Sonate – Volume 2: Nos. 11 – 20 Piano Solo by Franz Joseph Haydn Piano Solo - Sheet Music

By Franz Joseph Haydn

Theodorakis wrote this work in January 1968 at the Averoff prison in Athens, when his fellow-prisoners asked him for a new composition. He named it after the prison. Together with this work he composed the song cycle Mythology. The poetry of both works is by George Seferis. When Theodorakis wrote the work Epiphany in 1960, in Paris, he took only a few verses from the first part of the corresponding work by Seferis. Now, he decides to set to music the entire poem based on the original melody, employing a completely personal method of melody development, akin more to Byzantine technique than to the European one. He called this new musical from a river-song. A year later, while in exile at Zatouna in Arcadia, Greece, he adds the Chorus parts, experimenting on the potentialities of the contrapuntal writing in relation to the artisti popular music.

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Details

Instrument:
Piano Solo
Genres:
Classical Period
Composers:
Franz Joseph Haydn
Publishers:
Ricordi
UPC:
073999827798
ISBN:
9789602905128
Format:
Score
Item types:
Physical
Musical forms:
Sonata
Artist:
Franz Joseph Haydn
Usages:
School and Community
Size:
9.0x12.0x0.295 inches
Number of Pages:
98
Shipping Weight:
0.95 pounds

Piano (1.1.1.1-0.0.0.0-timp-hp-str)

SKU: HL.50011520

Piano Solo. By E. Marciano. Composed by Franz Joseph Haydn. Edited by Ernesto Marciano. This edition: Full-cloth binding. Sheet music. Piano Collection. Classical, Sonata. Vocal/piano score. Composed 1968-1969. 98 pages. Duration 12' 47''. Ricordi #ER55. Published by Ricordi (HL.50011520).

ISBN 9789602905128. UPC: 073999827798. 9.0x12.0x0.295 inches. Greek.

Theodorakis wrote this work in January 1968 at the Averoff prison in Athens, when his fellow-prisoners asked him for a new composition. He named it after the prison. Together with this work he composed the song cycle Mythology. The poetry of both works is by George Seferis. When Theodorakis wrote the work Epiphany in 1960, in Paris, he took only a few verses from the first part of the corresponding work by Seferis. Now, he decides to set to music the entire poem based on the original melody, employing a completely personal method of melody development, akin more to Byzantine technique than to the European one. He called this new musical from a river-song. A year later, while in exile at Zatouna in Arcadia, Greece, he adds the Chorus parts, experimenting on the potentialities of the contrapuntal writing in relation to the artisti popular music.