlight. Beethoven's publishers were prompted to dub
the sonata "Moonlight" by Heinrich Rellstab, who wrote that the first
movement inspired the vision "of a boat on Lake Lucerne by a luminous
night." The Moonlight Sonata in C sharp minor, Op. 27, was dedicated to
one of Beethoven's many loves: the Countess Giulietta Guicciardi. Upon
hearing the Moonlight Sonata, the listener is repeatedly reminded of
Beethoven's remarkable emotive humanity.
 The third movement, a restless Presto agitato, expresses the drama found
in the first movement, but in a more animated fashion. It is tumultuous and
stormy, as well as tragic.

@143 The fourth piece in Debussy's Children's Corner suite, The Snow is
Dancing, is a vision of snowflakes dancing in the wind as a child looks out
the window.
 The Children's Corner suite (or Coin des Enfants) of six little piano pieces
was published in July 1908 and musically describes things from a child's
point of view. The front cover of the first edition had a drawing of an
elephant holding the string of a balloon or golliwogg, as well as a stamped
autograph of Debussy. Included is a dedication to the composer's daughter
Claude-Emma ("to my dear Chou-Chou, with the tender apologies of her
father for what is to follow").
 The suite was composed between 1906 and 1908, and performed in Paris
on Dec. 18, 1908. All the titles are in English (apparently "Anglomania"
was the rage in Paris at the time. Debussy's second wife Emma Bardac
insisted that Chou-Chou be raised by an English nanny and surrounded her
with English engravings of children's scenes).

@144 Debussy's The Little Shepherd is the fifth piece from the Children's
Corner suite. It is a description of another of the composer's daughter
Chou-Chou's toys.
 The Children's Corner suite (or Coin des Enfants) of six little piano pieces
was published in July 1908 and musically describes things from a child's
point of view. The front cover of the first edition had a drawing of an
elephant holding the string of a balloon or golliwogg, as well as a stamped
autograph of Debussy. Included is a dedication to the composer's daughter
Claude-Emma ("to my dear Chou-Chou, with the tender apologies of her
father for what is to follow").
 The suite was composed between 1906 and 1908, and performed in Paris
on Dec. 18, 1908. All the titles are in English (apparently "Anglomania"
was the rage in Paris at the time. Debussy's second wife Emma Bardac
insisted that Chou-Chou be raised by an English nanny and surrounded her
with English engravings of children's scenes).
@145 Golliwog's Cake Walk, the last piece in Debussy's Children's Corner
suite, describes a wind-up mechanical toy, although this piece conjures up
visions of the American "minstrel shows" popular in Paris at the time.
 The Children's Corner suite (or Coin des Enfants) of six little piano pieces
was published in July 1908 and musically describes things from a child's
point of view. The front cover of the first edition had a drawing of an
elephant holding the string of a balloon or golliwogg, as well as a stamped
autograph of Debussy. Included is a dedication to the composer's daughter
Claude-Emma ("to my dear Chou-Chou, with the tender apologies of her
father for what is to follow").
  The suite was composed between 1906 and 1908, and performed in Paris
on Dec. 18, 1908. All the titles are in English (apparently "Anglomania"
was the rage in Paris at the time. Debussy's second wife Emma Bardac
insisted that Chou-Chou be raised by an English nanny and surrounded her
with English engravings of children's scenes).

@146 Grieg's Holberg Suite has achieved great popularity in its string
orchestra version. But it seems the piano version heard here is the original.
Grieg himself gave the first public performance in Bergen on December7,
1884. And in February 1885, he wrote to a friend that he had "set the poor
Holberg Suite for string orchestra. Perhaps it will not sound all that bad."
 The Preludium opens with exciting broken chords in the right hand while
the left hand sustains bass octaves. The broken chords maintain the energy
of the movement as fragments of lyrical melody are heard.

@147 Grieg's Holberg Suite has achieved great popularity in its string
orchestra version. But it seems the piano version heard hear is the original.
Grieg himself gave the first public performance in Bergen on December7,
1884. And in February 1885, he wrote to a friend that he had "set the poor
Holberg Suite for string orchestra. Perhaps it will not sound all that bad."
 The second movement Sarabande has an expressive cantabile melody and
simple accompaniment.

