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Classical Favorites for Piano BOOK I Selected and Edited by MATTHEW SOUKOTTA Classical Favorites for Piano BOOK I P
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Classical Favorites for Piano BOOK I
Selected and Edited by MATTHEW SOUKOTTA
Classical Favorites for Piano BOOK I
Piano Pieces from Baroque, Classical, Romantic and Impressionist.
Selected and Edited by MATTHEW SOUKOTTA
Contents Chopin Fantaisie-Impromptu Raindrop Prelude Waltz in A Major Nocturne in D Major Minute Waltz Ballade No. III Etude Op. 10 No. 9 Waltz in B minor Nocturne in E Major Liszt Consolations No. II Consolations No. III Liebestraum No. III Ave Maria (arr. Liszt) Beethoven Sonata No. 8 Op. 13 “Pathétique” J.S Bach Invention No. 4 Invention No. 13 Schumann Träumerei Carnaval No. 12 “Chopin” Von fremden Ländern und Menschen Clara Schumann Notturno Debussy Clair de Lune Rêverie Doctor Gradus ad Parnassum Ravel Ondine Lola Astanova Inspirit Mendelssohn Rondo Capriccioso
♭
♭
♭
1 11 15 20 25 29 41 45 49 54 57 61 67 80 102 103 106 108 109 110 117 122 126 132 144 151
Section One
Frédéric François Chopin As a pianist, Chopin was unique in acquiring a reputation of the highest order on the basis of a minimum of public appearances—few more than 30 in the course of his lifetime. His original and sensitive approach to the keyboard allowed him to exploit all the resources of the piano of his day. He was inexhaustible in discovering colorful new passagework and technical figures; he understood as no one before him the true nature of the piano as an expressive instrument, and he was able to write music that is bound up with the instrument for which it was conceived and which cannot be imagined apart from it. His innovations in fingering, his use of the pedals, and his general treatment of the keyboard form a milestone in the history of the piano, and his works set a standard for the instrument that is recognized as unsurpassable. Chopin’s works for solo piano include about 61 mazurkas, 16 polonaises, 26 preludes, 27 études, 21 nocturnes, 20 waltzes, 3 sonatas, 4 ballades, 4 scherzos, 4 impromptus, and many individual pieces—such as the Barcarolle, Opus 60 (1846); the Fantasia, Opus 49 (1841); and the Berceuse, Opus 57 (1845)—as well as 17 Polish songs.
Fantasie-Impromptu Frédéric Chopin
The Fantaisie-Impromptu was written in 1834 , as were the Four Mazurkas (Op. 17) and the Grande valse brillante in E♭ major (Op. 18), but unlike these other works, Chopin never published the Fantaisie-Impromptu.Instead, Julian Fontana published it posthumously, along with other w altzes Opp. 69 and 70. It is unknown why Chopin did not release the Fantaisie-Impromptu. James Huneker called parts of it "mawkish" and "without nobility" Ernst Oster conducted a technical examination of the piece which hints at similarities between the Fantaisie-Impromptu and Ludwig van Beethoven's "Moonlight" Sonata (Quasi una fantasia), which he cites as the reason for Chopin's reluctance to publish the piece. It is also recognized that it resembles the Impromptu in E♭ major, Op. 89 composed by Ignaz Moscheles
The mystery may have been solved in 1960 when pianist Arthur Rubinstein acquired the "Album of the Baroness d'Este" which had been sold at auction in Paris. The album contained a manuscript of the Fantaisie-Impromptu in Chopin's own hand, dated 1835, stating on the title page in French "Composed for the Baroness d'Este by Frédéric Chopin". The facts of its authenticity having been "guaranteed by the French authorities" and that it shows "a delicate care for detail" and "many improvements in harmony and style" in comparison to the previously published version, Rubinstein considered absolute proof that it is the finished work. In his preface to the "Rubinstein Edition", published by G. Schirmer, Inc. in 1962, Rubinstein surmises that the words "Composed for" in place of a dedication imply that Chopin received a paid commission for the work, so he had actually sold it to the Baroness.
and published in 1834, the same year Chopin composed his Fantasie-Impromptu.
Allegro agitato ( = 150)
5
7
9
3
Fantaisie-Impromptu
1
Classical Favorites
11
13
15
17
19
21
Classical Favorites
2
Fantaisie-Impromptu
23
riten.
25
a tempo
27
29
31
Fantaisie-Impromptu
3
33
Classical Favorites
35
37
3 3 3 3
40
riten.
Largo ( = 50)
43
Moderato cantabile ( = 90)
46
49
Classical Favorites
riten.
a tempo
4
Fantaisie-Impromptu
52
55
58
7
61
64
3
67
Fantaisie-Impromptu
5
Classical Favorites
70
72
7
3
74
77
80
riten.
83
(Tempo primo)
Classical Favorites
6
Fantaisie-Impromptu
85
87
89
91
93
95
Fantaisie-Impromptu
7
Classical Favorites
97
99
riten.
101
103
a tempo
105
107
Classical Favorites
8
Fantaisie-Impromptu
109
111
113
115
118
121
Fantaisie-Impromptu
9
Classical Favorites
124
127
130
riten.
