Respighi 6 Pieces for Piano P044 No.4 Minuetto 雷史畢基 鋼琴 小品 レスピーギ ピアノ 小品 Score Sheet 譜 乐谱 楽譜付き 【Kero】

【Kero】Score Sheet 譜 樂譜 谱 乐谱 Partitura 楽譜付き
Respighi 6 Pieces for Piano P044
Sei pezzi per pianoforte
No.4 Minuetto
雷史畢基 6首 鋼琴 小品
雷史毕基 6首 钢琴 小品
レスピーギ ピアノ 6つの 小品
Classical music Música clásica クラッシック 古典音樂 古典音乐
#Respighi #Piano #Pieces

No.1 Valse Caressante
No.2 Canone
No.3 Notturno
No.4 Minuetto
No.5 Studio
No.6 Intermezzo-Serenata

The Sei pezzi per pianoforte ("Six pieces for piano"), P 044, is a set of six solo piano pieces written by the Italian composer Ottorino Respighi between 1903 and 1905. These salon pieces are eclectic, drawing influence from different musical styles and composers, particularly music of earlier periods. The pieces have various musical forms and were composed separately and later published together between 1905 and 1907 in a set under the same title for editorial reasons; Respighi had not composed them conceiving them as a suite, and therefore did not intend to have uniformity among the pieces. The set, under Bongiovanni, became his first published works. Five of the six pieces are derived from earlier works by Respighi, and only one of them, the "Canone", has an extant manuscript.
The "Valse Caressante" displays elements of French salon; lyricism and Baroque are highlighted in the "Canone"; the most popular of the set, the "Notturno", shows signs of Impressionism; the "Minuetto" is reminiscent of the Classical era; the "Studio" is molded after Chopin's Études; The "Intermezzo-Serenata", resembling Fauré's music, demonstrates Respighi's Romanticism.
The set consists of six pieces.
These predominantly salonesque pieces are eclectic, drawing influence from music of earlier periods, and demonstrate Ottorino Respighi's neoclassical compositional style. A more mature compositional technique brought on from studying abroad with the composers Nikolai Rimsky-Korsakov and Max Bruch is also seen. The set contains various musical forms: waltz, canon, nocturne, minuet, étude and intermezzo. The pieces were composed separately between 1903 and 1905, and then published together between 1905 and 1907 in a set under the same title. Although they were published together, Respighi had not composed them conceiving them as a suite, and therefore did not intend to have uniformity among the pieces; thus, publishing them together was merely an editorial decision. The Sei pezzi per pianoforte, published by Bongiovanni, complete the piano output of his youthful period and were his first published works. Five of the six pieces are derived from earlier works by Respighi. The manuscripts of the compositions, except for the "Canone", are lost.




The "Minuetto" ("Minuet") in G major is based on an earlier composition by Respighi, the Minuetto per archi ("Minuet for strings") from 1903. Dedicated to the composer's study companion Adele Righi, it illustrates Respighi's adoration for archaism, showing influence of Baroque and Classical music, but also Maurice Raveland Debussy. The piece is in rounded binary form with a trio and has no tempo marking. Cubisino associates the work with Ravel's Menuet antique.
The minuet is characterized by thematically contrasting four-measure phrases. The first phrase is a simple doubled melodic line played by both hands an octave apart, as well as a tonic pedal point on G reminiscent of a musette. The third beat of the first and third measures are accented, which Hess suggests creates a "hemiola effect to go along with the minuet's dance steps, which involve a six-beat pattern spanning two measures." The second phrase consists of detached major triads around the dominant. The second section marked Poco più vivace begins with a cascade of sixteenth notes while also using four-measure phrases; Pedarra & Gatto assess that it "looks forward to the Antiche danze per liuto". The trio section marked Un poco più mosso contrasts the minuet with a faster tempo and a shift to C minor. Here, the right hand plays double thirds grouped in two while the left hand plays repeated pedal notes in C, which Pedarra & Gatto compare with the pizzicato of a lute. The last line has an ossia which Cubisino points out is a cadenza modeled after the sixteenth-note runs of the second section, which leads to the piece repeating D.C. al fine.