MusicaInfo
Visita i nostri partner
Musicainfo.radio Player - clicca qui
Pagina principale | Cerca | Prodotti disponibili | Il mio profilo | La Mia Radio | Blog | Registrarsi | Collegarsi Deutsch|English|Español|Français|Nederlands
 Bancadati Note
Spartiti
Cd musicali
Libri sulla musica
Accessori
Sottocategorie
Compositori/collaboratori
Autori musicali
Partner nella distribuzione
Abbreviazioni
Blog
Radio
Quick search:
 Info Note
Chi siamo noi?
Concerti/band (at, ch, de)
Contatti
Visita i nostri partner
Musicainfo.radio - clicca qui
Spartiti/ colonne sonoreSpartiti/ colonne sonore
Études: Livres 1 et 2 (extrait du - excerpt from Série 1 #6) - clicca per un'immagine più grande
clicca per un'immagine più grande
Titolo Études: Livres 1 et 2 (extrait du - excerpt from Série 1 #6)
N. di articolo 4105255
Categoria Formazione e/o solisti
Sottocategoria Klavier Solo
Instrumentation Pno (piano)
Instrumentation/info Pno (piano); / (o); Org (organo)
Format/Umfang Bk (libro)
Paese di pubblicazione Francia (fr)
Casa editrice * Fields with a star (*) are only visible for club members after registrationclicca qui
N. di articolo della casa editrice * Fields with a star (*) are only visible for club members after registrationclicca qui
Delivery publisher * Fields with a star (*) are only visible for club members after registrationclicca qui
Art.Nr. des Auslieferungsverlags * Fields with a star (*) are only visible for club members after registrationclicca qui
Titolo della serie Durand Oeuvres Complètes de Claude Debussy
EAN (GTIN) * Fields with a star (*) are only visible for club members after registrationclicca qui
ISMN * Fields with a star (*) are only visible for club members after registrationclicca qui
ISMN-10 * Fields with a star (*) are only visible for club members after registrationclicca qui
Anno di pubblicazione 2007
Compositore Debussy, Claude
Ulteriori informazioni / contenuti These Etudes are deliberately presented without fingering for the following reasons: It is only logical that a single set of fingering will not suit all shapes and sizes of hand. Some modern editors try to get round this by piling different fingerings on top of one another, which only serves to add to the confusion… Music then starts to resemble some strange mathematics, producing an inexplicable phenomenon, whereby the fingers unaccountably multiply. The story of Mozart who, as a child prodigy on the harpsichord, finding himself unable to span all notes in a chord, fondly imagined he could hit one with the end of his nose, does not really resolve the problem; and in any case may owe more to the imagination of an over zealous editor than to reality. Our old Masters — I might mention here “our” admirable harpsichordists — never indicated any fingering, undoubtedly relying on the intelligence of their contemporaries. Similarly, it would be individious to doubt that of today’s virtuosi. In conclusion: the absence of fingering is an excellent exercise, removes the temptation to change the composer’s fingering merely for the sake of contradiction, and confirms the old saying anew, “Your own best servant is yourself.” Let us discover our own fingering.
Ascolta su Musicainfo Radio * Musicainfo RadioFields with a star (*) are only visible for club members after registrationclicca qui
Disponibile sì

I campi con solo una stella sono visibili solo per club members after registration.

Non è iscritto : register o login
Visita i nostri partner
Musicainfo.radio - clicca qui
I nostri banner | Per gli autori/venditori | Newsletter
Raccolta dati Copyright 1983-2019 Helmut Schwaiger. Progettazione di banche dati e sito web Copyright 2002-19 Robbin D. Knapp.