Classical Favorites
10
136
133
Fantaisie-Impromptu
Raindrop Prelude Op. 28, No. 15 Frédéric Chopin
Some, though not all, of Op. 28 was written during Chopin and George Sand's stay at a monastery in Valldemossa, Mallorca in 1838. In her Histoire de ma vie, Sand related how one evening she and her son Maurice, returning from Palma in a terrible rainstorm, found a distraught Chopin who exclaimed, "Ah! I knew well that you were dead." While playing his piano he had a dream:
He saw himself drowned in a lake. Heavy drops of icy water fell in a regular rhythm on his breast, and when I made him listen to the sound of the drops of water indeed falling in rhythm on the roof, he denied having heard it. He was even angry that I should interpret this in terms of imitative sounds. He protested with all his might – and he was right to – against the childishness of such aural imitations. His genius was filled with the mysterious sounds of nature, but transformed into sublime equivalents in musical thought, and not through slavish imitation of the actual external sounds.
5
= 80
10
7
3
3 3
14
Raindrop Prelude
11
Classical Favorites
18
23
27
7
31
35
39
Classical Favorites
12
Raindrop Prelude
43
47
51
55
59
64
Raindrop Prelude
13
Classical Favorites
67
71
5 5
75
79
83
88
Classical Favorites
14
Raindrop Prelude
Waltz in A♭ Major Op. 69 No. 1 Frédéric Chopin
The waltz is in A-flat major, with a time signature of 3/4. The tempo is marked at tempo di valse, or a waltz tempo. The beginning theme, marked con espressione, is melancholic and nostalgic, and reaches a small high point with a fast flourish. The second part is marked sempre delicatissimo, or con anima in other versions. It is somewhat more cheerful than the previous theme, but soon gives way to the same first theme. After a second rendition of the first theme is a third theme, marked as dolce, the most playful theme. It leads to another theme with a series of ascending double-stops. This fourth theme is marked poco a poco crescendo, with other editions adding ed appassionato. This leads back to the third, playful theme, and returns to the beginning with a da capo al fin.
Piano
6
3
con espressione
12
17
Waltz in A♭ Major
3
simile
3
Lento
3
15
5
3
più 3
3
riten.
a tempo
3
Classical Favorites
23
28
33
con anima
3
38
3
simile
3
riten.
a tempo
3
3 3
3 3
43
Classical Favorites
13
3
16
3
Waltz in A♭ Major
54
60
3
con forza
3
3 ten. simile
Waltz in A♭ Major
ten.
13
3
17
dolce rit.
3
1.
a tempo
3
ten.
3
65
70
a tempo
riten.
48
2.
ten.
a tempo
3
3
ten.
simile
Classical Favorites
3 ten.
75
3 ten.
ten. 3
poco a poco cresc.
81
86
animato
a tempo ten.
91
3
3 ten.
3
ten.
ten. 3
poco a poco cresc.
97
animato
Classical Favorites
18
Waltz in A♭ Major
a tempo 3 ten. simile
102
ten.
108
3
114
simile
124
Waltz in A♭ Major
120
3
cresc.
19
3
con espressione
3
ten.
3
Tempo I
3
ten.
3
12
riten.
Classical Favorites
Nocturne in D♭ Major Op. 27, No. 2
Frédéric Chopin
Lento sostenuto
5
12
5
Classical Favorites
3
15
9
3
3 3
6
6
3
3
3
3
20
5
3
3
Nocturne in D♭ Major
17
20
3
3
23
a tempo
riten.
dim.
27
30
Nocturne in D♭ Major
21
(senza rigore) 6
3 3 leggierissimo
3
3
Classical Favorites
33
36
38
3
3
3
3
3
3
3
3
3
3
3 3
cresc. sempre più
43
40
3
cresc.
3 3
pesante
Classical Favorites
22
3
3
3
3
3
Nocturne in D♭ Major
46
49
52
48
con forza
54
3
57
Nocturne in D♭ Major
3
3
3
3
3
3
appassionaton 3
3
23
Classical Favorites
60
3
63
3
rit.
a tempo
3
66
69
dim.
calando
73
7
smorzando
Classical Favorites
24
7
Nocturne in D♭ Major
Minute Waltz Frédéric Chopin
leggiero Molto vivace.
6
12
18
24
Minute Waltz
3 3
3
25
Classical Favorites
3
30
36
3
3
3
47
53
sostenuto
62
Classical Favorites
3
42
26
4
Minute Waltz
70
78
86
94
100
105
Minute Waltz
27
3
Classical Favorites
111
3
121
126
3
136
Classical Favorites
131
3
28
3
3
3
3
116
Minute Waltz
Ballade No. III in A♭ Major Frédéric Chopin The ballade opens with a lengthy introduction marked dolce. The introduction is thematically unrelated to a majority of the piece but is repeated at the close and climax of the work. Following the introduction, Chopin introduces a new theme in a section with the performance direction mezza voce; this theme consists of repeated Cs in two broken octaves in the right hand. This theme reoccurs three times in the ballade, twice on C and once on A♭ The mezza voce section soon develops into a furious F minor chordal section and once again returns to A♭. The mezza voce section is repeated, following by a new theme consisting of right hand sixteenth-note leggiero runs. The following return of the broken octave theme is transposed from C to A♭ (the repeated Cs now being A♭s). The key signature then shifts to C♯ minor. The original "B" theme is then developed, this time using rapid, chromatic left-hand runs in the left hand under large chords in the right. This theme builds to a climax through rapid repetition of broken G♯ octaves (referencing the mezza voce theme) with fragments of the "C" theme in the left hand.
1
7
12
16
Allegretto
Ballade No. III in A♭ Major
29
8
ten.
Classical Favorites
25
(dim.)
30 cresc.
38
43
()
Classical Favorites
(cresc.)
30
cresc.
dim.
legato
34
21
Ballade No. III in A♭ Major
48
55
60
64
69
74
Ballade No. III in A♭ Major
()
(cresc.)
31
ten.
cresc.
cresc.
Classical Favorites
79
84
88
(cresc.)
