【Kero】Score Sheet 譜 樂譜 谱 乐谱 Partitura 楽譜付き Respighi 6 Pieces for Piano P.044 Sei pezzi per pianoforte No.3 Notturno 雷史畢基 6首 鋼琴 小品 雷史毕基 6首 钢琴 小品 レスピーギ ピアノ 6つの 小品 Classical music Música clásica クラッシック 古典音樂 古典音乐 #Respighi #Piano #Pieces No.1 Valse Caressante No.2 Canone No.3 Notturno No.4 Minuetto No.5 Studio No.6 Intermezzo-Serenata The Sei pezzi per pianoforte ("Six pieces for piano"), P 044, is a set of six solo piano pieces written by the Italian composer Ottorino Respighi between 1903 and 1905. These salon pieces are eclectic, drawing influence from different musical styles and composers, particularly music of earlier periods. The pieces have various musical forms and were composed separately and later published together between 1905 and 1907 in a set under the same title for editorial reasons; Respighi had not composed them conceiving them as a suite, and therefore did not intend to have uniformity among the pieces. The set, under Bongiovanni, became his first published works. Five of the six pieces are derived from earlier works by Respighi, and only one of them, the "Canone", has an extant manuscript. The "Valse Caressante" displays elements of French salon; lyricism and Baroque are highlighted in the "Canone"; the most popular of the set, the "Notturno", shows signs of Impressionism; the "Minuetto" is reminiscent of the Classical era; the "Studio" is molded after Chopin's Études; The "Intermezzo-Serenata", resembling Fauré's music, demonstrates Respighi's Romanticism. The set consists of six pieces. The most popular of the set, the "Notturno" ("Nocturne") in G-flat major, represents one of Respighi's finest piano compositions and is often featured as a stand-alone piece in recitals by distinguished pianists. An eclectic work showing signs of Impressionism and Romanticism, this modern piece is signified by tranquil alternating chords (arpeggios) accompanying a "mesmeric melody" with long pedal holds; it has been described as "an exercise in musical moonlight and shadow", and as having a "distinctly Rachmaninovian feel". The metronome marking shown on the first page (Lento) was most likely added by the publisher, as Respighi only wrote verbal tempo indications in his early period. Hess compares the work with Chopin's Nocturne in D-flat major, Op. 27, No. 2, emphasizing the influence of the left hand ostinato which in Respighi's work is an arpeggio split between both hands. The opening unfolds with this pattern in double thirds, similar to the music of Claude Debussy with its chord progression: E-flat minor – G-flat major seventh – C-flat major seventh. At measure seven, an A natural appears in the predominantly pentatonic opening, which resolves to B-flat two measures later, likewise showing resemblance to Chopin. The ostinato becomes more note-dense with increased harmonic instability on the second page, passing through the relative minor—E-flat minor. The theme is then played in a gradual crescendo manner, propelling it to the middle section. Dense, accented f chords are played in common time in the middle register, and are immediately answered with the soft ostinato arpeggios in a higher register in compound quadruple meter. Runs of ascending sixty-fourth notes replace the arpeggio ostinatos, preparing for the climax. After a ff half-diminished chord at the climax, an embellished cadenza-like coloratura resembling that of Chopin appears, bringing the piece to the coda that echoes the beginning of the piece. The musicologist Albert Faurot calls the Notturno his "best piece", and the musicologists Maurice Hinson and Wesley Roberts call it Respighi's "finest work for piano." Sergio Martinotti and Elias-Axel Pettersson also spoke fondly of the composition. Jed Distler said that it has "more than a few muffled, overpedalled moments." The "Notturno" has been arranged for piano and organ, as well as for harp. Stand-alone recordings of the piece by distinguished pianists include those by Arturo Benedetti Michelangeli, Sergei Babayan and Imogen Cooper. ... https://www.youtube.com/watch?v=jmwVKesjHbk

