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The piece was originally intended to be Scriabin's eleventh sonata; [1] however, he had to publish it early because of financial concerns, and hence he labelled it a poem rather than a sonata. Like many of Scriabin's late works, the piece does not conform to classical harmony and is instead built on the mystic chord and modal transpositions of ...
The music is complex and triadic only in an idiosyncratic sense, based almost entirely around various inversions and transpositions of Scriabin's matrix sonority: A D ♯ G C ♯ F ♯ B. Sabaneyev referred to this chord, which opens the work in an eerily static fashion, as the "chord of Prometheus". It has subsequently become known as the ...
Keyboard works (Klavierwerke) by Johann Sebastian Bach traditionally refers to Chapter 8 in the BWV catalogue or the fifth series of the New Bach Edition, [1] both of which list compositions for a solo keyboard instrument like the harpsichord or the clavichord.
Six Songs from A Shropshire Lad is a song cycle for baritone and piano composed in 1911 by George Butterworth (1885–1916). It consists of settings of six poems from A. E. Housman's 1896 collection A Shropshire Lad. Butterworth set another five poems from A Shropshire Lad in Bredon Hill and Other Songs (1912).
The clavier à lumières ("keyboard with lights"), or tastiera per luce, as it appears in the score, was a musical instrument invented by Alexander Scriabin for use in his work Prometheus: Poem of Fire. Only one version of this instrument was constructed, for the performance of Prometheus: Poem of Fire in New York City in 1915. [1]
IMSLP logo (2007–2015) The blue letter featured in Petrucci Music Library logo, used in 2007–2015, was based on the first printed book of music, the Harmonice Musices Odhecaton, published by Ottaviano Petrucci in 1501. [5] From 2007 to 2015, the IMSLP / Petrucci Music Library used a logo based on a score.
The Allmusic review by Brian Olewnick awarded the album 4 stars, stating: "Poems for Piano is a superb recording, offering abundant evidence of both Marion Brown's deep and sensitive compositional gifts and Amina Claudine Myers' all-too-unrecognized strengths as a player and interpreter. Highly recommended".
Twelve Poems of Emily Dickinson is a song cycle for medium voice, played in piano by the American composer Aaron Copland. Completed in 1950 and lasting for under half an hour only, it represents Copland's longest work for solo voice. [ 1 ]
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