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Sicilienne - Score Sheet Music by Gabriel Fauré
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Program Format Our programs are typically one-hour long, and include musical selections along with spoken program notes that give insight to the musical works being showcased. Depending on your preference, we can include more or less of the musical selections or spoken program notes. Our programs pair well with dinner parties, wine and cheese, and even bagels or brunch. Let us bring some magic to your next event.
When you contact us , we will book a date for the concert and a time for a consultation meeting with you. At the consultation, we will select the musical pieces for the concert and determine if your piano needs to be tuned. Half of our fee is due at the consultation meeting, the balance is due at the concert. Invite your friends to attend the house concert. Relax and enjoy the music. As soon as I made his acquaintance, I realized what an intellectual force inhabited that tiny little man and tried to be around him as much as possible. I never took real lessons from him but received some precious advice.
Among his counsels was the very important one which prevented me from falling in my turn into the abuse even the use of the whole-tone scale, which was then omnipresent. In less than five minutes of conversation, Ravel was able to show me so clearly the poverty of this device that I lost permanently the desire to employ it. His culture was vast, in literature as well as in music. I owe him my first knowledge of Russian music, including that of Moussorgsky. Once or twice a week we met at the home of Pierre Sechiari, the concertmaster of the Lamoureux orchestra, and read in four-hand arrangements all the operatic and symphonic repertoire of the Russian "Five" and of Glazunov, Liapunov, Liadov, and others.
Tchaikovsky was excluded from these sessions, because Ravel detested him. A great impression was made on us by the music of Borodin, Balakirev, and Rimsky-Korsakov. There was developing, at least in the bold and unprejudiced circle headed by Debussy and Ravel, an anti-Wagnerian viewpoint which was also anti-Germanic. This constituted a fact of great importance in the history of music, after so many years of autocratic domination by German art Casella was very busy and truly popular during the 's and early 's.
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An excellent pianist, he continued to perform throughout much of Europe and in his several tours of America. But he also was in demand as a conductor, even leading the Boston Pops Orchestra for several consecutive years, a task which amounted to conducting some sixty concerts in May-June. Altogether, Casella was performing in some concerts per year at the time, a fact relevant to the thread on why great pianists allegedly no longer composed during the 20th century.
Yet, in contrast to Rachmaninov, Casella produced his most original and, at the time, influential works during those years of international success.
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I say unprecedented because, according to his memoirs, never had so much money ever been awarded in such a competition. There were entries! One morning in early October, I opened the Messagero and read that the first prize in the Philadelphia contest, to which I had sent my Serenata the preceding year, had been divided between Bela Bartok and me.
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If I had had any doubts as to the authenticity of the good news, it would have been dissipated by the numerous cables of congratulations which began to rain in from America inthe afternoon. Aside from the material worth of the prize, which was equivalent to 57, lire at the time, it was a very great satisfaction to have been considered on a plane of equality with a musician like Bartok.
In fact, there had been entries of all nationalities in the contest. After a lengthy examination of the works, the jury selected thirty-five of them for final consideration. The choice was made after a complete performance of all the thirty-five compositions. The report of the jury was also encouraging to me in that it pronounced the Serenata "an authentic model of purely Italian style in form, in spirit, and in its characteristically continuous melodic flow. The music is easy for the listener, but it was very difficult to write, and I could never have done it without my history of difficult experiences and continual torment in the search for perfection.
One morning in early October, I opened the Messagero and read that the first prize in the Philadelphia contest, to which I had sent my Serenata the preceding year, had been divided between Bela Bartok and me Mais, encore une fois, la venue de Debussy et l'apparition de son art n'avaient rien d'un miracle. Je ne partage pas cet avis. Mais l'impressionnisme pictural est un art nordique. La nature, chez nous, est absolument antimpressionniste. Callahan Jr.. Translation: Maria Theresia Paradis From.
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