()
()
(cresc.)
Classical Favorites
dim.
32
()cresc.
dim.
92
96
Ballade No. III in A♭ Major
105
33
Ballade No. III in A♭ Major
dim.
120
117
113
109
100
Classical Favorites
123
126
129
135
(cresc.)
Classical Favorites
dim.
132
cresc.
sostenuto
34
Ballade No. III in A♭ Major
139
150
158
154
Ballade No. III in A♭ Major
cresc.
146
142
mezza voce
legato
35
Classical Favorites
(cresc.)
170
(cresc.)
173
167
176
164
Classical Favorites
cresc.
36
161
Ballade No. III in A♭ Major
179
185
()
189
Ballade No. III in A♭ Major
37
sotto voce
187
182
Classical Favorites
194
200
203
197
192
Classical Favorites
38
cresc.
Ballade No. III in A♭ Major
206
(cresc.)
209
(cresc.)
(cresc.)
219
Ballade No. III in A♭ Major
39
215
212
Classical Favorites
223
230
233
237
cresc.
()
()
Classical Favorites
()
(cresc.)
226
40
Ballade No. III in A♭ Major
Etude Op.10 No. 9 in F Minor
Frédéric Chopin
Allegro, molto agitato
5
a tempo segue
9
ritard.
13
17
Etude Op.10 No. 9 in F Minor
41
Classical Favorites
21
sempre
24
27
8va
stretto
30
loco
5
33
5
appassionato
3
Classical Favorites
4
5
4
3
4
5
5
1
3
4
3
4
42
4
5
3
Etude Op.10 No. 9 in F Minor
a tempo 5 agitato sempre poco rallent.
36
2
4
3
2
2
4
3
39
43
47
51
Etude Op.10 No. 9 in F Minor
43
m.d.
Classical Favorites
8va
54
sotto voce
58
ten.
smorz.
5 5
61
64
smorz.
riten.
8va
Classical Favorites
44
Etude Op.10 No. 9 in F Minor
Waltz in B Minor Op. 69 No.2
rit. dim. a tempo rit. cresc. a tempo con anima
Frédéric Chopin
Moderato
9
16
24
31
40
rit.
Waltz in B Minor
a tempo
45
Classical Favorites
48
56
a tempo
63
72
80
88
rit.
rit.
Classical Favorites
a tempo
46
rit.
Waltz in B Minor
95
103
118
125
131
Waltz in B Minor
cresc.
47
dim.
dolce
111
a tempo
Classical Favorites
a tempo con anima
145
rit.
138
152
159
a tempo
rit.
165
171
Classical Favorites
a tempo
rit.
calando
48
Waltz in B Minor
Nocturne in E ♭ Major Op. 9, No. 2
Frédéric Chopin
Andante
2
espress. dolce
3
5
14
3
2
5
3
4
132
7
3 2 5
3 3
Nocturne in E ♭ Major
49
4
3
3
Ped. simile
2
14321
cresc.
4
3 4
Classical Favorites
9
3
poco rit.
3
2
1
4
3
a tempo 4
12
14
cresc.
4
3
1
4
Classical Favorites
3
4 3 2 2 3 3 2 5
3 1
4
5
a tempo
poco rallent.
18
4
4
5
16
simile
5
5
3
50
Nocturne in E ♭ Major
20
22
26
5
28
1
4
2
4
3
Nocturne in E ♭ Major
3
3
5 4 1 5 poco rubato
3
3
4
3
51
13 2
1 5
3
poco rallent.
24
a tempo
3 2 1
5
4
4
2
1
8
1
dolciss.
Classical Favorites
3 30 1 23 3
stretto
3
con forza
33
8
3
2
4
1
Senza tempo
()
34
()
a tempo
36
()
Classical Favorites
52
rallent. smorz.
2
Nocturne in E ♭ Major
Section Two
Franz Liszt Liszt was not only the greatest piano virtuoso of his time but also a composer of enormous originality and a principal figure in the Romantic movement. As a composer he radically extended the technique of piano writing, giving the instrument not only brilliance but a full and rich, almost orchestral sound. Most of his compositions bear titles and are representations of some natural scene or of some poetic idea or work of literature or art. Liszt extended the harmonic language of his time, even in his earlier works, and his later development of chromatic harmony helped lead eventually to the breakdown of tonality and ultimately to the atonal music of the 20th century. Liszt also invented the symphonic poem for orchestra and the method of “transformation of themes,” by which one or two themes in different forms can provide the basis for an entire work—a principle from which Wagner derived his system of so-called leitmotifs in his operas. As a pianist Liszt was the first to give complete solo recitals, and he did a great deal to encourage the performance of music by Bach, Beethoven, Schubert, Berlioz, Wagner, and Robert Schumann by transcribing their works for piano and playing them in his concerts at a time when they were insufficiently appreciated. He also helped younger composers, including Edvard Grieg, Mily Balakirev, Aleksandr Borodin, and Claude Debussy, and he taught a number of pupils who themselves became famous virtuosos. Apart from his more than 700 compositions, Liszt was the author of books on Frédéric Chopin, Hungarian Roma music, Wagner’s Lohengrin and Tannhäuser, John Field’s nocturnes, the lieder of Robert Franz, and the Goethe Foundation in Weimar. His published essays and correspondence fill many volumes. A controversial figure in his time, he was attacked for his innovations, and his rivals were jealous of his brilliance and panache. For a long time he was regarded merely as a superficial composer of brilliant trifles, but in recent years his true stature has been seen more clearly as that of a composer who revolutionized the music of his time and anticipated numerous later developments. As Princess Sayn-Wittgenstein said, “Liszt has flung his spear far into the future.”
