CORIGLIANO ETUDE FANTASY PDF
Name, Average duration. 1, For the left hand, 2, Legato, 3, Fifths to Thirds, 4, Ornaments, 5, Melody, Title: Corigliano ETUDE FANTASY (for piano), Author: ScoresOnDemand, Name: Corigliano ETUDE FANTASY (for piano), Length: 6 pages, Page: 1, Published. Documents Similar To Corigliano – Etude Fantasy. Sciarrino-Quaderno Di Strada (Baritone & Large Ens). Uploaded by. Roberto Nieva Velasco · Gulda – Aria.
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I have used them only twice before, in my first film score for Altered Statesand in the opening star music of Pied Piper Fantasymy concerto for flute and orchestra from Seven Poems of Bob Dylan voice s and piano The miking seems perfectly judged to produce a piano tone that actually appears to be coming from a distance of the listener to the speakers, in my case about eight-to-ten feet.
John Corigliano | Etude Fantasy (for piano) ()
Voyage for flute and string orchestra Fern Hill chamber orchestra Even then, certain changes had to be made, mostly due to my poor piano playing. Who People and organizations associated with either the creation of this dissertation or its content. They Are Always With Me: Descriptive information to help identify this dissertation. I had composed one previous work for two pianos, Kaleidoscopeinand couldn’t think of anything else I wanted to say in that medium.
The work ends with a statement of the tone row in reverse, accompanying a quiet two-note ostinato. We also provide extended guidance on usage rights, references, copying or embedding.
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It is this intelligent fntasy of elements, along with expert craftsmanship, that has become Corigliano’s trademark and have earned him an important place in contemporary American music. Other items on this site that are directly related to the current dissertation. The Red Violin music for the motion picture Streams Videos All Posts.
The purpose of this study is to examine the two solo piano works of Corigliano in terms of style, structure, and musical influences. Two Works for Antiphonal Brass. My Etude Fantasy is actually a set of studies combined into the episodic form and character of a fantasy.
Adam Fleishman – www. Here the music quotes a chorale by Bach, symbolic of our stable and traditional harmony however, while both pianists are corifliano at last in the same key, they are still subtly out of rhythmic phase, as one player’s quarter note equals the other’s dotted eighth. Item Type Thesis or Dissertation. Of Rage and Remembrance Revolution music for the motion picture Drinking Hanging Out In Love.
It is coriyliano work of tremendous formal unity, as well as being a dazzling display piece for the performer with not a few treacherous stretches of vertiginous virtuosity! Corigliano, Fantasia on an Ostinato.
No composer could ask for a finer interpreter than Oppens, who once again turns in steely, dynamic performances, both alone and with the great Jerome Lowenthal.
About Browse this Partner. As the title implies, it is a colorful mosaic of changing symmetrical patterns, some infused with a ragtime feel, others highly lyrical in content. Trills, grace notes, tremolos, glissandos, and roulades ornament the opening material Etude I and then develop the first four notes of the third etude into a frenetically charged scherzando where the four fingers of the left hand softly play a low cluster of notes like a distant drum as the thumb alternates with the right hand in rapid barbaric thrusts.
Please use the dropdown buttons to set your preferred options, or use the checkbox to accept the defaults. Concerto for Percussionist and String Orchestra A comparison of the Etude Fantasy and Fantasia nn an OstinatQ confirms the eclectic characteristics of Corigliano’s style.
Stravinsky had been known to fantash that some of his unique sonorities came from his bad piano playing. Jazz Latin New Age. The third movement interrupts a stabbing toccata in the competing C minor keys of the two pianos by bringing, for a moment, both pianists together to play on one piano.
Impact is strong, and the piano size is lifelike rather than stretching across the room. The following text was automatically extracted from the image on this page using optical character recognition software:. Cavatina and Cabaletta The Red Violin Caprices After the initial melodic statement, the virtuoso figurations accompanying the tone row return, followed by a gradual slowing down which finally introduces the right hand, playing a quiet chromatic scale over a gently pulsing left-hand accompaniment.
What occurred to me, finally, was the idea to change totally the concept of two pianos by “preparing” one of them. Charles Ives experimented with them, and they appear in Bartok’s classic string quartets. O God of Love: After they left, I went to the “big” piano there were two in the room and made up things.
The first improvisation was too short, and didn’t have a satisfying ending, so I took the liberty of repeating the opening section at the end i. So, occasionally, I copied the same notes into a later passage that was meant to do the same thing.