@148 Grieg's Holberg Suite has achieved great popularity in its string
orchestra version. But it seems the piano version heard here is the original.
Grieg himself gave the first public performance in Bergen on December7,
1884. And in February 1885, he wrote to a friend that he had "set the poor
Holberg Suite for string orchestra. Perhaps it will not sound all that bad."
 The melody of the third movement Gavotte has become very popular. The
music has a happy lilt that carries into the little Musette second half.

@149 Grieg's Holberg Suite has achieved great popularity in its string
orchestra version. But it seems the piano version heard here is the original.
Grieg himself gave the first public performance in Bergen on December7,
1884. And in February 1885, he wrote to a friend that he had "set the poor
Holberg Suite for string orchestra. Perhaps it will not sound all that bad."
 The fourth movement Air has a mournful melody and deliberate pacing.

@150 Grieg's Holberg Suite has achieved great popularity in its string
orchestra version. But it seems the piano version heard hear is the original.
Grieg himself gave the first public performance in Bergen on December7,
1884. And in February 1885, he wrote to a friend that he had "set the poor
Holberg Suite for string orchestra. Perhaps it will not sound all that bad."
 The fifth movement Rigaudon is a spritely selection that sparkles from
beginning to end, interrupted only briefly by a more sombre Trio section.

@151 Composed as incidental music for Ibsen's play Peer Gynt, Grieg's
Peer Gynt Suite was originally conceived for orchestra (first performed in
1876)  and later arranged by the composer for piano duet and piano solo.
This First Suite, Op. 46, is the most famous.
 Morning Mood opens the Suite. It is a soothing pastorale that unfolds as
the sun rises.

@152 Composed as incidental music for Ibsen's play Peer Gynt, Grieg's
Peer Gynt Suite was originally conceived for orchestra (first performed in
1876)  and later arranged by the composer for piano duet and piano solo.
This First Suite, Op. 46, is the most famous.
 Ase's Death is No. 2 in the Suite. In it, Peer Gynt returns home from his
wanderings to be at the deathbed of his mother, Ase.

@153 Composed as incidental music for Ibsen's play Peer Gynt, Grieg's
Peer Gynt Suite was originally conceived for orchestra (first performed in
1876)  and later arranged by the composer for piano duet and piano solo.
This First Suite, Op. 46, is the most famous.
 In the third movement, Anitra's Dance, Peer Gynt visits an Arab chieftain
in his tent on an oasis. Peer is in Eastrern dress, resting on cushions.
Anitra and a troupe of girls dance and sing for him.

@154 Composed as incidental music for Ibsen's play Peer Gynt, Grieg's
Peer Gynt Suite was originally conceived for orchestra (first performed in
1876)  and later arranged by the composer for piano duet and piano solo.
This First Suite, Op. 46, is the most famous.
 No. 4, In the Hall of the Mountain King, finds Peer at a wedding
ceremony. He abducts Ingrid, the bride of one of the villagers, and vanishes
with her in an invisible cloak. He quickly tires of her and sends her back
home. As he wanders about, Peer finds the royal hall of the legendary
Mountain-King, whose daughter falls in love with him. After Peer spurns
her, the enraged mountain-folk, trolls, elves and other magical creatures
show their displeasure in the ghoulish dances depicted in this music.

@155 The Sonata in E-flat, Hob. XVI/No. 52 was composed around 1794
and is one of Haydn's last piano sonatas. While he had tinkered with the
form throughout his lifetime and wrote many refreshing examples, this is
undoubtedly his masterwork. It is composed on grand scale far and above
all his others. In many ways, this may be considered the first true Piano
Sonata, that is, conceived for the bigger sonorities of the new fortepiano.
 The first movement is huge proportions, right from the opening chords
through the marvellous development of the material.

@156 The Sonata in E-flat, Hob. XVI/No. 52 was composed around 1794
and is one of Haydn's last piano sonatas. While he had tinkered with the
form throughout his lifetime and wrote many refreshing examples, this is
undoubtedly his masterwork. It is composed on grand scale far and above
all his others. In many ways, this may be considered the first true Piano
Sonata, that is, conceived for the bigger sonorities of the new fortepiano.
 The second movement Adagio is more longer and more emotionally
moving that usual for Haydn. They is plenty of room for the performer to
find expression.

