Prokofieff's Works for Piano Solo
Identifieur interne : 001533 ( Istex/Corpus ); précédent : 001532; suivant : 001534Prokofieff's Works for Piano Solo
Auteurs : Frank MerrickSource :
- Tempo [ 0040-2982 ] ; 1949.
Abstract
For about half my professional life I have been interested in these works, securing one after another as many of them as came on the visible side of my horizon. This interest was first awakened by the study of the Ballad for Cello and Piano, Opus 13, which I was asked to play at a concert in Manchester somewhere round about 1920. The Ballad is a piece in which, for all its comparative immaturity, there are unmistakable traces of a new and highly original personality together with a good deal of fascinating intricacy. To bait the hook still more temptingly for me there was every need to practise a number of the passages both diligently and even ingeniously before it was possible to execute them with a modicum of respectability. Time has in no way staled for me the intriguing delights of this early work.
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DOI: 10.1017/S0040298200042649
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ISTEX:9BE942A2ED72833D4C3D8CE7AD0D643DB1A1D900Le document en format XML
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This interest was first awakened by the study of the Ballad for Cello and Piano, Opus 13, which I was asked to play at a concert in Manchester somewhere round about 1920. The Ballad is a piece in which, for all its comparative immaturity, there are unmistakable traces of a new and highly original personality together with a good deal of fascinating intricacy. To bait the hook still more temptingly for me there was every need to practise a number of the passages both diligently and even ingeniously before it was possible to execute them with a modicum of respectability. 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To bait the hook still more temptingly for me there was every need to practise a number of the passages both diligently and even ingeniously before it was possible to execute them with a modicum of respectability. 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Time has in no way staled for me the intriguing delights of this early work.</p></abstract></profileDesc><revisionDesc><change when="1949">Published</change><change xml:id="refBibs-istex" who="#ISTEX-API" when="2017-09-5">References added</change></revisionDesc></teiHeader></istex:fulltextTEI></fulltext><metadata><istex:metadataXml wicri:clean="corpus cambridge not found" wicri:toSee="no header"><istex:xmlDeclaration>version="1.0" encoding="US-ASCII"</istex:xmlDeclaration><istex:docType PUBLIC="-//NLM//DTD Journal Publishing DTD v2.2 20060430//EN" URI="journalpublishing.dtd" name="istex:docType"></istex:docType><istex:document><article article-type="research-article" dtd-version="2.2" xml:lang="en"><front><journal-meta><journal-id journal-id-type="publisher-id">TEM</journal-id><journal-title>Tempo</journal-title><abbrev-journal-title>Tempo</abbrev-journal-title><issn pub-type="ppub">0040-2982</issn><issn pub-type="epub">1478-2286</issn><publisher><publisher-name>Cambridge University Press</publisher-name><publisher-loc>Cambridge, UK</publisher-loc></publisher></journal-meta><article-meta><article-id pub-id-type="doi">10.1017/S0040298200042649</article-id><article-id pub-id-type="pii">S0040298200042649</article-id><article-id pub-id-type="publisher-id">04264</article-id><title-group><article-title>Prokofieff's Works for Piano Solo</article-title><alt-title alt-title-type="left-running">TEMPO</alt-title><alt-title alt-title-type="right-running">PROKOFIEFF'S WORKS FOR PIANO SOLO</alt-title></title-group><contrib-group><contrib><name name-style="western"><surname>Merrick</surname><given-names>Frank</given-names></name></contrib></contrib-group><pub-date pub-type="ppub"><season>Spring</season><year>1949</year></pub-date><issue>11</issue><issue-title>Prokofieff Number</issue-title><fpage seq="8">26</fpage><lpage>29</lpage><permissions><copyright-statement>Copyright © Cambridge University Press 1949</copyright-statement><copyright-year>1949</copyright-year><copyright-holder>Cambridge University Press</copyright-holder></permissions><abstract abstract-type="text-abstract"><p>For about half my professional life I have been interested in these works, securing one after another as many of them as came on the visible side of my horizon. This interest was first awakened by the study of the <italic>Ballad for Cello and Piano</italic>, Opus 13, which I was asked to play at a concert in Manchester somewhere round about 1920. The Ballad is a piece in which, for all its comparative immaturity, there are unmistakable traces of a new and highly original personality together with a good deal of fascinating intricacy. To bait the hook still more temptingly for me there was every need to practise a number of the passages both diligently and even ingeniously before it was possible to execute them with a modicum of respectability. 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