This diversified collection guides students to develop stylistic performances of Bach's keyboard works. Among the 27 selections are numerous menuets, "short" preludes and suite movements. The introductory material contains an excellent discussion of ornamentation, rhythm, articulation, tempo and dynamics in the keyboard music of this master composer.
This collection provides an excellent introduction to Mozart's easiest works. Selections include short dances such as the popular "Minuet in F Major," easier sonata movements and arrangements of familiar opera arias. The short biography and notes on each piece will be appreciated by students new to the study of Mozart's music.
A fine assortment of Beethoven's works comprises this collection including bagatelles, dances and sonata forms. Dr. Palmer's introductory material emphasizes Beethoven's use of pedal, rubato, ornamentation and articulation with an especially fascinating look at legato in the composer's keyboard music.
The pieces in this book are arranged roughly in chronological order. They include the best of Mozart's childhood compositions through late works such as the famous "Sonata in C Major," K. 545. Unique features of this volume include an excellent discussion of pianos in Mozart's day, as well as directives on how to improvise ornaments in Classic keyboard music. The Alfred Masterwork CD Editions conveniently combine each exceptional volume with a professionally recorded CD that is sure to inspire artistic performances. 64 pages.Pianist Scott Price is the chair of the Piano Department at the University of South Carolina and holds a doctorate in piano performance from the University of Oklahoma. He has given master classes and recitals throughout the United States and Southeast Asia. His recordings are featured in Alfreds Premier Piano Course.
The pieces in this book are arranged roughly in chronological order. They include the best of Mozart's childhood compositions through late works such as the famous "Sonata in C Major," K. 545. Unique features of this volume include an excellent discussion of pianos in Mozart's day, as well as directives on how to improvise ornaments in Classic keyboard music.
Some of Mozart's most popular works are contained in this volume, including the Fantasia in D Minor," the "Sonata in C Major" (first movement) and the "Turkish March" from the Sonata in A Major. Other selections include intermediate-level transcriptions from operas and orchestral works. Arranged in the order of difficulty, each piece is prefaced by a short description. A biographical sketch of the composer is also provided."
Originally published in German as Interpreting Mozart on the Keyboard in 1957, this definitive work on the performance of Mozart's works has greatly influenced students and scholars of keyboard literature and of Mozart. Now, in a completely updated and revised edition, this book includes the last half century of scholarship on Mozart's music, addressing the elements of performance and problems that may occur in performing Mozart's works on modern instruments.
This volume contains 31 pieces from The First Term at the Piano, For Children, 10 Easy Pieces and 7 Sketches. The informative foreword includes Bartók's specific instructions on wrist and finer action, articulations and syncopation. Each piece is prefaced by a brief introduction.
This carefully edited volume contains 19 of Scarlatti's easiest pieces, including minuets, sonatas and assorted other works. Suggestions for interpretation and a discussion of the original editions are provided. Unique to this collection is a consideration of figured bass as used in several of Scarlatti's sonatas.
From the acclaimed composer and biographer Jan Swafford comes the definitive biography of one of the most lauded musical geniuses in history, Wolfgang Amadeus Mozart. At the earliest ages it was apparent that Wolfgang Mozart’s singular imagination was at work in every direction. He hated to be bored and hated to be idle, and through his life he responded to these threats with a repertoire of antidotes mental and physical. Whether in his rabidly obscene mode or not, Mozart was always hilarious. He went at every piece of his life, and perhaps most notably his social life, with tremendous gusto. His circle of friends and patrons was wide, encompassing anyone who appealed to his boundless appetites for music and all things pleasurable and fun. Mozart was known to be an inexplicable force of nature who could rise from a luminous improvisation at the keyboard to a leap over the furniture. He was forever drumming on things, tapping his feet, jabbering away, but who could grasp your hand and look at you with a profound, searching, and melancholy look in his blue eyes. Even in company there was often an air about Mozart of being not quite there. It was as if he lived onstage and off simultaneously, a character in life’s tragicomedy but also outside of it watching, studying, gathering material for the fabric of his art. Like Jan Swafford’s biographies Beethoven and Johannes Brahms, Mozart is the complete exhumation of a genius in his life and ours: a man who would enrich the world with his talent for centuries to come and who would immeasurably shape classical music. As Swafford reveals, it’s nearly impossible to understand classical music’s origins and indeed its evolutions, as well as the Baroque period, without studying the man himself.
