Jean-Amédée Lefroid de Méreaux - Grande Etude Op. 63 No. 8 "Tranquillo" скачать в хорошем качестве

Jean-Amédée Lefroid de Méreaux - Grande Etude Op. 63 No. 8 "Tranquillo"

Made with NoteBounce From Wikipedia, the free encyclopedia Jean-Amédée Lefroid de Méreaux (18 September 1802 – 25 April 1874) was a French composer, pianist, piano teacher, musicologist and music critic. He is best-known for his 60 Grandes Études, Op. 63. His compositions are known for their immense difficulty – Marc-André Hamelin considered them more difficult than those of Charles-Valentin Alkan. His best-known work is his 60 Grandes Études, Op. 63. Of this album, the "Bravura" étude, Op. 63 No. 24, has passages where the pianist's two hands cross over each other simultaneously every quaver, at the speed of quarter note = 100. However, not all of his works have such difficulties. Although his works are considered by some, including Hamelin, to be unmusical, this view is not held by everyone. Despite his current obscurity, some of his Op. 63 études were included in piano collections edited by Isidor Philipp, and there is a street in Rouen named after him. In 2011, five of his Op. 63 études were recorded by Cyprien Katsaris. This is one of the studies recorded by Katsaris, and not surprisingly it sounds poignant in his rendition. He masterfully pushes and pulls the tempo such as whenever the music becomes more chromatic as well as with dynamics, although it sometimes sounds like he is just at the brink of slipping off the keyboard. It just proves how difficult this study really is, that is, if one decides to play it quarter note = 80 instead of eighth note = 80 as Mereaux indicates, which for me was the right call by Katsaris; the piece needs to flow and have energy, despite it being tranquil in the end! But anywho, regardless of how differently people feel about the tempo, I chose to make a visualization of the MIDI because of its musical material. It is one of the most fun and carefully written salon pieces I have ever heard, in terms of technique and emotion. The playful, consonant tranquility with tense dissonance creeping in reminds me of Schumann's Toccata in that regard (this étude somehow makes that piece seem less monstrous). Even if Méreaux’s music is only played as an encore or as “piano rarities" as Katsaris called it for his album of world premiere recordings for French composers, to me it deserves to be played if it is musical enough. And for someone to actually be able to play these etudes is just something to marvel at in itself, though it's even more impressive in Katsaris's case that he was able to make it sing! It has been a while since I posted, and maybe one day I'll tackle Méreaux's works...but for now I hope you enjoy! I hope I did a good enough job at making the piece sound musical at least a little bit; the MIDI consisted mostly of what the computer thought of Méreaux's markings. Things like his sudden sforzandos definitely might catch people off guard. I can try to make a MIDI that will be based off of an actual human performance like Katsaris's; if anyone wants me to, I can try to do that next time, I just am busy at the moment in college.