@157 The Sonata in E-flat, Hob. XVI/No. 52 was composed around 1794
and is one of Haydn's last piano sonatas. While he had tinkered with the
form throughout his lifetime and wrote many refreshing examples, this is
undoubtedly his masterwork. It is composed on grand scale far and above
all his others. In many ways, this may be considered the first true Piano
Sonata, that is, conceived for the bigger sonorities of the new fortepiano.
 The third movement Presto finale has great energy and pursues its climax
with vigour and determination. There is virtuosity, maturity and style in
abundance.

@158 In Parisian style, this Mozart's Sonata in A, K. 331 begins with a
theme and variations movement. The theme and variations opening
movement replaces the Allegro which usually opens a traditional Sonata.
 Except for minor variations, the theme remains constant through the
movement, resulting in an expressive melodic line.

@159 In Parisian style, this second movement of this Mozart's Sonata in
A, K. 331 is a Minuet. The Minuet replaces the slow movement in the
middle of a traditional Sonata.

@160 This final movement from Mozart's Sonata in A, K. 331, dubbed
"Alla Turca", is well known among music-lovers. It is a perfect example of
the French rondo, containing major and minor sections, and concluding
with a da capo.

@161 Mozart's Sonata in C, K. 545, Movement 1. The Sonata in C, K.545,
was written by Mozart primarily as an instructional piece. It contains
elements of piano technique that Mozart expected his beginner students to
master. Nonetheless, it gives hints as to the brilliant nature of its composer.

@162 Mozart's Sonata in C, K. 545, Movement 2. The Sonata in C, K.545,
was written by Mozart primarily as an instructional piece. It contains
elements of piano technique that Mozart expected his beginner students to
master. Nonetheless, it gives hints as to the brilliant nature of its composer.

@163 Mozart's Sonata in C, K. 545, Movement 3. The Sonata in C, K.545,
was written by Mozart primarily as an instructional piece. It contains
elements of piano technique that Mozart expected his beginner students to
master. Nonetheless, it gives hints as to the brilliant nature of its composer.

@164 The march-like Promenade (from Mussorgsky's Pictures at an
Exhibition) is repeated before the examination of each "picture" in the
exhibit. Each time it is played, it is subjected to different alterations and
moods.
 Mussorgsky's collection of piano pieces originally entitled "Katrinsky" or
"Pictures", was inspired by a set of paintings done by Russian artist Viktor
Alexandrovich Hartman. Mussorgsky and Hartman had worked closely to
regenerate Russian art, which they felt had become disunified with its
native country. After Hartman's death, Mussorgsky attempted to honor his
friend by transforming the paintings into music. The work, although the
finest of Mussorgsky's, was not published until five years after his death.
The popularity of the collection grew with its 1923 orchestration by
Maurice Ravel.

@165 Mussorgsky's The Old Castle (from Pictures at an Exhibition) is
reminiscent of troubadour love songs. It paints the picture of a singing
minstrel in a castle courtyard.
 Mussorgsky's collection of piano pieces originally entitled "Katrinsky" or
"Pictures", was inspired by a set of paintings done by Russian artist Viktor
Alexandrovich Hartman. Mussorgsky and Hartman had worked closely to
regenerate Russian art, which they felt had become disunified with its
native country. After Hartman's death, Mussorgsky attempted to honor his
friend by transforming the paintings into music. The work, although the
finest of Mussorgsky's, was not published until five years after his death.
The popularity of the collection grew with its 1923 orchestration by
Maurice Ravel.

@166 While in Paris, the painter found his subject in children playing in
the park of Tuileries. Listen for the children (represented by minor thirds)
singing in Mussorgsky's Tuileries (from Pictures at an Exhibition).
 Mussorgsky's collection of piano pieces originally entitled "Katrinsky" or
"Pictures", was inspired by a set of paintings done by Russian artist Viktor
Alexandrovich Hartman. Mussorgsky and Hartman had worked closely to
regenerate Russian art, which they felt had become disunified with its
native country. After Hartman's death, Mussorgsky attempted to honor his
friend by transforming the paintings into music. The work, although the
finest of Mussorgsky's, was not published until five years after his death.
The popularity of the collection grew with its 1923 orchestration by
Maurice Ravel.

