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S. Coleridge-Taylor - Impromptu in B Minor (No. 2 from Two Impromptus)
ABRSM Grade 8 - B1
The title “Impromptu” is a generic term that carries little meaning other than a spontaneous approach on the part of the composer. Coleridge-Taylor’s Impromptu in B minor follows the A-B-A model of Schubert and Chopin’s forays into the form, the more florid outer sections contrasting with the song-like middle section. There are frequent tempo modifiers in the A sections that indicate rubato, but nothing in the B section. Here, the performer calls upon their musical instincts to allow phrases to move forwards and backwards, and to breathe naturally. Preview (please log-in or... Read >>
Moszkowski - Calme du soir (No. 2 from 10 petits morceaux, Op. 94)
ABRSM Grade 7 - B3
Moritz Moszkowski was a German pianist and composer of Polish descent, an important figure in the pedagogical world of his time whose studies and exercises are still considered among the very best of their type. Calme du soir (The Calm of the Evening) is written in the Romantic style featuring rich, often chromatic harmony with a melody line that is often on the top of the RH but with inner voices that can be brought out every now and then (the alto of bars 6 and 8, for example). Achieving the right tonal balance between the hands and within the... Read >>
Debussy - Arabesque No. 2 (from Deux arabesques, L. 66)
ABRSM Grade 8 - C2
Debussy’s two arabesques are from his early period, before he became influenced by Impressionism. Arabesque No. 2 requires a certain deftness (lightness) of touch to bring out the balletic qualities in the piece. The pedalling is too subtle for the player to notate in the score (Debussy famously didn’t even try), calling for light touches here and there to add colour and resonance. Certain spots (bars 42 and 82, for example) call for longer pedals to sustain the harmony, the rests are not to be taken literally here but instead indicate to play the surrounding notes lightly. ... Read >>