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My First Book of Great Composers
26 Themes by Bach, Beethoven, Mozart and Others in Easy Piano Arrangements
By Bergerac Dover Publications, Inc.
Copyright © 2004 Dover Publications, Inc.
All rights reserved.
ISBN: 978-0-486-17214-9
CHAPTER 1
Johann Sebastian Bach (1685-1750)
Sarabande (from the Third English Suite)
In Bach's time and well into the lifetimes of Mozart and Beethoven, there were close ties between composers and the royal patrons who commissioned musical compositions. Pieces like this sarabande were typical of the dance music written to be performed in princely palaces. This dance is slow, stately and elegant.
Peter Ilyitch Tchaikovsky (1840-1893)
Fifth Symphony (Horn theme from Movement II of Op. 64)
This is one of the most famous themes in all of Tchaikovsky's music. In its original orchestral score, this lovely melody is played by the French horn, bringing to it all of the rich, mellow color typical of this important brass instrument. The melody itself is quite simple, with easy repetitions and slight melodic and rhythmic variations. Treat the long notes of the left hand as a quiet support underneath the theme. As marked, let the ending fade away completely to its final ppp—pianississimo.
Edvard Grieg (1843-1907)
Piano Concerto (Lyrical theme from Finale)
Did you know that Grieg brought the manuscript of his marvelous concerto to none other than the great Franz Liszt for a frank critique? The master sight-read the score, praising die young composer with wonderfully encouraging words. Grieg's concerto went on to great acclaim, with hundreds of performances worldwide every year! Play this lovely theme—a memorable moment in die composition—with a gently flowing feeling, letting the ending vanish away.
Antonín Dvorák (1841-1904)
Humoresque (Op. 101. no. 7)
Not many people know that this world-famous music comes from a collection of no fewer than eight "humoresques" originally published as a set of piano pieces. The popularity of this particular one comes from its charming dance-like feeling, offered in a recipe for easy listening: a pretty time with a catchy rhythm repeated throughout. With their easy-to-find locations on the keyboard, all those black keys should make playing even easier than usual!
Claude Debussy (1862-1918)
The Maiden with the Flaxen Hair (No. 8 of twelve Preludes, Book I)
In the original publication of this piece, the composer placed the title at the end of the music rather than in its usual position at the start! In this way, Debussy seems to be telling us to think of the music first, then look at its "label" as an afterthought. Either way, we like to "paint" this piece as a gentle sound-portrait—songful and restrained.
Alexander Scriabin (1872-1915)
Prelude (Op. 2, no. 1)
Although the Russian Alexander Scriabin went on to compose some of the most exotic, mystical, and revolutionary music in the entire music literature, this piece represents the simplicity he brought to his earliest keyboard pieces. This Prelude is plaintive music, with a kind of barely suppressed emotion just beneath the surface of its flowing melody and rich harmonies.
Felix Mendelssohn (1809-1847)
Venetian Gondola Song
Felix Mendelssohn wrote a number of lyrical short piano pieces he called Songs Without Words, including such well-known compositions as "Spring Song" and "The Spinning Wheel." As we can easily imagine, this "Venetian Boat Song" captures the two elements we anticipate in such music: in the left hand, the endless flow of gentle water beneath the boat; in the right hand, the plaintive song of the gondolier, characterized by the sweet melancholy of its melody.
Modest Mussorgsky (1839-1881)
Hopak (Russian Dance on the black keys)
The hopak (or gopak) is a lively dance that originated in the section of Russia called Byelorussia (Little Russia). With its strong two-beat feeling, the hopak is characterized by V heavy accents to accompany a kind of stamping dance so popular among villagers throughout Europe and Asia. Our example sits almost entirely on the pianos black keys. Remember to observe all those repeat signs on the first page of this arrangement.
Ignace Paderewski (1860-1941)
Krakowiak (Polish Dance. Op. 5, no. 1)
Like the preceding hopak. this dance originated as a popular village dance—in this instance, from the town of Krakow in Poland. The music is always in 2/4 time and uses strong accents and simple syncopations. The krakowiak was always danced by large groups, accompanied by shouting, improvised singing, and striking of the heels together.' Especially popular in the early nineteenth century, a wonderful example of its style and spirit has come down to us today in Chopin's marvelous Krakowiak for piano and orchestra.
Franz Liszt (1811-1886)
Consolation
Based on one of Liszt's most beautiful themes, this enchanting music should be played quietly and unhurried, with a gentle touch. Pay special attention to the left-hand chords that support the melody from start to finish. Play these harmonies so that all of the chord is heard, with each of its three or four notes quietly but firmly balanced. Of special interest and importance is the low sound on the first beat of each measure. Let the pedal sustain that sound as long as possible.
Béla Bartók (1881-1945)
Rumanian Sketch
Composer Béla Bartók was also one of the most diligent researchers of the folk music of Hungary, Rumania, Bulgaria, and other Middle European countries. Notebook and a primitive portable recording machine in hand (there was no electricity in those rustic farmlands!), he jotted down the wonderfully colorful and complicated music he heard. In its melody and rhythms, this sketch is a typical sample of those fascinating sounds.
(Continues...)
Excerpted from My First Book of Great Composers by Bergerac. Copyright © 2004 Dover Publications, Inc.. Excerpted by permission of Dover Publications, Inc..
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