53
Consolations No. II Franz Liszt
Classical Favorites
54
20
15
smorz.
10
5
cantando espressivo
Un poco più mosso
Consolation No. II
37
47
42
smorz.
cantando
Consolation No. II
55
smorz.
31
25
appassionato
Classical Favorites
61
56
51
poco riten. accentuato ed espressivo assai smorz. smorz. rinforz.
66
76
71
più ritenuto
Classical Favorites
56
poco a poco
Consolation No. II
Consolations No. III Franz Liszt
Lento placido
sempre legatissimo
cantando
4 7
12
12
10 13
Consolations No. III
6
57
3
3
Classical Favorites
17
21
25
espressivo
32
Classical Favorites
28
dolcissimo
58
Consolations No. III
35
espr.
38
40
46
42
Consolations No. III
59
Classical Favorites
53
56
smorzando
Classical Favorites
58
50
ritard.
60
Consolations No. III
Liebestraum No. 3
S. 541/3
Franz Liszt Liebesträume (German for Dreams of Love) is a set of three solo piano works (S.541/R.211) by Franz Liszt, published in 1850. Originally the three Liebesträume were conceived as lieder after poems by Ludwig Uhland and Ferdinand Freiligrath. In 1850, two versions appeared simultaneously as a set of songs for high voice and piano, and as transcriptions for piano two-hands. Liebestraum No. 3 in A-flat major is the last of the three that Liszt wrote and the most popular. It can be considered as split into three sections, each divided by a fast cadenza requiring dexterous finger work and a very high degree of technical ability.
Poco allegro, con affetto
sempre
6
3
dolce cantando
Liebestraum No. 3
61
ten.
9
Classical Favorites
12
18
poco cresc. ed agitato
15
21
24
25
Classical Favorites
62
Liebestraum No. 3
26
più animato con passione
29
32
cresc.
sempre stringendo
35
38
Liebestraum No. 3
63
Classical Favorites
41
44
47
3
50
53
64
Classical Favorites
Liebestraum No. 3
affrettando
60
60
dim.
leggiero
Tempo primo
dolce armonioso
63
Liebestraum No. 3
65
59
56
Classical Favorites
66
69
poco a poco ritenuto
72
75
79
Classical Favorites
66
più smorz. e rit.
Liebestraum No. 3
AVE MARIA .
Lied von Franz Schubert
Für das Pianoforte übertragen von
Franz Liszt
dol : molto espress : e legato
riten :
- smorz : molto
gli accompagnamenti sempre dolciss :
()
ve
dest. sin :
1
Ma
1
ri
2
il canto sempre marcato ed espressivo
A
1 2
() Les notes tournées en hant, doivent ètre executées par la main droite, celles tournées en has par la main gauche.
Ave Maria
67
Classical Favorites
a!
mild!
Jung
Er
hö
re
3
2
frau
einer
Jungfrau
1
Fle
1
Classical Favorites
hen,
1
aus die
68
sem Fel 1
sen starr
und
1
Ave Maria
soll
smorz :
we
sempre ben marcato schla
Ave Maria
mein
wild,
fen si
-
-
cher bis
-
Gebeth
zu dir
hin
-
-
hen.
-
Wir
gen,
zum Mor
ob
69
Classical Favorites
cresc :
-
Men
-
-
-
-
-
schen, noch
so
grausam
-
sind.
-
O
string:
Jung
-
-
frau, sieh der
Classical Favorites
-
-
Jungfrau
Sor
gen,
o
70
Ave Maria
radolcendo
Mut
ein bittend Kind!
smorz :
ter hör'
poco riten :
-
-
-
-
-
-
-
-
-
-
dolciss :
A
sotto voce
ve
Ma
ri
dolciss : Ave Maria
71
Classical Favorites
cresc : ed accelerando
a!
-
-
-
-
-
-
Classical Favorites
molto dim :
72
e ritard :
Ave Maria
dolciss : delicatamente
loco
2
3
1
loco 2
3
loco
loco
Ma ri gli accompagnamenti sempre il canto sempre marcato ed espressivo
ve
A
loco
loco
loco
Un
a!
loco
be
loco
2
loco
5
die
wir
Ave Maria
73
sen Fels
hin
auf
Wenn
fleckt!
Classical Favorites
loco
loco
loco
loco
dein Schutz he sin
ken
loco
zum
loco
Schlaf,
und uns
loco
wird
weich
der har
Classical Favorites
Du
ken.
uns
dolciss :
te Fels
loco
dün
3
5 1 2
deckt,
74
1
4
5
2
4
5
1
Ave Maria
loco
loco 4 2
4 1 2
1
4 2
4 1 2
4 2
1
leggerissimo
lä
loco 1
4 2
1
3 2
te
loco
hen
in
un poco più animato
3 2 1 1 3 2
we
chelst, Rosendüf
loco
loco loco
loco
loco
1
3
più cresc :
sempre stacc :
die
Ave Maria
Fel senkluft.