@167 In Mussorgsky's Bydlo (from Pictures at an Exhibition), a "bydlo" is
a heavy Polish two-wheeled cart drawn by two oxen. As it approaches, its
sound gets louder. As the cart passes, the sound recedes.
 Mussorgsky's collection of piano pieces originally entitled "Katrinsky" or
"Pictures", was inspired by a set of paintings done by Russian artist Viktor
Alexandrovich Hartman. Mussorgsky and Hartman had worked closely to
regenerate Russian art, which they felt had become disunified with its
native country. After Hartman's death, Mussorgsky attempted to honor his
friend by transforming the paintings into music. The work, although the
finest of Mussorgsky's, was not published until five years after his death.
The popularity of the collection grew with its 1923 orchestration by
Maurice Ravel.

@168 In the Ballet of the Unhatched Chickens (from Pictures at an
Exhibition), Mussorgsky was inspired for this piece by costumes designed
by Hartman for a children's play called "Trilby". Listen for the chickens
pecking at the inside of their shells.
 Mussorgsky's collection of piano pieces originally entitled "Katrinsky" or
"Pictures", was inspired by a set of paintings done by Russian artist Viktor
Alexandrovich Hartman. Mussorgsky and Hartman had worked closely to
regenerate Russian art, which they felt had become disunified with its
native country. After Hartman's death, Mussorgsky attempted to honor his
friend by transforming the paintings into music. The work, although the
finest of Mussorgsky's, was not published until five years after his death.
The popularity of the collection grew with its 1923 orchestration by
Maurice Ravel.

@169 Schumann used the term Fantasy Piece (Phantasiestueck) to describe
the many little piano works that portrayed his flights of fancy or flashes of
inspiration. The eight Fantasy Pieces, Opus 12, were composed in 1837
and are a marvellous display of Schumann's imaginative best.
 In the Evening (No. 1, Das Abends) is a beautiful little gem with the
melody forming out of gentle cross rhythm in the accompaniment flow.

@170 Schumann used the term Fantasy Piece (Phantasiestueck) to describe
the many little piano works that portrayed his flights of fancy or flashes of
inspiration. The eight Fantasy Pieces, Opus 12, were composed in 1837
and are a marvellous display of Schumann's imaginative best.
 Soaring (No. 2, Aufschwung) is one of the most famous in the set. It
literally does soar, not only in the reaching of the melody but in the energy
of its rhythm.

@171 Schumann used the term Fantasy Piece (Phantasiestueck) to describe
the many little piano works that portrayed his flights of fancy or flashes of
inspiration. The eight Fantasy Pieces, Opus 12, were composed in 1837
and are a marvellous display of Schumann's imaginative best.
 Why? (No. 3, Warum?) is short and the questioning can be heard in the
harmony itself. It has a lovely singing melody and counter melodies.

@172 Schumann used the term Fantasy Piece (Phantasiestueck) to describe
the many little piano works that portrayed his flights of fancy or flashes of
inspiration. The eight Fantasy Pieces, Opus 12, were composed in 1837
and are a marvellous display of Schumann's imaginative best.
 Whims (No. 4, Grillen) bubbles with humor and energetic chord jumps.

@173 Schumann used the term Fantasy Piece (Phantasiestueck) to describe
the many little piano works that portrayed his flights of fancy or flashes of
inspiration. The eight Fantasy Pieces, Opus 12, were composed in 1837
and are a marvellous display of Schumann's imaginative best.
 In the Night (no. 5, In der Nacht) is considered one of Schumann's finest
short pieces. It combines seething energy and restlessness. It is the most
technically difficult of the set.

@174 Schumann used the term Fantasy Piece (Phantasiestueck) to describe
the many little piano works that portrayed his flights of fancy or flashes of
inspiration. The eight Fantasy Pieces, Opus 12, were composed in 1837
and are a marvellous display of Schumann's imaginative best.
 Restless Dreams (No. 7, Traumes Wirren) is buoyantly energetic. The
right hand melody scurries about busily, while the left hand
accompaniment hops about.

@175 Robert Schumann was known for writing sets of miniatures, each
painting a distinct character or psychological feeling. One of his most
beautiful sets, Scenes from Childhood (Kinderscenen), op. 15 was written
in 1838. What is unique is that Schumann has created music filled with
artistry and imagination, suitable in for the concert stage, that can at least
be technically approached by young students. The 13 selections are
individual pieces yet when played together and in order form a satisfying
whole.
 About Foreign Lands and People (Von fremden Laendern und Menschen)
is the first of the set. It has a singing melody with a middle voice
accompaniment spread between both hands.

