Chin: Piano Etudes
In stock and typically ships within 1 business day.
- Composer: Unsuk Chin (1961-)
- Instrumentation: Piano
- ISMN:
- Size: 9 x 12.0 inches
- Pages: 52
Description
The six highly individual Piano Etudes by Unsuk Chin represent as a collection one of the most challenging high peaks of the contemporary piano repertoire. Composed between 1995 and 2003, their abstract but often playful quality surfaces through formidable technical intricacy.
This definitive edition, published with revisions from the composer unites the Etudes for the first time and represents an essentialaddition to the library of the most technically accomplished pianist.
Composer's note:
With respect to Chopin, the music critic Oscar Bie wrote, that there is no "piano music more 'real' than an etude," since "the essence of the piano has become music in it." I am of the same opinion, not only as far as Chopin is concerned, but also with regardto the etudes of other great piano composers: Liszt, Bartók, Messiaen, and the works of their predecessors as well: Scarlatti's Essercizi, Bach's Well-tempered Clavier or his Klavierübungen ... I am very much attracted by the boundary-crossing, "transcendental" (Liszt) aspect on which all important etudes are based: the idea that the pianist is prepared to push himself to or - past - his/her limits.
Etude No. 1, In C, was composed in 1999. It was influenced by the Balinese gamelan music that I became better acquainted with duringa sojourn on Bali in 1998, and that has played a role for me in many works. A number of concepts of gamelan music were decisive here: first, the rhythmic models (in particular the consistent overlapping of three different pulsations); second, the uniquely iridescent tonal world that comes about through the subtle tunings. (Strictly speaking, the latter cannot be realized on the piano, and yet it can be hinted at through the sonic structure of the piece and the pedal artistry of a skilled pianist.) In spite of theseallusions to gamelan music, In C is not a paraphrase or even an imitation of it. The harmony of the piece is based on the tone C yet the piece has nothing at all to do with the functional harmony: the overtone series of C merely forms the harmonic foundation ofthe piece.
Etudes nos. 2 through 4 (Sequences, Scherzo ad libitum, Scales) were conceived as a group and written in 1995. In comparison to the other etudes, they have a relatively strong orientation on the piano music of classical modernism, especially as far as piano technique is concerned. The titles Sequences and Scales tell something about the compositional and pianistic problems of the second and fourth etudes. Scherzo ad libitum, on the other hand, is a character piece and thus forms a striking contrast to the other etudes.
Toccata, the fifth etude, refers to Etude No. 1: it, too, is based on the overtone series of C. and yet the concept on which the Toccata is based is diametrically opposed to that of the first etude: In the place of inactivity, a very dynamic forward motion dominates here,
Works:
- Piano Etude No. 1 in C Major (1999)
- Piano Etude No. 2 (Sequenzen) (1995)
- Piano Etude No. 3 (Scherzo ad libitum) (1995)
- Piano Etude No. 4 (Scalen) (1995)
- Piano Etude No. 5 (Toccata) (2003)
- Piano Etude No. 6 (Grains) (2000)
Publishers use a lot of words to describe what they sell, and we know it can be confusing. We've tried to be as clear as possible to make sure you get exactly what you are looking for. Below are descriptions of the terms that we use to describe the various formats that music often comes in.
Choral Score
A score for vocalists that only contains the vocal lines. The instrumental parts are not there for reference. Generally, cheaper than a vocal score and requires multiple copies for purchase.
Facsimile
Reproductions of the original hand-written scores from the composer.
Full Score
For ensemble music, this indicates that the edition contains all parts on a single system (there are not separate parts for each player). In larger ensembles, this is for the conductor.
Hardcover
Hardbound. Generally either linen-covered or half-leather.
Orchestral Parts
Similar to a wind set, this is a collection of parts. In the case of strings, the numbers listed are the number of copies included, though generally these are available individually (often with minimum quantities required).
Paperback
When publishers offer multiple bindings (e.g. hardcover) or study scores, this is the "standard" version. If you're planning to play the music, this is probably what you want.
Performance / Playing Score
A score of the music containing all parts on one system, intended for players to share. There are not separate parts for each player.
Set of Parts
For ensemble music, this indicates that there are separate individual parts for each player.
Solo Part with Piano Reduction
For solo pieces with orchestra, this is a version that contains a piano reduction of the orchestra parts. For piano pieces, two copies are typically needed for performance.
Study Score
A small (think choral size) copy of the complete score meant for studying, and not playing. They make great add-ons when learning concertos and small chamber works.
Vocal Score
A score prepared for vocalists that includes the piano/organ part or a reduction of the instrumental parts.
Wind Set
For orchestral music, this is a collection of wind and percussion parts. The specific quantities of each instrument are notated.
With Audio
In addition to the printed music, the edition contains recordings of the pieces. This may be an included CD, or access to files on the internet.
With / Without Fingering (Markings)
Some publishers prepare two copies - a pure Urtext edition that includes no fingering (or bowing) suggestions and a lightly edited version that includes a minimal number of editorial markings.
Chin: Piano Etudes