-
-
ser dumpfen
75
-
-
-
-
O
Classical Favorites
loco loco loco loco
-
-
-
-
-
Mut
-
-
-
-
ter, höre
- molto
Kindes
Fle
hen,
o
loco loco loco
Classical Favorites
ei
ne
Jungfrau ruft:
dim :
-
-
76
-
-
Ave Maria
loco
leggeriss:
loco
3 2
dol:
A
leggeriss:
ve
Ma
loco loco smorz :
ri
a!
accelerando e cresc : molto
Ave Maria
-
-
-
77
-
-
-
-
-
-
Classical Favorites
-
: e ritenuto dim
-
-
-
-
-
-
-
-
loco
non troppo presto
dol:
-
-
-
-
molto
-
loco
rinfor :
loco
D. et C. № 6.542.
Classical Favorites
78
Ave Maria
Section Three
Ludwig van Beethoven Widely regarded as the greatest composer who ever lived, Ludwig van Beethoven dominates a period of musical history as no one else before or since. Rooted in the Classical traditions of Joseph Haydn and Mozart, his art reaches out to encompassthe new spirit of humanism and incipientnationalism expressed in the works of Goethe and Friedrich von Schiller, his elder contemporaries in the world of literature; the stringently redefined moralimperatives of Kant; and the ideals of the French Revolution, with its passionate concern for the freedom and dignity of the individual. He revealed more vividly than any of his predecessors the power of music to convey a philosophy of life without the aid of a spoken text; and in certain of his compositions is to be found the strongest assertion of the human will in all music, if not in all art. Though not himself a Romantic, he became the fountainhead of much that characterized the work of the Romantics who followed him, especially in his ideal of program or illustrative music, which he defined in connection with his Sixth (Pastoral) Symphony as “more an expression of emotion than painting.”
79
The work is commonly named Pathétique due to the tragic and expressive nature of the music. The piece features extreme dynamics and pitch as well as virtuosity, which was very forward-looking for its time. This sonata is often described as being Classic Romantic. This style of composition contrasted with the balanced phrasing of Mozart and Haydn’s music. The term sonata form relates to the structure of the composition.
Sonata No. 8 Op. 13 Pathétique
Ludwig Van Beethoven
= 25
4
5
6
7
9
80
9
Classical Favorites
6
Sonata No. 8 Op. 13
11
= 200
12
17
6
7
23
29
35
Sonata No. 8 Op. 13
81
Classical Favorites
40
59
66
46
52
73
Classical Favorites
82
Sonata No. 8 Op. 13
80
88
94
99
104
109
Sonata No. 8 Op. 13
83
Classical Favorites
114
119
124
130
137
1.
2.
= 25
= 200
Classical Favorites
140
84
Sonata No. 8 Op. 13
147
153
158
163
167
172
Sonata No. 8 Op. 13
85
Classical Favorites
177
182
189
194
198
204
Classical Favorites
86
Sonata No. 8 Op. 13
210
215
227
235
242
220
Sonata No. 8 Op. 13
87
Classical Favorites
249
256
261
266
271
276
Classical Favorites
88
Sonata No. 8 Op. 13
281
286
291
= 25
298
= 200
301
306
Sonata No. 8 Op. 13
89
Classical Favorites
= 30
Movement II 314
3 3
319
324
329
333
336
Classical Favorites
90
Sonata No. 8 Op. 13
341
346
3 3 3 3
3 3 3 3 3 3 3 3 3 3 3
351
3
3
354
356
359
3
3
3
3
3
3 3 3
3
3
3
33
3
3
3 3 3 3 3 3 3 3 3 3 3 3 3
Sonata No. 8 Op. 13
3
3 3
3
3
3
3
91
3
3
3
3
Classical Favorites
361
3
3 3
3
3
3
3 3
3
3
3
3
363
3 3
3
366
3
3
3
3
3 3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3 3 3 3 3 3 3
370
3
3
3
33
33
33
3
33
3
3
3
3
3
3
3
374
33
33
3
3
3
3
3
3
3
Classical Favorites
3
3
3
3
3
3 3 3 33
33
3
3
3
3
3
378
3
3
92
3
3
3
3
3
3
3
3
3
3
Sonata No. 8 Op. 13
381
384
3 33 3 3 3 33 3 3 3 3 3 3 3
Movement III
387
= 180
3
3
392
397
402
Sonata No. 8 Op. 13
93
Classical Favorites
410
415
420
3
3
3
3
3 3 3 3 3
423
3
3
3
3 3 3 3 3 3 3 3 3 3 3
426
430
Classical Favorites
94
3
3 3
3
3
3
3
Sonata No. 8 Op. 13
438
3 3
442
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
451
3
3
3
3
3
3
5 3 3 3
446
3
3
3
3
3
455
460
Sonata No. 8 Op. 13
95
Classical Favorites
465
475
484
489
494
497
Classical Favorites
96
Sonata No. 8 Op. 13
3
3
3
3
3
508
3
3
3
3
3
5 3 3 3 3
3
503
3
3
500
3
3
3
513
518
523
Sonata No. 8 Op. 13
97
Classical Favorites
3 3
527
3
3
3
3
537
3
3
541
3
3
Classical Favorites
3
3
3
3
3
3
3
3
3
3
3 3 3
549
3
3
3
3
534
3 3 3 3 3 3 3 3
531
98
Sonata No. 8 Op. 13
561
556
566
570
574
3
3
3
3
3
3
3
Sonata No. 8 Op. 13
3
3
3
3
3
3
3
3
3
3
3
577
3
3
3
3
99
3
3
3
3
3
3
Classical Favorites
581
6 3 3 7
587
3 3 3 3 3
592
Classical Favorites
100
3
Sonata No. 8 Op. 13
Section Four
Johann Sebastian Bach Johann Sebastian Bach. He is a composer of the Baroque era, the most celebrated member of a large family of north German musicians. Although he was admired by his contemporaries primarily as an outstanding harpsichordist, organist, and expert on organ building, Bach is now generally regarded as one of the greatest composers of all time and is celebrated as the creator of the Brandenburg Concertos, The Well-Tempered Clavier, the Mass in B Minor, and numerous other masterpieces of church and instrumental music.