@176 Tchaikovsky's Nutcracker (composed 1891-2) is one of the
composer's most successful and enduring ballets. In 1892, Tchaikovsky
constructed an orchestral suite or collection of dance movements from the
Nutcracker, Op. 71a, which is heard here in the piano solo version.
 The Overture begins with sparkling energy and dancing chords, followed
by a busy, twisting little melody which is contrasted later by a sustained,
"dolce cantabile" melody.

@177  Robert Schumann was known for writing sets of miniatures, each
painting a distinct character or psychological feeling. One of his most
beautiful sets, Scenes from Childhood (Kinderscenen), op. 15 was written
in 1838. What is unique is that Schumann has created music filled with
artistry and imagination, suitable in for the concert stage, that can at least
be technically approached by young students. The 13 selections are
individual pieces yet when played together and in order form a satisfying
whole.
 Curious Story (Kuriose Geschichte) is No. 2 in the set. It has good
humored, rhythmic chord passages interspersed with little stretches of
legato melody.

@178 Tchaikovsky's Nutcracker (composed 1891-2) is one of the
composer's most successful and enduring ballets. In 1892, Tchaikovsky
constructed an orchestral suite or collection of dance movements from the
Nutcracker, Op. 71a, which is heard here in the piano solo version.
 Russian Dance is No. 4 in the suite. It sizzles with energy from its opening
shot, through the heavy, left hand middle melody, to the big "crescendo"
finish!

@179  Robert Schumann was known for writing sets of miniatures, each
painting a distinct character or psychological feeling. One of his most
beautiful sets, Scenes from Childhood (Kinderscenen), op. 15 was written
in 1838. What is unique is that Schumann has created music filled with
artistry and imagination, suitable in for the concert stage, that can at least
be technically approached by young students. The 13 selections are
individual pieces yet when played together and in order form a satisfying
whole.
 Catch Me! (Hasche-Mann) is No. 3 in the set. It scampers quickly along in
waves of staccatos and chordal accents.

@180 Tchaikovsky's Nutcracker (composed 1891-2) is one of the
composer's most successful and enduring ballets. In 1892, Tchaikovsky
constructed an orchestral suite or collection of dance movements from the
Nutcracker, Op. 71a, which is heard here in the piano solo version.
 Dance of the Sugar Plum Fairy is No. 3 in the suite. You might want to set
your MIDI output to celeste or bells for this one. That's the way it sounds
in the orchestral version. This is a magical selection.

@181 Tchaikovsky's Nutcracker (composed 1891-2) is one of the
composer's most successful and enduring ballets. In 1892, Tchaikovsky
constructed an orchestral suite or collection of dance movements from the
Nutcracker, Op. 71a, which is heard here in the piano solo version.
 The energetic March is No. 2 in the suite. Listen for the scurrying little
"staccato e leggiero" section in the middle.

@182  Robert Schumann was known for writing sets of miniatures, each
painting a distinct character or psychological feeling. One of his most
beautiful sets, Scenes from Childhood (Kinderscenen), op. 15 was written
in 1838. What is unique is that Schumann has created music filled with
artistry and imagination, suitable in for the concert stage, that can at least
be technically approached by young students. The 13 selections are
individual pieces yet when played together and in order form a satisfying
whole.
 Pleading Child (Bittendes Kind) is No. 4 in the set. The right hand shares
not only the melody, but also some of the accompaniment notes. The
ending chord is a curious unfinished twist.

@183  Robert Schumann was known for writing sets of miniatures, each
painting a distinct character or psychological feeling. One of his most
beautiful sets, Scenes from Childhood (Kinderscenen), op. 15 was written
in 1838. What is unique is that Schumann has created music filled with
artistry and imagination, suitable in for the concert stage, that can at least
be technically approached by young students. The 13 selections are
individual pieces yet when played together and in order form a satisfying
whole.
 Perfect Happiness (Glueckes genug) is No. 5 in the set. The surging right
melody is chased by an imitative left hand.

@184 Tchaikovsky's Nutcracker (composed 1891-2) is one of the
composer's most successful and enduring ballets. In 1892, Tchaikovsky
constructed an orchestral suite or collection of dance movements from the
Nutcracker, Op. 71a, which is heard here in the piano solo version.
 Arabian Dance is No. 5 in the suite. Imagine the little cymbals in the
backround, from behind silky veils, as this sensous little dance caresses
you.

