. Well-known piano solos, how to play them . 41, and 42are each enriched by a full chord as accompaniment to Mendelssohn—Spring Song 197 the last tone of their melody. These chords should bequite organ-like in their character and should melt intothe harmonies which follow. At 43 the four sixteenth-notes of the first melodic motive begin a developmentwhich leads, at 47, into a pretty cadenza which mustbe done quite elegantly, with a slight ritardando towardits close, to prepare the ear for the return of the originaltheme, at 50. At 58 a minor seventh on the tonicmakes its appearance, too fleeti
. Well-known piano solos, how to play them . 41, and 42are each enriched by a full chord as accompaniment to Mendelssohn—Spring Song 197 the last tone of their melody. These chords should bequite organ-like in their character and should melt intothe harmonies which follow. At 43 the four sixteenth-notes of the first melodic motive begin a developmentwhich leads, at 47, into a pretty cadenza which mustbe done quite elegantly, with a slight ritardando towardits close, to prepare the ear for the return of the originaltheme, at 50. At 58 a minor seventh on the tonicmakes its appearance, too fleeting to establish a modula-tion, but beautiful in the color it lends. Compare itwith 9; also notice that at 59 the bass remains on Ainstead of the first inversion used at 10. The pedal isnecessary throughout; but so much has been said aboutits clean service that the student is referred to othernotes. (The title. Spring Song, inseparably wedded tothis piece, was given it by Stephen Heller.—Ed.) Esquisse Venetienne, Op. 73, No. 1 MOSZKOWSKI. E can hardly call this a well-knownsolo, but, besides being an attrac-tive piece, you will find in it muchinstructive material. Each com-poser has some mannerisms on thekeyboard and Moszkowski hasmany. There are several passageswhich, no doubt, came fluently enough to the com-poser; but the student has often a difficult task inassimilating these idiosyncrasies. For this reason itis good to study the modern style, where work isoften not well placed on the keys. Moszkowskismusic is classical enough, clear-cut and fashioned likeMendelssohn, whose passages always lie well underthe hand; but Moszkowski exacts a sudden twist andoften necessitates the thumb on the black key, as inmeasure 56 (on B flat) or in 86 (on G sharp). In all Venetian sketches the water and the gondolaare ever present, and the minor key is, by custom, themood; but the major asserts itself joyously and wesee the flutter of flags and feel the sunshine in the merrythirds and si
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