101
Invention No. 4 J. S. Bach
8
16
24
31
38
45
Classical Favorites
102
Invention No. 4
Invention No. 13 J. S. Bach
= 82
4
7
9
11
Invention No. 13
103
Classical Favorites
13
15
17
19
21
23
Classical Favorites
104
Invention No. 13
Section Five
Robert and Clara Schumann Robert Schumann is unique by virtue of being the only great composer who was also a great critic. His contributions to the Neue Zeitschrift für Musik (New Journal for Music), the periodical he founded in 1834, made him far better known originally as a writer than composer. It also gave him a platform from which he could champion the Romantic ideas that informed his own works and recognize the geniuses of his time, including Chopin, Mendelssohn, Brahms, and Franz Liszt. Clara was one of the most famous pianists and acclaimed touring musicians in Europe at a time when women of her class were rarely encouraged to pursue careers outside the home. She was also a composer of no small talent, though her family commitments and touring schedule kept her from developing her compositional gifts as fully as she might have. The songs that she did compose with Robert’s encouragement show great promise, however. During this lecture series you will hear two of Clara’s songs and one of her piano works.
105
Kinderszenen, No.7 Op.15 "Träumerei" Robert Schumann
Moderato
6
10
rit.
Classical Favorites
106
Träumerei
13
16
19
22
cresc.
rit. (cresc.) dim.
Träumerei
a tempo
rit.
107
Classical Favorites
Carnaval No. 12 "Chopin" Robert Schumann
4
7
ritard
riten. ritard (rubato)
13
10
Classical Favorites
2.
1.
a tempo
108
Carnaval No. 12 "Chopin"
Von fremden Ländern und Menschen From Scenes From Childhood, Op. 15, No. 1 Robert Schumann
= 69
7
13
19
rit.
rit - tar - dan - do
Von fremden Ländern und Menschen
109
Classical Favorites
Notturno
From "Soirées Musicales" Clara Schumann
Andante con moto
sempre legato
7
18
ritenuto e legato
Clara Schumann
13
dolce
rubato stretto
cresc.
il canto marcato e poco a poco morendo
110
Notturno
23
40
Notturno
cresc.
4 4
36
11
resoluto
32
28
111
111
Clara Schumann
112
45
8
50
8
risoluto con forza
54
9
59
cresc.
64
Clara Schumann
112
più mosso
dim.
Notturno
con g
()
espressivo
Notturno
79
85
cresc.
animato rinf
dolente
113
ri
74
(dim.)
68
113
Clara Schumann
114
91
A tempo
()
risoluto
95
99
104
dolce
4 cresc.
stretto
ben marcato il canto
cresc.
(cresc.)
Clara Schumann
114
Notturno
rit.
109
A tempo ma più lento
112
con espressivo
115
117
calando e morendo
122
Notturno
115
Clara Schumann
Section Six
Claude Debussy Claude Debussy, in full Achille-Claude Debussy, (born August 22, 1862, SaintGermain-en-Laye, France—died March 25, 1918, Paris), French composer whose works were a seminal force in the music of the 20th century. He developed a highly original system of harmony and musical structure that expressed in many respects the ideals to which the Impressionist and Symbolist painters and writers of his time aspired. His major works include Clair de lune (“Moonlight,” in Suite bergamasque, 1890–1905), Prélude à l’après-midi d’un faune (1894; Prelude to the Afternoon of a Faun), the opera Pelléas et Mélisande (1902), and La Mer (1905; “The Sea”). Debussy …(100 of 1916 words)
116
Clair de lune
Claude Debussy ______________________________________ Clair de lune, meaning moonlight, was written by the Impressionist French composer Claude Debussy. The piece is part of the four-movement work Suite Bergamasque. Clair de lune takes its title from an atmospheric poem by the French poet Paul Verlaine which depicts the soul as somewhere full of music ‘in a minor key’ where birds are i nspired to sing by the sad and beautiful light of the moon. Suite Bergamasque is one of a number of works by Debussy and his French contemporaries that paid homage to the “style ancien” (old style), which referred to the French Baroque period in the 17th and early 18th centuries.
Andante espressivo ( = 45)
5 4
2 4
con sordina
6
4 2
1 3
3 4 1 2
5
2
4
3 4 3 1 2 1
4
2
2
3 4 3 2 1 2
3 5
3
4
2
1
3 4
4
2
3
2
5
3
3
2
4
3 5
5 3
3
2
1
1
2 1
1
1 2
3
2 5
5
4 1
5 1
5 2 1
5 3 1
2
3 5
2 5
Clair de Lune
3
1
2 2
3
11
5
2
4 5
3
2
1 2
2 4
2 5
4 1
5 1
3
2
5
117
3 5
1 2 3
2
5 1
2
2
5 1
1
1 3 5
2
2
2
Classical Favorites
1 2 4
5 1
4
5
4 1
3 2
4 1
6 6
un poco mosso
5 3
3
5
Classical Favorites
2
4 2 1
6
5 1
4 3 1
4 1
4 3 2 1
1 2 4
cresc. 12
1 3 5
5 1
dim.
3
1 2 4
5 3 2 1
1
1
2
4 3 1
4 2 1
4 3 2 1
5 2 1
rall...
