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Ed Shanapy's 500 Piano Intros for the Great Standards (The Steinway PDF

By Ed Shanapy

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In earlier Baroque and Classical variation sets more often than not the composer decorated a discrete melody, leaving the harmonic structure intact. Brahms, and particularly Schumann, were adept at taking a motif from the theme and transforming it; the melody of the theme as a whole need not appear in the variation, though the ground-plan was usually maintained. Elgar does not even retain the ground-plan of his theme. Some variations are longer (‘Nimrod’ lasts four minutes), some shorter (‘W. M.

The flowering of English ceremonial happened to coincide with Elgar’s maturity. Had he been born fifty years earlier, there would have been no stimulus or outlet for his marches. Elgar sent a sketch for the march on 7 December 1896, saying confidently that it would have a ‘great, broad, brilliant effect with orchestra’. ) Already he could say ‘I am sure of my orchl. 16 Novello replied criticizing it for having so many short phrases of two bars or even one. Elgar agreed to amend it (making it ‘now concise and effective’).

Later in life he admitted to admiring William Hurlstone’s Variations on an Original Theme of 1896. He had just heard the Brahms–Haydn Variations at the Gloucester Festival. In every sense, his are character variations. No listener can be unaware of how he felt about ‘C. A. ’, ‘Nimrod’, ‘Dorabella’, and ‘B. G. N’. Some variations relate to a mannerism (the trilly  Elgar’s programme note for an Italian performance in 1911. TO THE GREATER GLORY OF GOD 1899–1909 47 laugh of ‘W. ’), or an episode (‘if I were a policeman,’ wrote Donald Tovey, ‘I think I should ask Mr G.

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500 Piano Intros for the Great Standards (The Steinway Library of Piano Music) by Ed Shanapy

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