Stravinsky: Music for Piano (1911-1942)
Copy at Case Memorial Library
Contents: Three movements from "Petrouchka" (16:19; arranged by Stravinsky) — Valse pour les enfants (0:51) — Ragtime (4:41; originally for chamber ensemble, arr. Stravinsky) — Piano-rag-music (3:04) — The five fingers (7:49) — Sonata (10:18) — Serenade in A (12:04) — Tango (4:11) — Circus polka (3:30; originally for orchestra, arr. Stravinsky) — Three easy pieces for piano duet (3:19) — Five easy pieces for piano duet (5:55). Recorded at the American Academy of Arts and Letters, Mar. 12-14, 1993.
Personnel: Aleck Karis, piano; with Robert Lubin, piano (in the piano duets).
From the notes by James M. Keller: "[I]n 1922, Stravinsky transcribed three of [Petrouchka's] movements … specifically crafting them to the virtuosic technique of Arthur Rubinstein. … Stravinsky demands a texture so rich … that his notes occupy three staves (rather than the normal two) for several expanses … and a sixteen-measure passage near the end, where the notation spreads to four staves, guarantees to strike terror in the heart of all but four-handed pianists."
Contents: Three movements from "Petrouchka" (16:19; arranged by Stravinsky) — Valse pour les enfants (0:51) — Ragtime (4:41; originally for chamber ensemble, arr. Stravinsky) — Piano-rag-music (3:04) — The five fingers (7:49) — Sonata (10:18) — Serenade in A (12:04) — Tango (4:11) — Circus polka (3:30; originally for orchestra, arr. Stravinsky) — Three easy pieces for piano duet (3:19) — Five easy pieces for piano duet (5:55). Recorded at the American Academy of Arts and Letters, Mar. 12-14, 1993.
Personnel: Aleck Karis, piano; with Robert Lubin, piano (in the piano duets).
From the notes by James M. Keller: "[I]n 1922, Stravinsky transcribed three of [Petrouchka's] movements … specifically crafting them to the virtuosic technique of Arthur Rubinstein. … Stravinsky demands a texture so rich … that his notes occupy three staves (rather than the normal two) for several expanses … and a sixteen-measure passage near the end, where the notation spreads to four staves, guarantees to strike terror in the heart of all but four-handed pianists."
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