【Kero】 Score Sheet 譜 樂譜 谱 乐谱 Partitura 楽譜付き Brahms Piano Quartet No.1 Op.25 in G minor 布拉姆斯 鋼琴 四重奏 第1號 作品25 G小調 布拉姆斯 钢琴 四重奏 第1号 作品25 G小调 Brahms Cuarteto para piano n.º 1 en sol menor ブラームス ピアノ 四重奏曲 第1番 ト短調 Classical music Música clásica クラッシック 古典音樂 古典音乐 #Brahms #Piano #Quartet 00:00 I Allegro 13:53 II Intermezzo 16:55 Trio 21:52 III Andante con moto 31:58 IV Rondo alla Zingarese Presto The Piano Quartet No. 1 in G minor, Op. 25, was composed by Johannes Brahms between 1856 and 1861. It was premiered in 1861 in Hamburg, with Clara Schumann at the piano. It was also played in Vienna on 16 November 1862, with Brahms himself at the piano supported by members of the Hellmesberger Quartet. Like most piano quartets, it is scored for piano, violin, viola and cello. The quartet is in four movements. This first movement, a sonata form movement in G minor and common time, begins immediately with the first theme, a declamatory statement in straight quarter-notes, stated in octaves for the piano alone. This theme is the opening cell that governs the content of the rest of the musical material in the movement. The other instruments soon join in to develop this initial theme and cadence in G minor. There are four other themes in the exposition. The second is in B♭ major (for all instruments), the third is in D minor (beginning with solo cello), and the fourth and fifth are in D major (the fourth being the D minor theme in the major mode and developed differently as well, and the fifth being a more exuberant idea for all instruments, marked 'animato'). The exposition ends with a closing section that develops only the opening theme and oscillates between D major and D minor, and eventually ends, almost reluctantly, in D major. Although the exposition is not repeated, Brahms creates the illusion of its repetition by starting the development section with the identical ten measures that begins the exposition, up to and including the strong G minor cadence. The development section then goes through many of the themes previously heard and extends them in new ways, and moves from A minor to E minor and eventually to D major. The second movement, marked Intermezzo and Trio, is in C minor and compound triple meter. It is in ternary form and functions like a scherzo, the more traditional second or third movement of a piano quartet. The consistently repeated eighth notes creates an effect of perpetual motion, even agitation, although the melodic themes are quite lyrical. The intermezzo flirts between major and minor and ends in C major. The trio, in A♭ major, is quicker and less agitated than the intermezzo; the trio has two primary themes, the first being in A♭ and the second beginning in E major. The intermezzo is repeated, followed by a brief coda in C major that restates the theme of the trio. The Andante slow movement, is a ternary form movement in E♭ major in triple time. The first subject is very lyrical. A second idea, which brings back the repeated eighth notes from the intermezzo, begins the transition to the second main section. The second section is in C major and starts with fortissimo chords in dotted rhythm for the piano solo. The second theme itself is rhythmically energetic and exuberant in character. It is initially stated by the piano and accompanied by light sixteenth note gestures by the strings, although this is later reversed. After a surprising twist, in which the instruments land on a diminished-seventh chord, the first theme returns, first in C major and then in the home key of E♭ major. A long coda helps to stabilize the often dissonant and unstable harmonies of the movement. Like the previous movements, this movement develops a plethora of themes. The final cadence of this movement, from the minor subdominant to the tonic, is used to conclude many of Brahms's slow movements, such as that from the Piano Quintet. The voicing of the last chord is ominous: the highest note of the strings is the violin's open G string, while the piano plays a tonic chord (again with the third on top) two octaves higher. This fast rondo (marked 'presto') is in G minor in duple time. The subtitle "Rondo alla zingarese" has given it the nickname "Gypsy Rondo." Like many of Brahms's finales, this uses as its principal theme a very fast, rhythmic, tonal, simple idea (see the finales to his Piano Quintet and Double Concerto), this one covering an irregular number of measures. The formal design resembles: ABACDBCADCBA, although the movement is more nuanced than this because each section is in ABA form and cadenzas occasionally interject between sections. This movement is notable for its difficulty, rhythmic and metrical complexity, and harmonic exploration (for instance, after the final D section, the piano plays a cadenza based on the B section that modulates from G minor to F♯ minor), and has remained one of the most difficult movements to perform in all of Brahms's chamber music. ... https://www.youtube.com/watch?v=uQhRUb5jE9w

