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Nicolas Bacri

Bacri: Trois esquisses Lyriques, Op. 144

¥3,700
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Alphonse Leduc  |  SKU: AL30819  |  Barcode: 9790046308192
  • Composer: Nicolas Bacri (1961-)
  • Instrumentation: Piano
  • Work: Trois esquisses Lyriques, Op. 144
  • ISMN: 9790046308192
  • Size: 9 x 12.0 inches
  • Pages: 16

Description

Nos. 3-5 of Bacri's 'Esquisses Lyriques'. Valse triste is Bacri's third Esquisse Lyrique and third attempt at reviving the outdated genre of 'salon music' that, in the 19th century, was meant to be a convivial genre expressing intimate feelings in the most acceptable way possible, thereby creating a sort of comedy of immodesty. Chanson et valse (Esquisses lyriques nos. 4 and 5) was commissioned by Maria Canyigueral, a Catalan pianist residing in London, for her ‘Avant-guarding Mompou' project, consisting of several new pieces based on fragments of Catalan folk melodies and thereby echoing the music of the great composer Federico Mompou. The six notes from a Sardana F A G C A F form the beginning of a sweet, plaintive song whilst only the first three constitute the beginning of a melody that takes the form of a waltz of similar character, the whole being placed under the sign of a simplicity that does not rule out lyricism.

Alphonse Leduc

Bacri: Trois esquisses Lyriques, Op. 144

¥3,700

Description

Nos. 3-5 of Bacri's 'Esquisses Lyriques'. Valse triste is Bacri's third Esquisse Lyrique and third attempt at reviving the outdated genre of 'salon music' that, in the 19th century, was meant to be a convivial genre expressing intimate feelings in the most acceptable way possible, thereby creating a sort of comedy of immodesty. Chanson et valse (Esquisses lyriques nos. 4 and 5) was commissioned by Maria Canyigueral, a Catalan pianist residing in London, for her ‘Avant-guarding Mompou' project, consisting of several new pieces based on fragments of Catalan folk melodies and thereby echoing the music of the great composer Federico Mompou. The six notes from a Sardana F A G C A F form the beginning of a sweet, plaintive song whilst only the first three constitute the beginning of a melody that takes the form of a waltz of similar character, the whole being placed under the sign of a simplicity that does not rule out lyricism.

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