【Kero】 Score Sheet 譜 樂譜 谱 乐谱 Partitura 楽譜付き Mendelssohn Songs Without Words Book 2 Op.30 Lieder ohne Worte No.3 30-3 Adagio non troppo in E major 孟德爾頌 無言歌 作品30 孟德尔颂 无言歌 作品30 Mendelssohn Canciones sin palabras Op.30 メンデルスゾーン 無言歌 Op.30 Piano 鋼琴 钢琴 ピアノ Classical music Música clásica クラッシック 古典音樂 古典音乐 #Mendelssohn #Songs #Words Book 2, Op. 30 (1833–34) No.1 30-1 Andante espressivo in E flat major No.2 30-2 Allegro di molto in B flat minor No.3 30-3 Adagio non troppo in E major No.4 30-4 Agitato e con fuoco in B minor No.5 30-5 Andante grazioso in D major No.6 30-6 Allegretto tranquillo Venetianisches Gondellied ("Venetian Boat Song") F sharp minor Songs Without Words (Lieder ohne Worte) is a series of short lyrical piano songs by the Romantic composer Felix Mendelssohn, written between 1829 and 1845. His sister Fanny Mendelssohn and other composers also wrote pieces in the same genre. The eight volumes of Songs Without Words, each consisting of six songs (Lieder), were written at various points throughout Mendelssohn's life, and were published separately. The piano became increasingly popular in Europe during the early nineteenth century, when it became a standard item in many middle-class households. The pieces are within the grasp of pianists of various abilities and this undoubtedly contributed to their popularity. This great popularity has caused many critics to under-rate their musical value. The first volume was published by Novello in London (1832) as Original Melodies for the Pianoforte, but the later volumes used the title Songs Without Words. The works were part of the Romantic tradition of writing short lyrical pieces for the piano, although the specific concept of "Songs Without Words" was new. Mendelssohn's sister Fanny wrote a number of similar pieces (though not so entitled) and, according to some music historians, she may have helped inspire the concept. The title Song Without Words seems to have been Felix Mendelssohn's own invention. ... https://www.youtube.com/watch?v=FQ0ffvrjwFg

【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.6 Intermezzo-Serenata 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. These predominantly salonesque pieces are eclectic, drawing influence from music of earlier periods, and demonstrate Ottorino Respighi's neoclassical compositional style. A more mature compositional technique brought on from studying abroad with the composers Nikolai Rimsky-Korsakov and Max Bruch is also seen. The set contains various musical forms: waltz, canon, nocturne, minuet, étude and intermezzo. The pieces were composed separately between 1903 and 1905, and then published together between 1905 and 1907 in a set under the same title. Although they were published together, Respighi had not composed them conceiving them as a suite, and therefore did not intend to have uniformity among the pieces; thus, publishing them together was merely an editorial decision. The Sei pezzi per pianoforte, published by Bongiovanni, complete the piano output of his youthful period and were his first published works. Five of the six pieces are derived from earlier works by Respighi. The manuscripts of the compositions, except for the "Canone", are lost. 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." ... https://www.youtube.com/watch?v=75FcEKDk6bY