【Kero】 Score Sheet 譜 樂譜 谱 乐谱 Partitura 楽譜付き Score Sheet 譜 樂譜 谱 乐谱 Partitura 楽譜付き Beethoven Piano Sonata No.8 in C minor Op.13 貝多芬 第8號 鋼琴 奏鳴曲 作品13 C小調 悲愴 贝多芬 第8号 钢琴 奏鸣曲 作品13 C小调 悲怆 Beethoven Sonata para piano n.º 8 en do menor Op. 13 Pathétique ベートーヴェン ピアノソナタ第8番 ハ短調 作品13 悲愴 Classical music Música clásica クラッシック 古典音樂 古典音乐 #Beethoven #Piano #Sonata 00:00 I Grave 01:54 Allegro di molto e con brio 09:12 II Adagio cantabile 14:53 III Rondo: Allegro Ludwig van Beethoven's Piano Sonata No. 8 in C minor, Op. 13, commonly known as Sonata Pathétique, was written in 1798 when the composer was 27 years old, and was published in 1799. It has remained one of his most celebrated compositions. Beethoven dedicated the work to his friend Prince Karl von Lichnowsky. Although commonly thought to be one of the few works to be named by the composer himself, it was actually named Grande sonate pathétique (to Beethoven's liking) by the publisher, who was impressed by the sonata's tragic sonorities. Prominent musicologists debate whether or not the Pathétique may have been inspired by Mozart's piano sonata K. 457, since both compositions are in C minor and have three very similar movements. The second movement, "Adagio cantabile", especially, makes use of a theme remarkably similar to one in the spacious second movement of Mozart's sonata.[4] Close similarities have also been noted with Bach's Partita no. 2 in C minor.[5] Both works open with a declamatory fanfare marked Grave, sharing a distinct combination of dotted rhythms, melodic contour, and texture. Furthermore, the first four notes of the Partita's Andante (G-C-D-Eb, prominently repeated throughout the work) are found in the Pathétique as the first notes of important themes – first in the hand-crossing second subject of its first movement (initially transposed), then in the main theme of the Rondo. It is known that Beethoven was familiar with the works of Bach, studying The Well-Tempered Clavier as a youth and returning to his predecessor's compositional styles later in life. In its entirety, encompassing all three movements, the work takes approximately 19 minutes to perform. The sonata consists of three movements. ... https://www.youtube.com/watch?v=0gGoPP4TdM4

【Kero】 Score Sheet 譜 樂譜 谱 乐谱 Partitura 楽譜付き Beethoven Op.27 No.1 27-1 Piano Sonata No.13 in E flat major 貝多芬 第13號 鋼琴 奏鳴曲 作品27-1 降E大調 贝多芬 第13号 钢琴 奏鸣曲 作品27-1 降E大调 Beethoven Sonata para piano n.º 13 en mi bemol mayor Op.27-1 ベートーヴェン ピアノソナタ 第13番 変ホ長調 作品27-1 Classical music Música clásica クラッシック 古典音樂 古典音乐 #Beethoven #Piano #Sonata 00:00 I Andante 04:23 II Allegro molto e vivace 06:36 III Adagio con espressione 10:09 IV Allegro vivace Ludwig van Beethoven composed his Piano Sonata No. 12 in A♭ major, Op. 26, in 1800–1801, around the same time as he completed his First Symphony. He dedicated the sonata to Prince Karl von Lichnowsky, who had been his patron since 1792. Consisting of four movements, the sonata takes around 20–22 minutes to perform. The structure of the sonata is unconventional in that the piece opens with a relatively slow movement in the format of theme and variations. The third movement incorporates a funeral march, clearly anticipating the watershed of the Eroica Symphony that Beethoven wrote in 1803–1804. This is the only movement from his sonatas that Beethoven arranged for orchestra, and was played during Beethoven's own funeral procession in 1827. This sonata is also unusual in that none of its four movements is in sonata-allegro form. In most of Beethoven's four-movement sonatas, the third movement is in 3/4 and in ternary form, while the second movement is slow and in a different key from the other movements. In this sonata, the second and third movements have switched roles, where the second movement is the ternary scherzo and trio, while the third movement is the slow movement in the tonic minor. ... https://www.youtube.com/watch?v=cYDsK4RqEK4