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Background music (British English: piped music) is a mode of musical performance in which the music is not intended to be a primary focus of potential listeners, but its content, character, and volume level are deliberately chosen to affect behavioral and emotional responses in humans such as concentration, relaxation, distraction, and excitement.
The piano part develops from free composition (movement 1) to following the orchestra using a parallel chart (movement 2) and then to sharing the same chart with the orchestra (movement 3). Piano preparation in the Concerto is rather complex and involves, among other things, a moveable plastic bridge that makes possible microtonal effects.
Sources. Wright, Simon: Poulenc Piano Music and Chamber Works in Pascal Rogé: Francis Poulenc 1899-1963 Piano Works Chamber Music Decca CD Set 475 7097 Roy, Jean: Francis Poulenc Oeuvres complètes (1963-2013) L'Édition du 50e Anniversaire - EMI/Warner France Classics' 20 CD release marking the 50th anniversary of Poulenc's death.
The set was the penultimate of Brahms's published works. It was also his penultimate work for piano solo. The pieces are frequently performed. Like Brahms's other late keyboard works, Op. 118 is more introspective than his earlier piano pieces, which tend to be more virtuosic in character. The six pieces are: Intermezzo in A minor.
It is a generic name for any composition for the instrument, but when used in a title (Piano Piece, Piece for Piano) the name is used to indicate a (usually) single-movement composition for solo piano that has not been given a more specific name (such as Sonatina, Allegro de concert or Le Bananier), for example:
Piano Sonata Op.1: Scores at the International Music Score Library Project; recording by Jonathan Biss from the Isabella Stewart Gardner Museum in MP3 format; Recording by Harvard Fellow Seda Röder; Recording by Dr. Willis G. Miller, III; Recording of the Theo Verbey orchestration by Riccardo Chailly and the Royal Concertgebouw Orchestra
Wolfgang Amadeus Mozart's Piano Sonata No. 9 in D major, K. 311 / 284c, was written on the composer's stay in Augsburg and Mannheim in November-December 1777, and is contemporaneous with his Sonata No. 7 in C Major K. 309 (Mozart wrote his Sonata K. 310 in the summer of the following year, in Paris). The three sonatas K. 309–311 were ...
The tonalities of the six Partitas (B ♭ major, C minor, A minor, D major, G major, E minor) may seem to be random, but in fact they form a sequence of intervals going up and then down by increasing amounts: a second up (B ♭ to C), a third down (C to A), a fourth up (A to D), a fifth down (D to G), and finally a sixth up (G to E). [5]
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