Frescoes

Fülszöveg

Notes on the Music
1. A DANCE FOR PAN
Ability to move freely over the keyboard Is encouraged here in music which is otherwise quite straightforward. Pounce surely but not too heavily on the chords—it may help to imagine a leaping, Pan-like figure progressing down a steep mountainside. Finger the " Pan-pipe " upward flourishes as indicated; do not attempt to play them as scales with " thumb under
2. CUMULI
A smooth legato touch with judicious use of the sustaining pedal is called for. The tempo should be brisk enough to avoid any hint of monotony, perhaps poising the spread chords in the fourth and twenty-first bars with a slight rallentando.
3. MARCH
The left hand should immediately establish a rock-steady rhythmic impulse above which the melody soars aloft in clearly articulated phrases. Keep the basic tempo without faltering when the right hand takes over the chords, marking the rhythmic flow by crisp release as indicated by the phrase markings. The ending should be as... Tovább

Fülszöveg

Notes on the Music
1. A DANCE FOR PAN
Ability to move freely over the keyboard Is encouraged here in music which is otherwise quite straightforward. Pounce surely but not too heavily on the chords—it may help to imagine a leaping, Pan-like figure progressing down a steep mountainside. Finger the " Pan-pipe " upward flourishes as indicated; do not attempt to play them as scales with " thumb under
2. CUMULI
A smooth legato touch with judicious use of the sustaining pedal is called for. The tempo should be brisk enough to avoid any hint of monotony, perhaps poising the spread chords in the fourth and twenty-first bars with a slight rallentando.
3. MARCH
The left hand should immediately establish a rock-steady rhythmic impulse above which the melody soars aloft in clearly articulated phrases. Keep the basic tempo without faltering when the right hand takes over the chords, marking the rhythmic flow by crisp release as indicated by the phrase markings. The ending should be as bold and decisive as possible.
4. NIGHTMARE
The rhythmic flow is here as wayward as in the March it is strict—a liberal supply of rubato is in order and each player is invited to work out his own interpretation. The last three bars are of course to be played without sustaining pedal.
5. SHADOWS
This piece can be made to sound equally effective played moderately slowly—when it is a useful exercise in maintaining an unbroken legato movement between the two hands—or quickly, when it becomes a miniature study in virtuosity. Having chosen a tempo, maintain it fairly strictly; the ebb and flow of the music may suggest different, and equally valid, dynamic levels from those indicated in the score.
6. AIRBORNE
The apparent difficulties are entirely due to the frequent changes of register and the tendency of the hands to be widely separated. The first snag disappears with familiarity, when half the attention is not concentrated on trying to read the notes and play them at the same time. The second can be overcome by practising each hand separately, for neither requires a very advanced technique. Having mastered the notes, aim at an interpretation which moves as surely and inevitably as an arrow towards its target.
7. THE MILLPOOL
The fluid outlines and uncertain tonality of this piece call for a limpid style and clear, singing tone. A feeling of suppressed emotion should be conveyed, the floating melodic line contrasting with the murmuring accompaniment, the figuration of which requires a rotary wrist action free from stiffness. Touches of pedal are needed to enrich the tone but should be kept to a minimum: attentive listening is the best guide.
8. RONDEAU
Again there are quick changes of register, giving almost an echo effect, but here the hands are in close position. It is most important that both hands be brought down together. A neat, crisp attack should be aimed at; the momentary effect of cross-rhythm given by the accented chords in bars 11-13 and 32-34 should also be observed.
46902 Vissza