By Pamela Y. Dees, Pamela Youngdahl Dees
Designed as a pragmatic reference advisor for pro pianists and piano academics, A consultant to Piano song via ladies Composers, quantity I, is an annotated catalogue of the to be had piano tune in print composed by way of a hundred and forty four girls born prior to the twentieth century. The paintings additionally positive factors biographies and huge bibliographical details for every composer. prepared alphabetically through composer into different types together with unmarried works, collections, and anthologies, the song can be defined by way of grade point, style, temper, type features, and technical standards, and levels in trouble from overdue trouble-free to virtuoso live performance repertoire. a long way too many lecturers, scholars, specialist musicians, and audiences are blind to the contributions made by way of ladies in tune, and of the sweetness and benefit in their particular compositions. This reference paintings presents a useful addition to the present literature.
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Extra info for A Guide to Piano Music by Women Composers: Volume I Composers Born Before 1900 (Music Reference Collection)
Level: Mid-Intermediate. (E-flat/A-flat majors, 2/4, slowly, 3 pp). The difference in this rag lies in its slow tempo, and in the B section, with its chromatic alto melody sandwiched between dissonant harmonies in treble and bass. ”12 SOURCES: B&NB, ClagS, Cohen, GroveAm, H&H, Hasse, Hinson, KOM, scores < previous page page_7 next page > < previous page page_8 next page > Page 8 B BACKER-GRØNDAHL, Agathe Ursula (née Backer) b. Holmestrand, Norway, Dec 1, 1847—d. Christiana, Jun 4, 1907 Norwegian concert pianist, composer, and teacher Agathe Backer-Grøndahl studied piano with Kullak, Hans von Bülow, and Liszt, and composition with Lindeman in Norway and Wuerst in Berlin.
From the New Hampshire Woods: A Suite of Three Pieces for the Pianoforte Op. Schirmer, 1922). Level: Late Intermediate. A set of impressionistic miniatures depicting New England flora, with a poetic inscription preceding each landscape. Later arranged for orchestra, these reflect the influence of the MacDowell school. Characteristics of Bauer’s style include use of the full range of the keyboard, continuous rhythmic motion, a wide dynamic palette, asymmetrical phrases, and the use of pedal tones, seventh chords, and gliding parallel chords within a strong tonal center.
D-flat major, 3/4, andantino, 5 pp). A series of parallel sixths. Op. 11/6. (A major, 6/8, allegretto grazioso). Continually shifting arpeggios support a melody played in octaves. Trois morceaux, Op. 15. Late Intermediate to Early Advanced. Op. 15/1. Serenade. Level: Late Intermediate. (F major, in 4, andantino, 3 pp). Serene, symmetrical phrases arch over a gently strummed bass in this unhurried portrait of summer twilight in the north. Melodious trills and flourishes decorate the contrasting center section.
A Guide to Piano Music by Women Composers: Volume I Composers Born Before 1900 (Music Reference Collection) by Pamela Y. Dees, Pamela Youngdahl Dees