Respighi 6 Pieces for Piano P044 No.6 Intermezzo-Serenata 雷史畢基 鋼琴 小品 レスピーギ ピアノ Score Sheet 譜 【Kero】

【Kero】Score Sheet 譜 樂譜 谱 乐谱 Partitura 楽譜付き
Respighi 6 Pieces for Piano P.044
Sei pezzi per pianoforte
No.6 Intermezzo-Serenata
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 most popular of the set, the "Notturno" ("Nocturne") in G-flat major, represents one of Respighi's finest piano compositions and is often featured as a stand-alone piece in recitals by distinguished pianists. An eclectic work showing signs of Impressionism and Romanticism, this modern piece is signified by tranquil alternating chords (arpeggios) accompanying a "mesmeric melody" with long pedal holds; it has been described as "an exercise in musical moonlight and shadow", and as having a "distinctly Rachmaninovian feel". The metronome marking shown on the first page (Lento) was most likely added by the publisher, as Respighi only wrote verbal tempo indications in his early period.
Hess compares the work with Chopin's Nocturne in D-flat major, Op. 27, No. 2, emphasizing the influence of the left hand ostinato which in Respighi's work is an arpeggio split between both hands. The opening unfolds with this pattern in double thirds, similar to the music of Claude Debussy with its chord progression: E-flat minor – G-flat major seventh – C-flat major seventh. At measure seven, an A natural appears in the predominantly pentatonic opening, which resolves to B-flat two measures later, likewise showing resemblance to Chopin. The ostinato becomes more note-dense with increased harmonic instability on the second page, passing through the relative minor—E-flat minor. The theme is then played in a gradual crescendo manner, propelling it to the middle section. Dense, accented f chords are played in common time in the middle register, and are immediately answered with the soft ostinato arpeggios in a higher register in compound quadruple meter. Runs of ascending sixty-fourth notes replace the arpeggio ostinatos, preparing for the climax. After a ff half-diminished chord at the climax, an embellished cadenza-like coloratura resembling that of Chopin appears, bringing the piece to the coda that echoes the beginning of the piece. The musicologist Albert Faurot calls the Notturno his "best piece", and the musicologists Maurice Hinson and Wesley Roberts call it Respighi's "finest work for piano." Sergio Martinotti and Elias-Axel Pettersson also spoke fondly of the composition. Jed Distler said that it has "more than a few muffled, overpedalled moments."