5 3
1 2 5
1 3 5
2 4 5
2
1 2 4
5
2
118
1 3 5
2 4 5
1 2 4
2 4 5
1 3 4
6
5 3 1
1 3 5
4 1
5 1
5 1
4 1
4 1
5 3 2 1
4 3 2 1
3
2
4 3 2 1
6 6
1 2 4
4 2 1
2
1 3 5
1 2 5
5
3 2
2
2 6 1 2 4
23
27
1 2 5
3 1
2
1 2 5
4 1
1 2 4
1 2 3
4 5 3 1
1 2 4
1 3 5
1 3 4
2
18
2
Tempo rubato
2
15
Clair de Lune
29
3 1
5 3
1
3
5
2
31
4
3
1
1
2
4
5
3
2
4
1
2
2
1
2
4
2
1
4
5
2
4
1
2
3
4
2
2
5
5
2
3
1
35
2
1
2
4
5
2
4
1
2
3
33
35
37
Clair de Lune
119
Classical Favorites
39
dim.
42
44
49
Classical Favorites
120
47
Calmato
2
Tempo I
Clair de Lune
52
2
2
60
66
69
morendo
2
121
Clair de Lune
56
m.s.
2
Classical Favorites
Rêverie
Claude Debussy
5
10
15
dim.
20
3
Andantino sognando
Classical Favorites
3
cresc. 122
Rêverie
25
29
34
39
44
Rêverie
123
Classical Favorites
50
57
3
3
69
3
3
3
73
3
3
3 3
3
3
Classical Favorites
3
3
3
3
3
3
3
3
124
3
3
3
3 poco rit.
3
3
63
3
3
3
3
3
Tempo I
3
3
3
3
Rêverie
78
87
83
91
poco rit.
96
Rêverie
125
3
rall. e perdendosi
3
3
Classical Favorites
Claude Debussy Children's Corner 1.) Doctor Gradus ad Parnassum
CD 119
4 4 p
3
pp
6
pp
p
9
cresc.
pp
pp
Transcription © R.S.B 2012
126
12
p
sf
15
p
p
p
18
p
p
Un peu retenu
a Tempo
21
p
m.g.
24
127 2
Transcription © R.S.B 2012
piú
p
27
Retenu
30
dim.
1° Tempo
33
p
piú
expressif
p
Animé un peu
37
expressif
expressif
Retenu
41
Transcription © R.S.B 2012
3 128
1° Tempo
45
pp
pp
48
51
pp
cre -
54
pp
En animant peu à peu
57
f
129 4
Transcription © R.S.B 2012
-
scen -
-
do
60
f
63
Très animé
66
f
f
69
f
f
f
72
piú
f
ff
ff
ff
Transcription © R.S.B 2012
130 5
Section Seven
Maurice Ravel Ravel studied at the Conservatoire until his early 20s, during which time he composed some of his most renowned works, including the Pavane pour une infante défunte (Pavane for a Dead Princess; 1899); the Jeux d'eau (1901), also known as "Fountains" or "Playing Water," a piece that Ravel dedicated to Fauré; the String Quartet (1903), which is played in F major and follows four movements; the Sonatine (circa 1904), for the solo piano; the Miroirs (1905); and the Gaspard de la nuit (1908).
131
Gaspard de la Nuit
1. Ondine Maurice Ravel
Lento
2
très doux et très expressif
4
9
8
6
Classical Favorites
132
Ondine
toujours
18
Ondine
7
7
133
6
6
16
15
14
12
10
6
6
6
6
Classical Favorites
22
24
26
28
3
3
134
Un peu retenu
Cédez légèremente
Classical Favorites
3
20
Ondine
au Mouvᵗ
30
32
38
36
34
135
Ondine
Classical Favorites
40
41
42
6
6
()
45
44
43
très doux
Classical Favorites
136
6
6
Ondine
49
très doux
Ondine
le chant bien soutenu et expressif
137
52
50
48
47
Classical Favorites
56
54
53
57
58
()
Classical Favorites
138
Ondine
59
60
61
62
Ondine
Retenez
(cresc.)
augmentez peu à peu
139
65
()
Classical Favorites
67
68
Retenez
140
()
Classical Favorites
71
70
69
66
Un peu plus lent
Ondine
72
73
Encore plus lent
le plus possible
76
glissando
()
78
au Mouv (Un peu plus lent qu'au début) = 55
3
glissando
toujours
77
glissando
()
74
3
Ondine
141
Classical Favorites
79
80
expressif
81
82
83
Classical Favorites
Très lent
142
Ondine
88
Rapide et brillant
90
89
Retenez peu à peu
au Mouvᵗ du début
91
()
92
()
Ondine
Sans ralentir
143
Classical Favorites
__________________________________
Inspirit
Lola Astanova
All Places are temporary places. Inspirit is the title of the original contemplative composition, composed by Lola Astanova Since her Carnegie debut, Lola has given countless concerts across country with the leading American ensembles, including her notable collaboration with the All-Star Orchestra. Their Visions of New York documentary, featuring Lola’s performance of Gershwin’s famed Rhapsody in Blue received the 2016 EMMY® Award.
5
7
( = 70)
(dim.)
9
Classical Favorites
cresc.
144
dim.
cresc.
dim.
Inspirit
12
145
15 16
dim.
cresc.
cresc.
17
19
20
Inspirit
145
dim.
dim.
dim.
Classical Favorites
146
21
cresc.
22
24
25
dim.
26
28
Classical Favorites
146
Inspirit
33
147
35
37
cresc.
38
39
40
42
Inspirit
147
Classical Favorites
148
43
cresc.
44
46 45
48
49
Classical Favorites
148
Inspirit
50
149
52 51
53
54
55
Inspirit
dim.
149
Classical Favorites
150
56
57
59
61
(cresc.)
63
65
Classical Favorites
dim.
150
dim.
cresc.
cresc.