@185 Tchaikovsky's Nutcracker (composed 1891-2) is one of the
composer's most successful and enduring ballets. In 1892, Tchaikovsky
constructed an orchestral suite or collection of dance movements from the
Nutcracker, Op. 71a, which is heard here in the piano solo version.
 Chinese Dance is No. 6 from the suite. Imagine the piccolo playing the
soaring, agile right hand melody. The simple, rhythmic left hand
accompaniment helps drive this short dance to its climax.

@186  Robert Schumann was known for writing sets of miniatures, each
painting a distinct character or psychological feeling. One of his most
beautiful sets, Scenes from Childhood (Kinderscenen), op. 15 was written
in 1838. What is unique is that Schumann has created music filled with
artistry and imagination, suitable in for the concert stage, that can at least
be technically approached by young students. The 13 selections are
individual pieces yet when played together and in order form a satisfying
whole.
 Important Event (Wichtige Begebenheit) is No. 6 in the set. Its heavy
chords glow with the feeling of a pompous public ceremony.

@187  Robert Schumann was known for writing sets of miniatures, each
painting a distinct character or psychological feeling. One of his most
beautiful sets, Scenes from Childhood (Kinderscenen), op. 15 was written
in 1838. What is unique is that Schumann has created music filled with
artistry and imagination, suitable in for the concert stage, that can at least
be technically approached by young students. The 13 selections are
individual pieces yet when played together and in order form a satisfying
whole.
 Reverie (Traeumerei) is No. 7. Its slow sentimental melody has become
famous over the years.

@188 Tchaikovsky's Nutcracker (composed 1891-2) is one of the
composer's most successful and enduring ballets. In 1892, Tchaikovsky
constructed an orchestral suite or collection of dance movements from the
Nutcracker, Op. 71a, which is heard here in the piano solo version.
 Dance of the Reed Flutes is No. 7 in the suite. Tchaikovsky used a group
of flutes to play the right hand chordal melody. It has an easy charm, save
for a bit of serious excitement past the middle.

@189  Robert Schumann was known for writing sets of miniatures, each
painting a distinct character or psychological feeling. One of his most
beautiful sets, Scenes from Childhood (Kinderscenen), op. 15 was written
in 1838. What is unique is that Schumann has created music filled with
artistry and imagination, suitable in for the concert stage, that can at least
be technically approached by young students. The 13 selections are
individual pieces yet when played together and in order form a satisfying
whole.
 By the Fireside (Am Kamin)  is No. 8. Its singing eighth note melody
flows smoothly throughout.

@190 Tchaikovsky's Nutcracker (composed 1891-2) is one of the
composer's most successful and enduring ballets. In 1892, Tchaikovsky
constructed an orchestral suite or collection of dance movements from the
Nutcracker, Op. 71a, which is heard here in the piano solo version.
 Waltz of the Flowers (No. 8) is the finale of the suite. It has big
introduction, with the harp-like cadenza setting up the waltz introduction.
You'll find yourself humming the familiar melodies.

@191  Robert Schumann was known for writing sets of miniatures, each
painting a distinct character or psychological feeling. One of his most
beautiful sets, Scenes from Childhood (Kinderscenen), op. 15 was written
in 1838. What is unique is that Schumann has created music filled with
artistry and imagination, suitable in for the concert stage, that can at least
be technically approached by young students. The 13 selections are
individual pieces yet when played together and in order form a satisfying
whole.
 Knight of the Rocking-Horse (Ritter vom Steckenpferd) is No. 9. In this
fast paced piece, the middle voiced melody is accompanied by galloping,
rhythmic chords.

@192  Robert Schumann was known for writing sets of miniatures, each
painting a distinct character or psychological feeling. One of his most
beautiful sets, Scenes from Childhood (Kinderscenen), op. 15 was written
in 1838. What is unique is that Schumann has created music filled with
artistry and imagination, suitable in for the concert stage, that can at least
be technically approached by young students. The 13 selections are
individual pieces yet when played together and in order form a satisfying
whole.
 Almost Too Serious (Fast zu ernst) is No. 10. The right hand syncopated
melody must keep a good balance with the bass accompaniment.

@193  Robert Schumann was known for writing sets of miniatures, each
painting a distinct character or psychological feeling. One of his most
beautiful sets, Scenes from Childhood (Kinderscenen), op. 15 was written
in 1838. What is unique is that Schumann has created music filled with
artistry and imagination, suitable in for the concert stage, that can at least
be technically approached by young students. The 13 selections are
individual pieces yet when played together and in order form a satisfying
whole.
 Frightening (Fuerchtenmachen) is No. 11. It alternates between lyrical
passages and quick, rhythmic outbursts.

