Übersetzung für "Der klavierpart" in Englisch

His music has been performed around the world.

The piano part, although virtuosic, is woven chamber musically into the strings.

The piano part is strictly composed using a numerical series.

It starts with a noteworthy piano-part that is taken over by the bass-line later.

On the CD, as a result, the piano part alone can help to set up the pieces.

And the piano part of her experienced accompanist Joseph Middleton, ‘unpretentious, but with an extremely nuanced performance’ (Frankfurter Neue Presse), is the ideal way of preparing to enter straight to the temple of classical German song.

The very difficult piano part reminds in some ways Mendelssohn Bartholdy, but in the music-setting of Storm «Schliesse mir die Augen beide» and «Wandervöglein» with its effectful fluttering with the regular sixteenth movement, the influence of Schumann is noticeable.

The talented musician recorded both the violoncello and piano parts of the works by Stravinsky, Villa-Lobos, Paganini and Servais.

In his version of Mozart’s Piano Concerto K. 466, presented here in a first edition, Lichtenthal arranged the orchestral parts for string quartet, while the piano part remained unchanged.

The piano part is as rich as the orchestral one and just as loud, all with a single hand!

The piano part, which is often quite difficult, should as far as possible be entrusted to a first-class accompanist, capable of leading the discourse as if to fade away, to emphasize the effects of counterpoint, modulations, etc. 20.63 £

The soprano sings to a piano part, becoming ever thinner, similar to a flower whose petals are plucked one by one (…she loves me, she loves me not…)

There was a ‘Winter Journey’ (Winterreise, Franz Schubert) with Günther Groissböck for example where the piano part was arranged for a chamber orchestra.

The piano part is very exacting, because Lili Boulanger must have already had a conception of a later orchestration in her mind, while she was composing the songs.

The first piece on the delightful programme was a Haydn Trio in C, which proved that the sound of the spinet or piano at the end of the 18th century was far less voluminous than today, which can make it fairly difficult for modern-day pianist to cope with the finely defined strings if the piano score is not played with the kind of delicate virtuosity that Magda Rusy displays.

But Cécile Chaminade's Trio No. 2 already ignores these prejudices. This music is hotblooded, passionate, with a full-fisted, juicy piano part that even a Brahms would have taken a delight in.

The method of composition, which can be clearly determined from the manuscript sources, reveals that the soloistic nature of the violin part – both conceptually and as indicated in the title – should be taken at face value: Schönberg first wrote out the complete violin part (which he completed on 22nd March 1949) before finishing the piano accompaniment a week later.

The piece starts off in a great hurry, with an incessant tremolo in the piano, until the music abruptly halts just before the end. Berio explains the title this way: “ … the piano part alone (it is almost always homophonic) can be heard as a curve … on which the other instruments position themselves to reveal and interpret their harmonic characteristics – like a template or drawing, where one adds more lines at various points – they change the sense while also illuminating other latent aspects.”

A musical reference to the medieval representation of the mondorla is evident in the piano's upper voice.

And impressive were the amplitude and power in the interpretation of the piano part in Dvorák's Quintet, and astonishing sadness and very Russian melancholy in the slow parts of Rachmaninoff's concertos.