Inspirit
Rondo Capriccioso 1
4
7
10
=112
F.MENDELSSOHN OP.14
Rondo Capriccioso
151
Classical Favorites
12
14
15
17
18
Classical Favorites
152
Rondo Capriccioso
19
20
21
23
25
Rondo Capriccioso
Rall.
153
Classical Favorites
= 104 26 29 33
37
41
Classical Favorites
154
Rondo Capriccioso
45
48
52
56
60
Rondo Capriccioso
155
Classical Favorites
64
69
75
80
84
Classical Favorites
156
Rondo Capriccioso
87
90
93
99
96
Rondo Capriccioso
157
Classical Favorites
108
103
117 113
121
Classical Favorites
158
Rondo Capriccioso
125
129
133
138
Rondo Capriccioso
143
159
Classical Favorites
148
154
157
160
163
Classical Favorites
160
Rondo Capriccioso
166
168
171
174
176
Rondo Capriccioso
161
Classical Favorites
182 185 178
188
190
Classical Favorites
162
Rondo Capriccioso
192
194
196
205
200
Rondo Capriccioso
163
Classical Favorites
209
213
218
222
226
Classical Favorites
164
Rondo Capriccioso
229
232
235
238
Rondo Capriccioso
165
Classical Favorites
= 60 to 108
Hanon Exercises 1 to 30
No 1.
4
3
2
1 2 3 4 5
5 4 3 2 1
1
2
3
4
5
1 2 5 4 3 2 3 4
5
2
1
2
3
5 3 1 2 3 4 3 2
1
3
5
4
3
2
3
4
1 5 4 5 3 4 2 3
1
2
1
3
2
4
3
5
5 1 2 1 3 2 4 3
5
4
5
3
4
2
3
1
1 3 2 4 3 5 4 3
5
3
4
2
3
1
3
4
5 3 4 2 3 1 3 4
1
3
2
4
3
5
4
3
1 2 3 2 4 3 5 4
5
4
3
4
2
3
1
2
5 4 3 4 2 3 1 2
1
2
3
2
4
3
5
4
1 2 5 4 5 4 3 4
5
2
1
2
1
2
3
2
5 3 1 2 1 2 3 2
1
3
5
4
5
4
3
4
3 1 4 2 5 3 4 5
3
5
2
4
3
1
3
4
3 5 2 4 1 3 2 1
3
1
4
2
3
5
3
2
1 2 1 3 2 4 3 5
5
3
4
2
3
1
2
1
5 3 4 2 3 1 2 1
1
2
1
3
2
4
3
5
1 2 4 3 5 4 3 4
5
3
2
3
1
2
3
1
No 2.
No 3.
4
3
C.L. Hanon
1
5
1 2 5 4 3 4 3 2
5
2
1
2
3
2
3
4
5 3 1 2 3 2 3 4
1
3
5
4
3
4
3
2
1 2 1 2 5
5
4
5
2
1
2
No 4.
5 4 5 3 1
1
2
1
3
5
1 5 4 5 3 5 2 5
5
1
2
1
3
1
4
1
5 1 2 1 3 1 4 1
1
5
4
5
3
5
2
5
1 2 4 5 3 4 2 3
5
4
2
1
3
2
4
3
5 4 2 1 3 2 4 3
1
2
4
5
3
4
2
3
1 5 4 3 2 3 2 3
5
1
5 1 2 3 4 3 4 3
1
5
5 1 3 2 1 2 3 1
1
5
3
4
5
4
3
5
1 5 3 4 5 4 3 5
5
1
3
2
1
2
3
1
1 2 4 3 4 3 5 4
5
4
2
3
2
3
1
3
5 4 2 3 2 3 1 3
1
2
4
3
4
3
5
4
1 3 2 3 5 4 3 4
5
2
3
2
1
2
3
2
5 3 4 3 1 2 3 2
1
3
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1 2 4 3 5 4 2 3
5
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N 5.
N 6.
No 7.
No 8.
o
o
No 9.
No 10.
No 13.
No 14.
No 11.
No 12.
No 17.
No 18.
No 15.
No 16.
5 4 2 3 1 2 3 2
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4
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1 5 3 4 5 3 2 4
5
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5 1 3 2 1 3 4 2
1
o
Hanon Exercises 1 to 30
3
4
5
3
2
1 2 4 5 4 2
3 1
5 3
4 2
2 3
3 1
5 4 2 1 2 3 2 4
1
5
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No 20.
N 19.
5
5 4 2 3 1 2 4 3 1 2 4 5 4 3 4 2
4
166
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4
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3
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5
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1
3
N 23. 1
2
3
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1
5
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3
4
5
No 24. 3
2
3
1
3
3
4
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1
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3
No 21.
1
5
No 22.
2
3
1
2
3
4
5
3
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5
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2
1
3
2
3
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3
4
1
3
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5
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3
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2
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3
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3
2
1
1
5
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3
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3
4
3
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3
3
5
3
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3
3
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3
2
4
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3
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3
1
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5
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5
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2
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2
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3
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3
4
No 28. 1
3
2
3
1
5
3
4
3
5
1
2
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3
2
3
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4
3
5
4
5
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2
3
N 30. 1
2
1
2
5
4
5
3
o
3
5
4
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3
1
2
1
No 25.
3
No 26.
5
3
4
5
4
2
1
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2
1
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4
3
2
3
1
2
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5
4
5
No 27.
1
5
5
3
4
3
5
1
3
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3
1
1
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3
4
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3
5
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5
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3
1
5
4
5
3
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2
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3
1
3
4
3
5
4
3
No 29.
o
Hanon Exercises 1 to 30
5
4
5
3
5
4
5
3
1
2
1
3
1
2
1
2
167
1
2
1
3
5
4
5
3