laohu
09-25-2013, 10:35 PM
Sir Michael Tippett - Piano Sonatas No. 1, 2 and 3 (1996, FLAC)
(http://imageshack.us/photo/my-images/96/auia.jpg/)
Tracks:
01. Piano Sonata No. 1 - I Allegro [0:07:54.00]
02. Piano Sonata No. 1 - II Andante tranquillo [0:04:21.00]
03. Piano Sonata No. 1 - III Presto [0:03:49.00]
04. Piano Sonata No. 1 - IV Rondo giocoso con moto [0:04:50.00]
05. Piano Sonata No. 2 - Templo I [0:12:05.00]
06. Piano Sonata No. 3 - Allegro [0:05:09.00]
07. Piano Sonata No. 3 - Lento [0:11:29.00]
08. Piano Sonata No. 3 - Allegro energico [0:05:43.23]
https://mega.co.nz/#!Xg52CZzJ!faVLzi_68srROcUoqHDoACXU3sFDPd8y3z_wr9h xUB0
---------- Post added at 10:35 PM ---------- Previous post was at 10:35 PM ----------
Tippett originally intended the first movement of Piano Sonata No. 1 as a set of variations on an original theme. He completed the sonata in 1938, published it in 1942. The original name was Fantasy Sonata since it departed from the usual four movement classical sonata form with a set of variations as the first movement, followed by a slow movement, a sonata-allegro, and lastly a rondo-finale. In 1954 Tippett re-designated the work as a sonata for the second edition because it adhered more closely to this form than to that of a fantasy.
Piano Sonata No. 2, a one-movement work of thirty-eight sections in eight different tempi, is approximately eleven minutes in length. This work best illustrates Tippett's mosaic style of synthesizing what at first may appear as fragments or pieces of a collage. In fact, Tippett originally intended to title the piece "Mosaics" because of the constant transformation of ideas, but determined that the work more closely resembled the sonata form.
Intended to be played as one continuous movement, Tippett emphasizes the independence of the pianist hands in the outer ranges in the two Allegro movements of Piano Sonata No. 3. The first section is a sonata-allegro, the second is a set of variations, and the third is a toccata. Tippett's conception of pianistic virtuosity was in terms of arms and hands rather than fingers. The independence of the hands encompasses, two-part counterpoint, free melodic inversion but with strict rhythmic canon with great distances between the two hands.
(http://imageshack.us/photo/my-images/96/auia.jpg/)
Tracks:
01. Piano Sonata No. 1 - I Allegro [0:07:54.00]
02. Piano Sonata No. 1 - II Andante tranquillo [0:04:21.00]
03. Piano Sonata No. 1 - III Presto [0:03:49.00]
04. Piano Sonata No. 1 - IV Rondo giocoso con moto [0:04:50.00]
05. Piano Sonata No. 2 - Templo I [0:12:05.00]
06. Piano Sonata No. 3 - Allegro [0:05:09.00]
07. Piano Sonata No. 3 - Lento [0:11:29.00]
08. Piano Sonata No. 3 - Allegro energico [0:05:43.23]
https://mega.co.nz/#!Xg52CZzJ!faVLzi_68srROcUoqHDoACXU3sFDPd8y3z_wr9h xUB0
---------- Post added at 10:35 PM ---------- Previous post was at 10:35 PM ----------
Tippett originally intended the first movement of Piano Sonata No. 1 as a set of variations on an original theme. He completed the sonata in 1938, published it in 1942. The original name was Fantasy Sonata since it departed from the usual four movement classical sonata form with a set of variations as the first movement, followed by a slow movement, a sonata-allegro, and lastly a rondo-finale. In 1954 Tippett re-designated the work as a sonata for the second edition because it adhered more closely to this form than to that of a fantasy.
Piano Sonata No. 2, a one-movement work of thirty-eight sections in eight different tempi, is approximately eleven minutes in length. This work best illustrates Tippett's mosaic style of synthesizing what at first may appear as fragments or pieces of a collage. In fact, Tippett originally intended to title the piece "Mosaics" because of the constant transformation of ideas, but determined that the work more closely resembled the sonata form.
Intended to be played as one continuous movement, Tippett emphasizes the independence of the pianist hands in the outer ranges in the two Allegro movements of Piano Sonata No. 3. The first section is a sonata-allegro, the second is a set of variations, and the third is a toccata. Tippett's conception of pianistic virtuosity was in terms of arms and hands rather than fingers. The independence of the hands encompasses, two-part counterpoint, free melodic inversion but with strict rhythmic canon with great distances between the two hands.