Mozart Piano Concerto #23 (K.488) (Kalmus Edition)

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Free, sectional composition. Frequent tempo and dynamic changes. Perpetual motion accompanying figures, alternating sections of declamation and melody amid the very active accompaniment figures, including many arpeggios and trill patterns.

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Wide variety of registers and colors. Some fingerings suggested.

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Difficult concert piece ending pianpianissimo. Requires mature technique and musicianship. New England Conservatory of Music R London: J. Williams, c. C major. Bowen notes above this piece: "To those who revel in right hand dexterity. Wide range of dynamics and pitches. Very comfortably written for the right hand.

Ternary form. Some cadenza-style passages before the return of the "A" section.

W. A. Mozart: Piano Concerto No. 23 in A major, K. 488, 1. Allegro

The entire suite is composed tongue-in-cheek. Pedaling, fingering, and performance suggestions given. Moderately difficult. Five Sketches. De Wolfe, Ltd. Three of these pieces are for the right hand and two are for the left hand alone. INS R16p. Cincinnati, Ohio: Willis Music, c. Flowing, perpetual motion sixteenth notes with melody notes double-stemmed, most often in dotted quarter and sixteenth note groupings. Single notes only with the exception of two arpeggiated chords at the final cadence. Central three octaves of the piano.

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Some rather pleasant "impressionistic" harmonies and a tuneful melody. Pedaling marked and necessary. Fingering suggested. Useful upper elementary student repertoire. Melbourne: Allans Music Australia Pty. Pedaling and fingering suggested. Tonally organized ternary composition.

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Single melody notes and three note accompanying chords. May be performed by either hand alone according to the composer. Suitable for an upper elementary student.

Wien: L. Doblinger, c. Dedicated to the soldiers wounded in the Second World War. Charming, pedagogically useful Austrian landlers. Butterworth, Neil Great Britain Adagio and rondo a la scherzo for piano right hand. London: BBMP, For one or two pianos, hands.

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Rome: Edi-Pan Musicisti Contemporanei, Most of the fourteen pieces in this group are ensemble works [CE20p]. Contrary to the information on the cover page, there is also one solo piece for either hand alone. Gruppi e note isolate, 2 p. The pedal is held throughout the entire piece. Single note heads are pointillistically played ad libitum. Written for Lionel Nowak. Duration: ca Calabro states in the notes to the Nowak recording: "The Fantasy for Piano Right Hand was composed with the thought of using the entire range of the piano. It deals with digital aspects, in ways that I might not have considered when writing for the normal two hands.

For example, a passage occurs that used a steady Alberti bass with fingers 1,3, and 5 while the 2nd and 4th fingers play staccato notes around it. The form of the piece is free and I just let my imagination roam. Much implied counterpoint, some recurring motives. A fun piece to listen to as well as to perform. Difficult, but remarkably well conceived for the right hand. Available from Mr. South Burlington, VT New York: G.

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Frequently changing tempo markings and key signatures. A variety of techniques are used including scales, arpeggios, chords, sustained tones, implied counterpoint, trills, octaves, etc. Fingering is given for both hands by Isidor Philipp. Unpublished MS, c.

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Both pieces make up the Phantasy for Piano Solo. According to the composer: "These pieces were written as companion pieces and should be performed together. However, they can be played separately. Marked by freedom in rhythmic groupings, short phrases of melodic and declamatory interest, and various ostinato patterns, this movement ends peacefully. Carefully edited with some pedalings supplied. AMC R Mainz: Schott. Duration: ca. Published in Volume 17 of her selected works. Ferdinand Eckhardt.