@194  Robert Schumann was known for writing sets of miniatures, each
painting a distinct character or psychological feeling. One of his most
beautiful sets, Scenes from Childhood (Kinderscenen), op. 15 was written
in 1838. What is unique is that Schumann has created music filled with
artistry and imagination, suitable in for the concert stage, that can at least
be technically approached by young students. The 13 selections are
individual pieces yet when played together and in order form a satisfying
whole.
 No. 12, Child Falling Asleep (Kind im Einschlummern) is one of the most
beautiful of the set. There is a gentle imitation between left and right hand,
and some exquisitely delicate harmonies.

@195  Robert Schumann was known for writing sets of miniatures, each
painting a distinct character or psychological feeling. One of his most
beautiful sets, Scenes from Childhood (Kinderscenen), op. 15 was written
in 1838. What is unique is that Schumann has created music filled with
artistry and imagination, suitable in for the concert stage, that can at least
be technically approached by young students. The 13 selections are
individual pieces yet when played together and in order form a satisfying
whole.
 No. 13, The Poet Speaks (Der Dichter spricht) finishes the set in the spirit
of an operatic recitative, including a brief cadenza in the middle.

@196 Bach composed six Suites of dances in the French style. No. 5 in G major is considered the finest of
the set. The Gavotte movement is clear and delicate, and a delight to the ears.

@197 Beethoven wasn't always fire and brimstone. In his little Bagatelles for piano, the old master showed his
lighter side. The Bagatelle in E flat, Op. 33, No. 1 has a dance-like lilt punctuated by graceful and sometimes
surprising scale runs.

@198 Beethoven wasn't always fire and brimstone. In his little Bagatelles for piano, the old master showed his
lighter side. The Bagatelle in A major, Op. 33, No. 4 flows at a relaxing pace and with graceful charm.

@199 Brahms' popular Capriccio in B minor is a test of a pianist's staccato touch and has a playfulness in
keeping with the name. It is part of a set of eight short piano pieces composed between 1871-78 and published
as Opus 76.

 @200 Very little explanation is needed for the first movement of Beethoven's venerable Fifth Symphony.
Liszt, who often wrote difficult but faithful piano arrangements of popular symphonic or operatic works
(generally for use in his own concerts), put his pen to paper in this impressive transcription. Incidentally, he
did piano arrangements of all the Beethoven symphonies.
@201 The twenty-four Preludes were composed from 1836-9 and first
published in 1839. Like Bach's Preludes from the Well-Tempered Clavier
(upon which these were modelled), Chopin composed one in each major
and minor key. Often the prelude is based on a single idea, sometimes only
a motive. They are true romantic miniatures, each pointedly expressing a
feeling or idea. They work as individual pieces, but when played as a set,
they display a true, cohesive emotional spectrum of the highest artistry.
 Prelude No. 4 in E minor is a simple, sadly expressive melody floating
over repeated left hand chords.

@202 The twenty-four Preludes were composed from 1836-9 and first
published in 1839. Like Bach's Preludes from the Well-Tempered Clavier
(upon which these were modelled), Chopin composed one in each major
and minor key. Often the prelude is based on a single idea, sometimes only
a motive. They are true romantic miniatures, each pointedly expressing a
feeling or idea. They work as individual pieces, but when played as a set,
they display a true, cohesive emotional spectrum of the highest artistry.
 The Prelude in B minor, op. 28, no. 6 has been nicknamed the "Cello"
Prelude because of its left hand melody. It has in fact been arranged for
cello with piano accompaniment, and it is indeed easy for the pianist to
imagine the tonal qualities and phrasing of a cello as he plays the melody.

@203 The celebrated Toccata and Fugue in D minor for organ has long
considered to be one of J.S. Bach's most accessible and popular works.
Today, there is some question as to whether Bach actually wrote the work.
Nevertheless, its drama and brilliance remain. Virtuoso pianist Ferruccio
Busoni (1866-1924) wrote this difficult piano transcription.

