Là ci darem la mano (for solo piano)
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Thus far the original is still much better than what we were forced to endure during those two evenings at Carnegie Hall. A little moratorium, perhaps? The reality, as we learned, was something else.
These features on occasion produce adverse results when fluidity and speed are substituted for clarity. Often what reached the further regions of this large auditorium was a sense of blur. I always question pianists who bother to perform the Variations with the accompaniment of an ensemble, as it really adds very little to the whole and reveals in the brief interludes the lack of experience and flamboyance of its youthful composer.
Trifonov seemed hardly able to control his nimble fingers, and this produced a rushed, hectic effect, especially in the finale alla Polacca. There was a nice sound and nice handling of fiorituras, a crazy-fast treatment of the 2nd Variation and impressive jumps in Variation No.
But I missed the presence of the left hand in other variations, another characteristic and a salient feature of those two evenings. The finale was also taken much faster than Mr. Trifonov demonstrated in his earlier version both in the recording studio and live.
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- Variations sur Là ci darem la mano de Don Juan de Mozart, op. 2 (Frédéric Chopin).
As in many others of his early works, here in the piano writing we can already recognize some ground-breaking features that would lead to his future greatness, and there are some of those inimitable contemplative, longing melodies that would make the mature Robert Schumann proud. The piano, needless to say, dominates the proceedings.
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All in all it was a commendable performance by players who chose Carnegie Hall to try it out for the first time. Call it courage! Yet they are all seasoned professionals and they delivered. In most traditional performances of the Chopin Trio , the cello has the least important role.
It was a welcome surprise that here the cello part found such an excellent and passionate player as Ms. This was especially bothersome in the first movement, when the coda sounded like one big blur. The dance-like second movement Scherzo, in which mazurka and landler are married, was more successful.
I especially liked the third movement, an operatic Adagio where the violin and cello lead a beautiful duet like two bel canto singers, soon joined by the piano.
There we heard the most ardent sound from both Mr. Kremer and Mr. Trifonov, whose piano sang nicely. It was also a pleasure to hear the old-fashioned violin sound that Mr. Kremer seems often to eschew nowadays. The dancing theme of the Finale reappears throughout the movement and here the strings play around with the modest material while the piano goes around in endless figurations that will eventually find their way into his piano concertos. The trifle was the youthful Introduction and Polonaise in C , written for the daughter of a Polish aristocrat, an amateur cellist.
Là ci darem la mano (Don Giovanni, K) by W.A. Mozart on MusicaNeo
It is perhaps not a job of a reviewer to advise performers what work to play let alone which edition to use, but sometimes it happens that a reviewer also performs. It astounds me that regarding this particular work there is a huge discrepancy between the editions the American and European cellists use.
In the U. That makes the piece much more interesting and effective than the original version, performed in Europe, with an undemanding cello part and the piano running all-over the keyboard. Sonata in G Minor is one of the very last works Chopin has ever written and it is considered one of the most matured. Hearing the beautiful, almost booming sound coming from Mr.
Though the piano part is at the very least equal to that of cello, the string instrument quite frequently carries the tune while the piano, with its quite complicated writing, seems to be relegated to accompanying cello. Bassoon II part. Viola part. Violin I part. Violin II part. Bassoon I part. For bass and mezzo and piano. Mozart: Don Giovanni, K. Schirmer, it-engl PD. Sheet Music A4.
High Resolution scans dpi for immediate download. Piano Accompaniment Download. For duo and string orchestra. Vocal duet with audiofile of orchestral accompaniment. ZIP, 3. For brass quintet. This instantly recognisable tune is suitable for all types of concerts and venues. For woodwind quintet. PDF, 1.
This delightful duettino from Mozart's Opera "Don Giovanni" is set for woodwind quintet. The vocal lines are spread throughout the quintet, giving the piece a more varied timbre. At only two and one-half minutes length, it is ideal for filler or just a diversion during a performance.
Comments and questions are always welcome at dgoforth2 comcast. For piano. Diego Minoia 16 Nov Excellent for exercises and vocal or instrumental performances in concert. Log in to post a comment. For brass quintet Arranged by Lyons M.
For woodwind quintet Arranged by Goforth D. For piano For piano For piano For piano. Symphony No. Complete Sonata.