Composed by Amy Marcy Beach. Score and Parts. Imagine Music Publishing #PDP182. Published by Imagine Music Publishing (IG.PDP182).
9 x 12 in inches.
The Pastorale (No. 1) appears to be originally composed at this time. Mrs. Beach later reworked the basic material twice; once in a version for cello and organ or piano and a later version for woodwind quintet which she completed a year or two before her death. Both of these subsequent versions have been published. Each of the three versions vary in length and harmonic usage. Of the three, the original version for flute, cello, and piano is the most harmonically complex. The Caprice (No. 2) is an expansion and reworking of an earlier piece for solo piano. In addition to the title Caprice, op. 40, the solo piano piece is subtitled Water Sprites. This programmatic reference is not included on the UMKC holograph. It has been hypothesized by one author that the Caprice, owing to its brevity, is merely the opening section of a work in ternary form, which Mrs. Beach decided not to complete. This theory is disproved by the existence of two holographs identical in length and content. These Two Pieces for Flute, Cello, and Piano, op. 90 make a charming addition to the repertoire for this popular chamber music combination. I am proud to be able to present the first publication of these compositions.
Composed by Amy Marcy Beach. Score and Parts. Imagine Music Publishing #PDP182. Published by Imagine Music Publishing (IG.PDP182).
9 x 12 in inches.
The Pastorale (No. 1) appears to be originally composed at this time. Mrs. Beach later reworked the basic material twice; once in a version for cello and organ or piano and a later version for woodwind quintet which she completed a year or two before her death. Both of these subsequent versions have been published. Each of the three versions vary in length and harmonic usage. Of the three, the original version for flute, cello, and piano is the most harmonically complex. The Caprice (No. 2) is an expansion and reworking of an earlier piece for solo piano. In addition to the title Caprice, op. 40, the solo piano piece is subtitled Water Sprites. This programmatic reference is not included on the UMKC holograph. It has been hypothesized by one author that the Caprice, owing to its brevity, is merely the opening section of a work in ternary form, which Mrs. Beach decided not to complete. This theory is disproved by the existence of two holographs identical in length and content. These Two Pieces for Flute, Cello, and Piano, op. 90 make a charming addition to the repertoire for this popular chamber music combination. I am proud to be able to present the first publication of these compositions.
Preview: Two Pieces for Flute, Cello, and Piano, op. 90
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