Format : Sheet music
/ Piano, Violon Et Violoncelle / Partition
SKU: BA.BA04138
ISBN 9790006444199. 30 x 23 cm inches.
World Premiere 21/11/1967, Braunschweig.
SKU: HL.49005923
ISBN 9790001064200.
SKU: HL.49006172
ISBN 9790001067102.
SKU: HL.14040803
French.
SKU: FG.55011-602-3
ISBN 9790550116023.
Ann-Elise Hannikainen (1946-2012) was born in Hanko, Southern Finland, but lived mainly abroad, her father working as diplomat. Her grandfather's father was P.J. Hannikainen, the head of a prominent Finnish musical family. Ann-Elise's attraction to music was first found at age of five, when her family, then living in Warsaw, bought a grand piano. Hannikainen started to study piano playing at the Sibelius Academy in 1967, but rheumatoid arthritis prevented her from pursuing a carrier as a concert pianist. In 1972 she moved to Madrid and started to study composition with Ernesto Halffter Ercriche, a student of Manuel de Falla. Hannikainen advanced quickly in her career, and her piano concerto was premiered in Helsinki Festival in 1976. Her composing style evolved into luminous melodies, free atonal harmonies and improvisatory forms. Hannikainen wrote the two piano pieces Pensamientos 1974 (1974) and Toccata-fantasia (1975) in El Escorial. The first one carries features typical for piano writing of the Late Romantic, whereas the playful and improvisatory Toccata-fantasia gives a neoclassical impression.
SKU: PA.H07957
ISBN 9790260104464. 31 x 23.5 cm inches.
Piano Sonata No. 3 was written in 1960 during the composer's studies at HAMU (Music Faculty of the Academy of Performing Arts in Prague) under Emil Hlobil. The first half of the 1960s was the period during which Fiser's musical language underwent fundamental change as he rapidly cultivated his own, distinctive style, established in Fifteen Prints after Durer's Apocalypse. This sonata thus also includes several essential traits which shift his compositional development further. The work has two movements, however, its internal structure abandons traditional form. The piece is divided into several short, mutually contrasting sections, whereby the distinctions between the adjacent parts are emphasised by the thematic and chordal treatment. These contrasts are also supported by the chosen dynamics, tempo and other expressional means. The harmony is largely based on traditional chords or their condensed form while, in certain passages, we will nevertheless come across semitone clusters or fourth chords. The melody is still chiefly diatonic; at times Fiser uses chromatic sequences. These new elements in Sonata No. 3 indicate an attempt to simplify his writing and ensure greatest transparency and impact. This endeavour became a basic characteristic of Fiser's compositions from the mid-1960s onwards. The sonata originally bore the postscript Fantasia, which was subsequently taken out by the composer. It was first performed by Ales Bilek in 1961. The new setting for this piece is based on the single edition to date (Panton, 1967); only with regard to a few inconsistencies in the score was it necessary to consult the composer's manuscript (kept at the National Museum - Czech Museum of Music).
