Author: Anton RubinsteinPublisher:
ISBN:
Category : Concertos (Piano)
Languages : en
Pages : 100
Book Description
Concerto no. 4 in D minor, op. 70, for pianoforte : two pianos, four hands
Author: Anton RubinsteinPublisher:
ISBN:
Category : Concertos (Piano)
Languages : en
Pages : 100
Book Description
Concerto no. 4 in D Minor for pianoforte
Author: Anton RubinsteinRubinstein Concerto No. 4 in D Minor, Op. 70 (2 Cd Set)
Author: Anton (COP) RubinsteinPublisher: Music Minus One
ISBN: 9781596150737
Category : Music
Languages : en
Pages : 112
Book Description
Music Minus One
Concerto No. 4 in d minor
Author: Niccolò PaganiniConcerto no. 4 in D minor, op. 70
Author: Anton RubinsteinPublisher:
ISBN:
Category : Concertos (Piano)
Languages : en
Pages : 94
Book Description
Piano Concerto No. 4 in D Minor ; Op.23
Author: Christine E. BeltPublisher:
ISBN:
Category :
Languages : en
Pages : 0
Book Description
While my experiment was always meant to stand as an independent work of art, as opposed to a word-for-word "mapping" of a pre-existent musical structure, I cannot emphasize the influence of concerto form enough. I revisited Rachmaninoff's Third Piano Concerto repeatedly throughout the writing of this manuscript, John Adams's and Beethoven's Violin Concerti as well. I made a study of the form through these and other works, noting the "rules" and the rule-breakers alike. The final product follows the three-part structure of the concerto, paying close attention to elements such as mood, rhythm, tempo, harmony, polyphony, orchestral organization (derived from an examination of orchestral scores), the cyclical appearance of and variations upon theme, etc. For example, the themes in my Concerto appear and re-appear in much the same way as they do in Rachmaninoff's Concerto; material and subject matter from the piece is repeated, branching out into appropriate variations, often set in a similar "key" as the variations found in the Rach 3rd. As the writing progressed, I found the cyclical quality of the main themes (Ex. from Mvt. I.: the orchestra tuning, solitude, manners) to be quite interesting, and they never ceased to yield new interpretations or variations. It was as though repetition within a slightly different context gave these phrases and tags deeper meaning. I believe that the three-part structure of concerto form has served the emotional arc of my manuscript well, including the fast-slow-fast rate and the elevated-thoughtful-euphoric mood transitions from the first to the third movements: traditional elements for the form. It was my intention to reveal ever more complex aspects of truth and vulnerability as the Concerto progressed, a process of discovery facilitated by this three-part structure. The first movement lays down the rules of the piece, if you will, and it brings the audience into Loeffler's rather circumscribed world. Conrad admits the reader/listener as a guest; he is gentlemanly, well-mannered, but he is also quite guarded in what he reveals at this point. He tries to divert the reader with lighter conversation, but is impelled by the unexpected entrance of memory and voices to more and more intimate confession. That he admits, in the end, that his son has been dead for some time is difficult for him, and Conrad makes his emotional "escape" to the simpler, more concrete second movement. " ... from Introduction.
Concerto no. IV in D minor, 2 pianos, 4-hands
Author: Anton RubinsteinPublisher:
ISBN:
Category : Concertos
Languages : en
Pages : 92
Book Description
Concerto no. 20 in D minor, K. 466, for piano and orchestra
Author: Wolfgang Amadeus MozartPublisher:
ISBN:
Category : Concertos (Piano)
Languages : en
Pages : 76
Book Description
Concerto no. IV in D minor, op. 70
Author: Anton RubinsteinPublisher:
ISBN:
Category : Concertos (Piano)
Languages : en
Pages : 100
Book Description
Author: Niccolò Paganini