@204 The twenty-four Preludes were composed from 1836-9 and first
published in 1839. Like Bach's Preludes from the Well-Tempered Clavier
(upon which these were modelled), Chopin composed one in each major
and minor key. Often the prelude is based on a single idea, sometimes only
a motive. They are true romantic miniatures, each pointedly expressing a
feeling or idea. They work as individual pieces, but when played as a set,
they display a true, cohesive emotional spectrum of the highest artistry.
 No. 8 in F-sharp minor is one of the more technically difficult of the
Preludes. The right hand must ring out a thumb melody amidst an
incessant cascade of rapid notes. There is no let up in intensity from
beginning to end.

@205 The melody which we commonly know as "Twinkle Twinkle Little Star" first appeared without words
in 1761 as "Ah! Vous dirai-je, maman". While keeping in mind that Variations on a theme often reveals the
essence of a composer's creativity, it is fun to listen to Mozart's 12 Variations on this children's melody.

@206 Debussy's La plus que lente is a swaggering, waltz-like salon piece.
There actually is a player piano recording of Debussy playing this himself!
It has little musical value except to entertain.

@207 Because of the two recordings by the late pianist Glenn Gould, J.S.
Bach's Goldberg Variations have achieved a virtual "pop" music status.
Gould's original version was actually the first classical hit record the
1960's. Bach, it is said, was commissioned to compose these 30 variations
for performance by Johann Goldberg (to help cure his patron Count
Keyserling of insomnia). It is this Aria which begins and ends the whole
cycle.

@208 The melody for Country Gardens first appeared under that title in
The Quaker's Opera (printed in London, 1728). The tune was collected by
Cecil J. Sharp and Herbert C. MacIlwaine in 1907 as the Hankerchief
Dance, and it is Sharpe that Australian pianist/composer Percy Grainger
credits in the preface to his piano arrangement.
 In his detailed performance notes, Grainger also mentions that he "rough-
sketched for 2 whistlers and a few instruments about 1908" and "worked
out for piano, spring 1918". It is a delightful and perhaps best known
arrangement of this popular classic.

@209 The Fantasy in C minor, K. 475, is one of Mozart's most astonishing works for solo piano. It covers an
enormous range of emotion, from its starkly dramatic opening to typical Mozartian cheerfulness.

@210 Poulenc's Mouvement perpetuels was composed in 1918. The three movements (Assez modere; Tres
modere; Alerte) are short and not difficult to play.

@211 Sibelius' Valse triste is a short salon piece with a truly melancholic opening mood, which switches
grudgingly to a smile in the middle.

@212 J.S. Bach's Prelude in C (WTC Bk. 1) is made up of a simple but
subtly stirring series of arpeggiated chords. There is no actual melody,
however, one can feel melodic movement. In the 19th century, Franz
Schubert used this Prelude as the accompaniment for his song Ave Maria
(Liszt's arrangement of his arrangement is included in The Pianist).
 Wohltemperiertes Klavier, or Well Tempered Clavier, was published by
Bach in two volumes of 24 Preludes and Fugues each. The first was
released in 1722, and the second around 1740. By using all major and
minor keys, this collection of works was taking advantage of a new
advance in keyboard technology: tempered tuning. A "tempered" keyboard
allowed performance in any key without retuning the instrument--
something that had previously been impossible.

@213 Scriabin's Etude in C-sharp minor, op. 2, no. 1 (1887), while not a
difficult work, offers challenges in chordal balance and tonal color. It is a
strikingly beautiful little piece.

@214 The twelve etudes of Opus 10 were written 1829-32 (and completed
when Chopin was only 22 years old). They were published in 1833. The
twelve Opus 25 etudes were composed from 1832-6. They are all marvels
of composition and unique in the way Chopin has managed to parcel
exercises in specific technical difficulties into a fully integreted and artistic
miniature of music. They are such remarkable pieces of music that it is
impossible to think of theme as mere etudes.
 The Etude in A minor, op. 25, no. 11 has been nicknamed the "Wind
Study" because of the swirling chromatic figuration in the right hand.
Rhythmic left hand chords and melody hold everything together. While not
easy, the music sounds more difficult than it actually is.

@215 Carl Maria Von Weber (1786-1826) has been largely ignored as a
serious composer, except for his operas, coming across as sounding
somewhat trivial. The Rondo Brillant in E-flat, op. 62 (1819) is a rapid fire
fantasy piece that has that "old-fashioned" elegance and technical variety
which can be pleasing to the ear.
@