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Bartók: Piano Music, Volume 9
 
12,00 €
 
Formát:
CD
 
 
Dostupnosť:
dodacia doba 7-28 dní
 
 
Katalógové číslo:
8.574420
 
 
EAN kód:
747313442072
 
 
Autori:
Béla Bartók, Sándor Reschofsky
 
 
Interpreti:
Goran Filipec
 
 
Vydavateľ:
NAXOS
 
 
Zoznam skladieb
Bartók, Béla
Piano Sonata, BB 12 (performance edition by G. Filipec)
1 I. Allegro
2 II. Adagio
3 III. Presto
4 IV. Adagio - Allegro

5 Lajos valczer (Lajos Waltz), BB 1, DD 28
6 Gabi Polka, BB 1, DD 12
7 Ländler No. 2, BB 1, DD 18
8 Változó darab (Changing Piece), BB 1, DD 2

Reschofsky, Sándor; Bartók, Béla: Zongoraiskola (Piano Method): Pieces by Bartók
9 No. 7. Legato and Non-legato Exercises: (quarter note = 96)
10 No. 8. Legato and Non-legato Exercises: (quarter note = 96)
11 No. 13. Legato and Non-legato Exercises: (quarter note = 96)
12 No. 14. Legato and Non-legato Exercises: (quarter note = 96)
13 No. 16. Wrist Exercises: (quarter note = 96)
14 No. 17. Wrist Exercises: (quarter note = 96)
15 No. 20. Playing with Hands Together: (quarter note = 96)
16 No. 21. Playing with Hands Together: (quarter note = 96)
17 No. 22. Ledger-lines: (quarter note = 96)
18 No. 24. Ledger-lines: (quarter note = 96)
19 No. 25. Ledger-lines: (quarter note = 96)
20 No. 26. Ledger-lines: (quarter note = 96)
21 No. 29. Development of the Accuracy of Touch: (quarter note = 96)
22 No. 33. Playing Staccato: (quarter note = 96)
23 No. 36. Staccato and Legato Alternating: (quarter note = 52)
24 No. 40. Exercises with Non-adjacent Fingers: (quarter note = 52)
25 No. 44. Exercises with Non-adjacent Fingers: (quarter note = 52)
26 No. 46. Accented and Unaccented Beats of a Bar: (quarter note = 40)
27 No. 51. Accented and Unaccented Beats of a Bar: (quarter note = 60)
28 No. 55. Accented and Unaccented Beats of a Bar: (quarter note = 66)
29 No. 56. Accented and Unaccented Beats of a Bar: (quarter note = 72)
30 No. 57. Accented and Unaccented Beats of a Bar: (quarter note = 48)
31 No. 59. Accented and Unaccented Beats of a Bar: (quarter note = 72)
32 No. 68. Two-note Chords: (quarter note = 72)
33 No. 73. Two Parts with One Hand: (quarter note = 72)
34 No. 77. Two Parts with One Hand: (quarter note = 104)
35 No. 78. Two Parts with One Hand: (quarter note = 58)
36 No. 82. Two Parts with One Hand: (eighth note = 112)
37 No. 83. Tempo (Indication of Speed): Allegro (quarter note = 80)
38 No. 89. Increasing the Hand-span (Sixths): Andante (quarter note = 80)
39 No. 92. Changing Fingers on One Key: Lento
40 No. 94. Changing Fingers on One Key: Allegro (quarter note = 104)
41 No. 95. Whole Tones and Semitones: Andante (quarter note = 80)
42 No. 97. Whole Tones and Semitones: Andantino (quarter note = 50)
43 No. 99. Whole Tones and Semitones: Moderato (quarter note = 88)
44 No. 101. Scales: Allegro deciso (quarter note = 112)
45 No. 102. Scales: Adagio (quarter note = 69)
46 No. 105. Syncopation: Andante (quarter note = 69)
47 No. 108. Syncopation: Allegro moderato (quarter note = 63)
48 No. 109. The Harmonic Minor Scale: Allegro (half note = 63)
49 No. 110. The Harmonic Minor Scale: Andante (dotted quarter note = 63)
50 No. 114. Playing Chords: Allegro (quarter note = 66)
51 No. 115. Playing Chords: Allegro moderato (quarter note = 60)
52 No. 116. Playing Chords: Moderato (quarter note = 96)
53 No. 117. Playing Chords: Vivace (dotted quarter note = 80)
54 No. 118. Playing Chords: Allegro deciso (quarter note = 84)
55 No. 119. Playing Chords: Tempo di valse (quarter note = 116)
56 No. 120. Playing Chords: Allegro moderato (quarter note = 112)
Popis
Two important works dominate volume nine of this series. The first is Bartók’s substantial and ambitious late-Romantic Piano Sonata, Op. 19, a very early work, composed when he was around 17 before his studies in Budapest. It was long considered lost and is heard in Goran Filipec’s performing edition, prepared from the manuscript. Zongoraiskola or ‘Piano Method’ was devised in collaboration with composer, pianist and teacher Sándor Reschofsky who contributed the exercises. Bartók’s 48 original pieces are perfectly formed and charmingly refined, allowing him an opportunity to explore his ideas of piano pedagogy.
 
 
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