Masterworks Piano Library-Johannes Brahms

 
9781604619348: Masterworks Piano Library-Johannes Brahms
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Contents include: Chorale Preludes from Op 122 Deck thyself, my soul, with gladness Blessed ye who live in faith unswerving Theme, from Variations on an Original Theme, Op 21/1 and Variation 20, from Variations on a theme of Handel, Op 24 Sonatas in C , Op 1: second movement, and in f, Op 5: fourth movement Waltz in E, Op 39/5, simplified and complete versions Two Sarabandes Ballade in B, Op 10/4 Intermezzos in a (76/7). E (116/6), E-flat (117/1), A (76/6), a (116/2), E (116/4), and A (118/2)

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About the Author:

Editor William Phemister has established a reputation as a meticulous editor of classical music, respecting the manuscripts as handed down by the composer, but rendering them more easily performed by the addition of useful fingering, pedaling, and interpretive comment. To that end, he edited the Masterworks Piano Library, a multi-volume series of classical piano music by Bach, Brahms, Liszt, Mendelssohn, Schumann, and Music for Advent and Christmas for the Masterworks Piano Library. In addition, he transcribed Haydn s Seven Last Words from the string quartets for piano solo and compiled a book of Four-Hand Duets, all tastefully suitable for performance in a concert hall or a worship service. All the above scores, including companion CD s, plus another CD featuring Phemister performing the music of Debussy and Ravel, are available through Amazon.com and Prairiepublications.com William Phemister is a graduate of the Juilliard School (B.S.) and the Peabody Conservatory from which he holds the Doctor of Musical Arts degree as a student of Leon Fleisher. He also studied in Paris at the Ecole Normale de Musique with a Fulbright grant and has won several other prestigious awards such as the National Federation of Music Clubs Young Artist Award, and the Young Musicians Foundation Debut Award. Phemister has received acclaim for his piano artistry around the world. He has performed in Europe, throughout the United States, China, and in fourteen other Asian countries giving concerts and master classes. He has represented the United States as a performing artist in Africa for the U.S. State Department and more recently as musical ambassador with several other guest musicians to North Korea during its April Spring Friendship Art Festival, a memorable experience indeed. Besides his busy performance career, Phemister is a devoted teacher of young musicians, having been a member of the faculty of the Wheaton College Conservatory of Music for thirty-five years. Recently retired with Professor Emeritus status, Phemister continues to perform, compose, teach privately, and present lecture recitals at church musician gatherings. Recently, Soli Deo Gloria commissioned the young composer Jacob Bancks to write a new piano concerto for Phemister that will have its world premiere in 2008 with the South Dakota Symphony, David Gier conductor. This performance will be a fitting tribute to Phemister who also authored the widely-used reference work, The American Piano Concerto, published by the College Music Society Bibliographies in American Music Series.

Review:

ALS member William Phemister has made a unique contribution to church pianists by compiling these fine collections. All of the selections are in their original form and are appropriate for worship use: preludes, postludes, offertories, interludes, and solos. This repertoire is also very usable for high school students or those in college or beyond, for recital and/or sightreading. It is also useful for weddings and funerals. All pieces are playable on one keyboard with no separate pedal parts. In the Bach collection, Phemister discusses ornamentation, phrasing and articulation, dynamics, pedaling, tempo and timing, symbolism, and Bible quotes that are included with the individual pieces. Each composition is also discussed in terms of chorale text and performance suggestions. A graded index and timings plus suggestions for further study conclude the collection. Phemister is careful to tell the reader what he has added. For instance, in the Liszt collection we are told the editor has added pedaling, fingerings, and metronome marks. In the Schumann collection, fingerings and pedal marks are editorial as well as metronome marks in parentheses. Some phrasing is altered to clarify and amplify. The editor has conceived the series as practical performing editions. Future volumes are most certainly to be welcomed. --Maurice Hinson, JOURNAL OF THE AMERICAN LISZT SOCIETY, Volume 37 / January-June 1995

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