Premiered at Carnegie Hall, New York, on December 3, 1925. New York Symphony, Walter Damrosch (conductor), George Gershwin (piano). In the wake of the success of the RHAPSODY IN BLUE, conductor Walter Damrosch and the New York Symphony Society commissioned a piano concerto from George, who was determined to do his own orchestration this time.
Premiered at Carnegie Hall, New York, on December 3, 1925. New York Symphony, Walter Damrosch (conductor), George Gershwin (piano).In the wake of the success of the RHAPSODY IN BLUE, conductor Walter Damrosch and the New York Symphony Society commissioned a piano concerto from George, who was determined to do his own orchestration this time. Work on the concerto spanned five months in 1925, some of it coinciding with his collaboration with Ira on TIP-TOES and with Herbert Stothart, Otto Harbach, and Oscar Hammerstein II on SONG OF THE FLAME. The debut of the CONCERTO IN F at Carnegie Hall may have been a disappointment to those expecting another “event” like the RHAPSODY IN BLUE, but time has shown that George’s studies of the classical form were well spent. The CONCERTO IN F is a well-developed work that strengthened Gershwin’s reputation as a composer who straddled the boundaries of popular and “serious” music.Musical Numbers.Links.
Table of Contents.Best Edition ProkofievPiano SonatasThere are nine piano Sonatas written by Prokofieff. They are as following: in F minor, Op. 1, in D minor, Op. 14, in A minor, Op. 28, in C minor, Op.
29, in C major Op. 38, in A major, Op. 82, in B flat major Stalingrad, Op. 83, in B flat major, Op.
84, and in C major, Op. MCA PublicationPublished in 1966 by.Edited by.This is a very rare edition for Prokofiev’s piano sonatas that is no longer published. Consider yourself very lucky if you can find a seller for this edition!This edition is only edition authorized by the for reprint in the U.S. It is the original print for Prokofiev’s piano sonatas, as well as the most authoritative.You can see a sample of the MCA Music Prokofiev Sonatas here:You can find this edition on this as well.Here is another.
Forberg EditionAnother rare edition for Prokofiev’s music.Edited byInternational Music CompanyThe International Music Company edition for Prokofiev’s Piano sonatas is quite pricey, but definitely worth the buy!Edited byYou can see a sample of theYou can see a sample of theIMC also sells the Prokofiev Sonatas individually, but they are very hard to find, as they no longer print many of the sonatas individually.Here is a copy of the 2nd Sonata:Here is a copy of the 3rd piano sonata:Note: there are wrong notes in this edition (M. 111), as well as contentious editorial markings. The fingering suggestions though are quite good.Sonata No 7Boosey and HawkesVolume 1Volume 2This is the standard edition for Prokofiev’s Piano Sonatas. (London) edition for Prokofiev’s music is the most ubiquitous, and is decent as well. It features large and easy to read print.There are no comments on performance practices or fingering suggestions in this edition. The edition is very straightforward and only contains the sheet music. One of my personal issues with this edition is that Prokofiev’s edits add a lot more markings to what is present in the first edition, which removes some of the liberties that the first edition gives.
I argue that his edits are not the greatest, and they almost put the performer in a straight jacket in terms of what creative interpretations they can give. Here is an example of what I mean:This is taken from the Harp Prelude, Op 12 No 7. There are a lot of extra dynamic markings and editorial markings made in comparison to the first edition.
I have a big issue with line 4, measure 3. In the first edition, these dynamic markings are not present. However, in the special Prokofiev edition, there is a forte followed by a subito piano. It’s pretty hard to play this passage forte and to have the right hand produce more sound. The right hand needs more of a leggiero approach to make the appropriate sound and keep the wrist relaxed. Of course it is possible to play, as seen in Prokofiev’s own performance, but there is more liberty of what the performer can do if using the first edition.An example of how this piece is made more interesting with certain liberties can be seen with Emil Gilel’s performance of the piece.
(He’s doing his own thing in the B section with the more percussive parts, but the point is, more liberties). I would argue that he was not using the Schirmer edition of this score when studying the piece because the many dynamic changes he makes are different from what is in the Schirmer edition.
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