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Mozart Transcriptions for Organ
Transcriptions are essentially a way to teach and to introduce people to the great symphonic and opera music. It is also an ancient musical practice which consist of modelling on one's owninstrument a music page which was intended for another one (or, more often, other ones), in order to create thus the impression that the page was written since the very beginning for that instrument.This Transcriptions Collection was born from my desire to extend to a greater audience those compositions which, even though they are well known, are seldom presented during live performances. Together with this, it is a music project deploying within the tradition of the great transcriptions by Edwin Lemare and David Briggs.Contents: Allegro con brio (I, Symphony n° 25, g minor, K. 183); Adagio (III, Gran Partita, K. 361, Eb major); Allegro Moderato (I, Symphony n° 29, A major, K. 201); Symphony n° 35, Haffner (D major, K. 385, Complete); The Magic Flute, Ouverture; The Abduction from the Seraglio, Ouverture.
La Gazza Ladra Ouverture Rossini Transcription for Organ
The Ouvertures by Gioacchino Rossini are a milestone of the Italian instrumental music production of all times. They are not only an introduction to an opera, but also a sort of small symphonic poems that illustrate the spirit of the opera they open.The ouverture of "La Gazza Ladra" presents all the Rossini's characteristics: melodic invention, brilliant and shining instrumentation; spontaneousness and exuberance; insistent rhythmics; the use of the famous "Crescendo Rossiniano"; closed form. The main themes that appear in this composition are two of the most famous in Rossini's production, and this success is testified by the huge use of these themes made by the media.
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Scherzo & Notturno
The incidental music for Mendelsshon's A Midsummer Night's Dream, op. 61, contains truly immortal pages. Not only the famous Wedding March, but also the two compositions object of this new publication: the Scherzo, that is already part of the piano repertoire due to some magnificent transcriptions as the Rachmananinoff one that is used as the basis of this new one done by me, as well as the Nocturne (here once again the Moszkowski transcription for the piano served for my own verion). These are pieces that I wanted to present in an organ version that could allow me, in addition to my colleagues, to perform them convincingly on the pipe instrument and then to make it accessible to all music l...
