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This is a newly edited and engraved edition: this new edition is based on the most authoritative early publications; mistakes and misprints from the old editions are corrected; missing technical markings and other inconsistencies have been resolved; all texts, titles and dates are carefully checked with Grove's Music Dictionary; the new layout offers more comfortable reading; increased staff size will help to make the score more legible on music stands, tablets or other digital media. Now, this new edition finally offers musicians the opportunity to fully enjoy this beautiful piece.
Ives' famous work features four movements inspired by Concord, Massachusetts–based literary figures. This edition includes essays on Emerson, Hawthorne, the Alcotts, and Thoreau from the 1920 Knickerbocker edition plus an informative Introduction.
(Faber Piano Adventures ). In this inspiring collection, late-elementary to early-intermediate pianists will find appealing arrangements that advance skills while exploring masterworks of Western music. The famous orchestral, keyboard, and operatic repertoire here spans four periods of music history. In the Baroque & Classical section, discover the elegance of Bach, the beauty of Mozart and the passion of Beethoven. Through the pages of the Romantic & Impressionistic section, sample the lyricism of Chopin, the drama of Grieg, and the atmosphere of Debussy. May the melodies of these and many other composers open an enduring world of expression and sound.
Charles Ives' massive Concord Sonata, his second sonata for piano, named after the town of Concord in Massachusetts, is central to his output and clearly reflects his aesthetic perspective. Geoffrey Block's wide-ranging account of the work thus provides an ideal introduction to this fascinating composer. This handbook discusses the Sonata's reception history and its compositional genesis, as well as providing a detailed account of the work's thematic content, its use of borrowed material, and the degree to which the program is influenced by the Concord Transcendentalists.
Beethoven's Sonata, Opus 27, No. 2, was not known as the "Moonlight Sonata" during his lifetime. The name has its origins in 1832, in remarks by the German music critic Ludwig Rellstab, as he likened the effect of the first movement to that of moonlight shining upon Lake Lucerne. The name caught on quickly, and later in the nineteenth century, it could be said that the sonata was "universally known" by that name.
(PWM). Opp. 4, 35, 58 The most famous and popular edition of Chopin's works prepared by I. J. Paderewski, L. Bronarski and J. Turczynski. The edition has been based primarily on Chopin's autograph manuscripts, copies approved by him and first editions. The principal aim of the Editorial Committee has been to establish a text which fully reveals Chopin's thoughts and corresponds to his intentions as closely as possible. The full version of this edition includes 21 volumes.
Charles Ives' greatest music teacher was his father. His father was Danbury's musical leader, teaching any musical instrument needed. He was the Civil War band leader and carried out experiments in sound (for example, sounds made when three or four bands played together in different keys). His son, Charles Edward, tried to do those sounds in multiple keys, no one could play the music. It was terribly hard. Those who tried it, gave up. They called him a "crackpot," or an untrained musician and made fun of him. At Yale, he was told to follow the rules. His instructor disapproved of his music, so Ives performed one way in school and followed his own muse at home. When he finished at Yale, he had decided that he could not make a living with his music. He got a job at an insurance company for five dollars a week. Soon, he and a friend went into partnership and made a good living in the insurance business. He kept writing at night and storing it in his barn. Ives' dual life as a composer and business man led to a physical breakdown in 1918, which left him with permanent cardiac damage. During his long convalescence, he went through his music and had it published and sent to anyone he thought might be interested. It was not to be copyrighted and anyone who wanted a copy was to have one. Slowly, a few people learned to play parts of it. In 1939, John Kirkpatrick learned and played the Concord Sonata. People liked it and he repeated it. Ives' music began to be heard and liked so much so that by the time of his death in 1954, he had become an almost legendary figure. Ives way of musical notation resulted in his being called the first American to write 20th Century music.
Boris Berman draws on his intimate knowledge of Prokofiev's work to guide music lovers and pianists through the composer's nine piano sonatas.
Beethoven wrote 32 sonatas for piano. Volume 1, edited by Stewart Gordon, includes the first 8 sonatas (Op. 2, Nos. 1-3; Op. 7; Op. 10, Nos. 1-3; and Op. 13 ["Pathétique"]), written between 1795 and 1799. Since these autographs no longer exist, this edition is based on the first editions, published by various Viennese engravers. Dr. Gordon discusses a variety of topics including Beethoven's life; the pianos of his time and their limitations; Beethoven's use of articulation, ornamentation, tempo; and the age-old challenge of attempting to determine the definitive interpretation of Beethoven's music. Valuable performance recommendations, helpful fingering suggestions and ornament realizations are offered in this comprehensive critical body of Beethoven's sonatas. Where performance options are open to interpretation, other editors' conclusions are noted, enabling students and teachers to make informed performance decisions.