Details

Impressions


Impressions

Coral i vuit variacions per a piano
FT, Band 145

von: Francesc Civil i Castellví, Miquel Villalba, Martí Ferrer

14,99 €

Verlag: Ficta Edicions
Format: PDF
Veröffentl.: 01.01.2021
ISBN/EAN: 9790805434766
Sprache: englisch
Anzahl Seiten: 58

Dieses eBook enthält ein Wasserzeichen.

Beschreibungen

Impressions, coral i vuit variacions (1938-1962) fou escrita a Versalles i és una de les obres més imponents i extenses de Francesc Civil per a piano sol. El tema amb què arrenca la partitura, un coral que ben bé hauria pogut escriure César Franck, és de caràcter solemne i organístic. A partir d'aquest desfilen una sèrie de variacions que evoquen els diferents estats d'ànim del compositor davant la situació bèl·lica del seu país. Escrita en plenitud de facultats, aquesta obra, manifestament deutora d'un ensenyament rigorós i complet, enlluerna per la seva magistral escriptura pianística, per un agosarat llenguatge harmònic i per una saviesa contrapuntística sense parangó.
Impressions, coral i vuit variacions (1938-1962) fué escrita en Versailles y es una de las obra mas imponentes y extensas de Francesc Civil para piano solo. El tema con el que arranca la partitura, un coral que bien habría podido escribir César Franck, es de carácter solemne y organístico. A partir del mismo desfilan una serie de variaciones que evocan los diferentes estados de ánimo del compositor ante la situación bélica de su país. Escrita en plenitud de facultades, esta obra, manifiestamente deudora de una enseñanza rigurosa y completa, deslumbra por su magistral escritura pianística, por un atrevido lenguaje armónico y por una sabiduría contrapuntística sin parangón.
Impressions, chorale and eight variations (1938-1962) was wrote by Francesc Civil in Versailles and is his most striking and longest work. The
opening theme, a chorale that could well have been written by César Franck, has a solemn organistic character. This leads on to a series of variations that evoke the composer's feelings about the war in his home country. Written at the height of his powers, this work, which clearly owes a great deal to his rigorous, ample training, dazzles for its masterful piano scoring, the bold harmonic language and the consummate contrapuntal expertise.
Francesc Civil. Una obra pianística d'alta volada
Criteris d'edició
Francesc Civil. Una obra pianística de altos vuelos
Criterios de edición 1
Francesc Civil. Piano Works of Excellence
Editorial criteria
Impressions (Coral i vuit variacions per a piano)
Coral
I. Petit estudi per deslligar els dits
II. Bones noticies
III. Rumors de victòria
IV. Temps i paciència
V. Cant a l'amistat
VI. L'enyor
VII. Angoixa
VIII. Malgrat tot la vida és bella!
Born in Molins de Rei on 12 March 1895, Francesc Civil benefitted from a very favourable family musical atmosphere. At the age of six, he was taught his first notions of music by his father and his brother Joseph and attended his first concerts. Then the time spent at the Escolania de Montserrat (Montserrat Choir School), from 1903 to 1907, played a decisive role in laying the solid foundations needed to develop a musical personality of the highest level. At the age of twelve, apparently by decision of his father, he moved to Paris, the world's leading artistic, literary and intellectual centre at the turn of the century, where his brother Aleix and his brother and godfather Joseph lived. There he continued his general academic training in the towns of Étampes and Pithiviers and finally graduated from the Sorbonne in Paris with a bachelor's degree.
In September 1913, he was admitted to the Schola Cantorum in Paris, directed at the time by Vincent d'Indy, where he studied until 1917. The teaching at this institution, which used more innovative methods than at the Conservatory, preached a return to the Gregorian tradition and the appreciation of the Palestrina style. At the same time, it proposed a three-sided approach to learning music: the study of theory, the compositional practice of certain musical genres and forms, and the analysis of scores as a tool for understanding the different styles, from the Renaissance to César Franck (a key figure for the Schola Cantorum). It should also be noted that the instrumentalists were obliged to participate in the vocal ensembles, so that here Civil would resume the instruction in singing begun at the Escolania de Montserrat.
This type of education, with the voice as the pivot, would define the composer's entire output. In addition, he would produce a body of work that perfectly reflected the premise of his composition teacher, D'Indy, according to which harmony should be the result of counterpoint.

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