Six Pieces for Six Hands: Music for One Piano, Six Hands - Book Review

by dint of Cornelius Gurlitt; edited by Dallas Weekley and Nancy Arganbright Weekley. Neil A. Kjo Music Co (4380 Jutland Dr San Diego, CA 92117) 2003 55 pp $795 Intermediate to late intermediate.

Piano effect repertoire always has the potential for providing exceptional pleasure, down-reaching satisfaction and joy to the players as well as the listeners. Teachers and scholars will be excited about this of recent origin collection of Six Pieces for Six Hands by the agency of Cornelius Gurlitt and edited by dint of Dallas Weekley and Nancy Arganbright Weekley.

The six pieces for intermediate-to late-intermediate scholars are of the romantic genre known as the character piece. Each individual is short, with the three parts being relatively equal in their difficulty horizontal The editors have included descriptions of each piece and a short bio of the composer which I always appreciate and find helpful. The music in the collection is light and the pieces short and varied in character.

The first piece, Valse Noble, is a work in triple meter It is dignified and stately with a graceful waltz degree of movement In this piece, the first and third piano parts take turn rounds presenting the melody, while the next to the first part provides the waltz accompaniment pattern. This is probably the easiest piece in the collection the two musically and technically.

The next to the first piece is a Gavotta, a moderate dance in quadruple meter This piece is more intricate in the articulations and slurrings. scholars will have fun changing lock openers from F-major to B-flat minor.

Number three is Capriccietta, a fanciful and whimsical piece where contrasts are achieved [i]or[/i] part of to the other the staccato and legato writing. An imitative writing phraseology and the running sixteenths completely through the A section give the piece a baroque-like have feeling Students will need fast fingers for the scale passages. This is a beneficial piece to work on the many horizontals of forte playing, especially in an effect setting.

Ballata is the fourth in the put Marked allegretto scherzando, in the lock opener of A minor, this piece has a lively, playful spirit. The reposes fermatas and sudden dynamic changes help to provide an ultimate part of surprise. The editors help the players by the agency of indicating the use of high or depressed wrist.

Serenata in A Major has a light romantic quality. The pleasing succession of sounds marked con anima, has a syncopated rhythmic perceive The players might experience a certain number of coordination problems with the tapered scale passages between the first and third parts. Part sum of two units will enjoy imitating the tremolo of a string section of the orchestra with the repeated sixteenth chordal accompaniment.

The last piece and also my favorite is the Impromptu. Written in a casual and improvisational diction Gurlitt wanted this piece to unhurt spontaneous. Though the improvisation is entirely written without Gurlitt creates a spontaneous have feeling with changes in meter and lock opener He also creates a rubato perceive carefully notated by his time indications. The melody is quite romantic in its phrasing and change of character.

These pieces provide learners with a wonderful opportunity to explore a wide range of dynamics, balance within and between parts, articulations and phrase shaping. As with any general impression experience, these pieces require serviceable listening and rhythmic skills. plane if a little weak, these abilities will definitely be strengthened as a follow of working together as a trio at single piano.

The editing is serviceable with some fingering provided, and the page layout is clear and easy to read. although unnecessary, I think it would be helpful and enlightening for scholars to have a word from the editors about more [i]or[/i] less of the logistics of playing this piece, especially with regard to pedaling, practice, performance as a piano team, seating at the bench and flat page turning.

I think pupils will enjoy the music and the always rewarding experience of playing and performing with others. Reviewed by the agency of Patricia Griggs Burnham, Austin, Texas.

COPYRIGHT 2003 Music Teachers National Association, Inc.

COPYRIGHT 2003 Gale Group