Name, Average duration. 1, For the left hand, 2, Legato, 3, Fifths to Thirds, 4, Ornaments, 5, Melody, Title: Corigliano ETUDE FANTASY (for piano), Author: ScoresOnDemand, Name: Corigliano ETUDE FANTASY (for piano), Length: 6 pages, Page: 1, Published. Documents Similar To Corigliano – Etude Fantasy. Sciarrino-Quaderno Di Strada (Baritone & Large Ens). Uploaded by. Roberto Nieva Velasco · Gulda – Aria.
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Etude Fantasy For piano. Listen to a sound clip. My Etude Fantasy is actually a set of five studies combined into the episodic form and character of a fantasy. The first etude is for corigliao left hand alone — a bold, often ferocious statement which introduces both an opening six-note row the first notes of the work and a melodic germ marked “icy” in the score which follows the initial outburst.
Fantady etude reaches a climax in which both the row and the thematic germ are heard together, and ends as the right hand enters playing a slow chromatic descent which introduces the next etude — a study of legato playing.
In the short second etude both hands slowly float downward as a constant crossing of contrapuntal lines provides melodic interest. The sustaining of sound as well as the clarity of the crossing voices is important here.
The third etude, a study on a two-note figure, follows — a fleet development on the simple pattern of a fifth fingers one and five contracting to a third fingers two and four. In this section there is much crossing of hands; during the process coorigliano melody emerges in the top voices. A buildup leads to a highly chromatic middle section marked “slithery”with sudden virtuosic outbursts, after which the melody returns to end the fantssy as it began.
The fourth etude is a study of ornaments. Trills, grace notes, tremolos, glissandos and roulades ornament the opening material Etude I and then develop the first four notes of the third etude into a frenetically charged scherzando where the four fingers of the left hand softly play a low cluster of notes like a distant drum as the thumb alternates with the right hand in rapid barbaric thrusts.
This leads to a restatement of the opening 6-note row of the fantasy in a highly ornamented fashion.
After a sonorous climax comes the final etude, a study of melody. In it, the player is required to isolate the melodic line, projecting it through the filigree which surrounds it; here the atmosphere is desolate and non-climactic, and the material is based entirely on the melodic implications on the left hand etude, with slight references to the second legato study. The work ends quietly with the opening motto heard in retrograde accompanying a mournful two-note ostinato.
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