Twelve Etudes, Op. 39, No. 12 Hungarian
Contents:
Prelude in C-sharp Minor, Opus 3, No. Murray Baylor Piano Sheet Level: Maurice Hinson Piano Sheet Level: Stewart Gordon Piano Book Level: Wedding Day at Troldhaugen, Opus 65, No.
12 Etudes, Op (MacDowell, Edward) . Idylle (Idyl); Schattentanz (Shadow Dance); Intermezzo; Melodie (Melody); Scherzino; Ungarisch (Hungarian). MacDowell composed his Twelve Études, Opus 39 in , dedicating the set to his Edward MacDowell does not actually use a Hungarian folk-melody for this.
Lynn Freeman Olson Piano Level: Waltz in C-sharp Minor, Opus 64, No. Romance, Opus 24, No. Rustles of Spring, Opus 32, No. Maurice Hinson Piano Level: Sonata in F Minor, Opus 2, No.
Maurice Hinson Piano Book Level: This was at a time when she was playing MacDowell's music on all her concert hours throughout North and South America and practically every country in Europe. Although he was never too keen on writing music to order, he obliged his great friend.
Twelve Etudes, Op. 39, No. 12 Hungarian Sheet Music by Edward Alexander MacDowell
The resulting Concert Etude in F sharp major was very pianistic in character. Resplendent with superb octave passages and well arranged effects, this is the kind of music that dazzles by its brilliancy, at the same lime containing a memorable and beautiful melody, which the composer uses in various transformations throughout the piece.
The Fugato that follows shows us the influences of his teacher, Joachim Raff. Raff, who was a proponent of the "new German school and often could not divorce himself from his own historical calling, feeling he needed to fuse the great achievements of the past with the present.
He did so by combining contrapuntal techniques and sonata movement composition. His own suites always had a fugue movement. It was no surprise then that MacDowell would emulate his teacher.
The Fugato is, in essence, a tribute to his teacher, and a virtuoso piece of "modern pianistic writing. The third movement, entitled Rhapsodie, is Brahmsian in flavour. More ballade than rhapsody, it reminds us of Brahms's Opus 10 , and future Celtic works of MacDowell.
The Scherzino connects with the Marsch. The Scherzino is both playful and reserved, while the Marsch marked in the score misterioso has a peculiarly Schumannesque quality, reminding us of some of Robert Schumann's Novelettes. The final piece in the suite is the Phantasie-Tanz, a virtuosic romp through Schumann's gardens.
Raff taught MacDowell well: Although greatly influenced by the mighty German composers of his time, MacDowell was re-casting their strong voices into his own peculiarly American sound. These works by the year-old show a fertile musical imagination and an extraordinary grasp of pianistic writing.
Twelve Etudes, Opus Piano Book: Edward MacDowell
Schirmer in New York for its exclusive distribution in the United States. It was reprinted in a new edition in , re-issued again in and re-copyrighted in The Serenata, Opus 16 was first published by E. Fritzsch in Leipzig in The four-page composition has three sections. Like the Serenata, Opus 16 , both of these pieces are dedicated to Hans Huber.
The second composition, Hexextanz, became one of MacDowell's best-selling works, eventually published separately from its accompanying work. In a sense, these two pieces were the drum-roll of future works and styles to come. The Hexentanz Witches' Dance is a demonic scherzo that takes us to a triumphant revel of the spirits of darkness, encompassing the whole range of the keyboard, as the witches themselves sweep through the vast spaces of the night. The opening Hunting Song reminds us of Mendelssohn's song without words, but we are not in a German forest, we are in America.
12 Etudes, Op.39 (MacDowell, Edward)
According to Marian MacDowell, this etude is to help "the student with accentuation and graceful playing". Raff, who also composed several similar tarantellas, is clearly looming in the background. Marian MacDowell reminds us that this work needs to be played with "speed and lightness of touch," In the Romance, she stresses "legato and singing touch", while the Arabesque is to be played "with a firm, strong touch to strengthen the wrist.
Dance of the Gnomes is another impish MacDowell miniature. MacDowell's first concert appearance at the conservatory on 9th June was on the occasion or a visit by Franz Liszt, who also heard him play at two concerts in May Murray Baylor Piano Sheet Level: The Scherzino connects with the Marsch. That injury, coupled with definite signs of mental illness, caused him 10 retire to his estate at Peterborough, New Hampshire. Prelude in C-sharp Minor, Opus 3, No.
In the Forest is another of MacDowell's nature pictures, this time written to help the pianist with "delicate rhythmical playing". Dance of the Gnomes is another impish MacDowell miniature. Marian MacDowell suggests that "between each figure the hand must be raised high above the keys and the work is to be played very marcato".
The Idyll is a meditation piece to be played with "delicacy, a singing tone, and with grace". Another piece of forest nymph imagery is the Shadow Dance, "a work of lightness and speed - and before you know it vanishes into thin air!
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The purpose of this work, according to Marian MacDowell, was to "exercise the independence of the third and fourth fingers". The last elude is simply entitled Hungarian. According to Marian MacDowell, it is "a virtuoso piece, to be played with dash and speed". James Barbagallo was born in Pittsburgh, California on 3rd November His maternal grandfather was a piano builder who recommended to his daughter that, when she had children of her own, she start them at the keyboard, but only after they had mastered their fractions.
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He was nine years old when he started formal musical instruction and began to play the piano. At Juilliard he was Sascha Gorodnitzki's assistant. He toured allover the world, performing in many of the best concert halls and formed the Amadeus Trio with Timothy Baker and Rafael Figueroa.