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Music Sheet By Eugenio Maria Fagiani
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72 pages of Sheet music that can be used by any musician in a very nice and elegant format with 12 staves for each page.
Adagio (Seventh Symphony) - Bruckner By Eugenio Maria Fagiani
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This is the transcription of the Adagio from Bruckner's Seventh Symphony. I have done this in order to make available for all organists one of the greatest masterpieces of all symphonic music. Music... More > that is so linked with the idea of eternity. Sergiu Celibidache once said: For him, the tempo is different than the other composers. To an ordinary man, the tempo is what comes after the start. For Bruckner, the tempo is what comes after the end. All his final apotheosis, the hope in another world, hope to be saved, to be baptized again in the light - all this does not exist anywhere else in the same way.< Less
Forlane Ravel Tombeau Couperin Organ Transcription Fagiani By Eugenio Maria Fagiani
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Maurice RAVEL: Forlane (III. Le Tombeau de Couperin) transcribed for organ by Eugenio Maria FAGIANI The music genre of the Tombeau (literally, "monument", thus a music tribute to memory)... More > recalls the tradition of the late French baroque, peculiar to Jean-Philippe Rameau and, of course, François Couperin. Composed during the First World War, this collection is a music homage to the French Golden age for the harpsichord. La Forlane, the Rigaudon and the closing Toccata are the most characteristic pages of this six movements suite. Particularly, the Forlane is a transformed trascription done by Ravel himself, and this is confirmed also by the choice of the title of the entire composition, the Forlane of the Fourth Concert Royale by François Couperin (as Ravel stated in a letter to Cipa Godebski in april 1914).< Less
Rigaudon Ravel Organ Transcription By Eugenio Maria Fagiani
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Maurice RAVEL: Rigaudon (IV. Le Tombeau de Couperin) transcribed for organ by Eugenio Maria FAGIANI The music genre of the Tombeau (literally, "monument", thus a music tribute to memory)... More > recalls the tradition of the late French baroque, peculiar to Jean-Philippe Rameau and, of course, François Couperin. Composed during the First World War, this collection is a music homage to the French Golden age for the harpsichord. La Forlane, the Rigaudon and the closing Toccata are the most characteristic pages of this six movements suite. Particularly, the Forlane is a transformed trascription done by Ravel himself, and this is confirmed also by the choice of the title of the entire composition, the Forlane of the Fourth Concert Royale by François Couperin (as Ravel stated in a letter to Cipa Godebski in april 1914).< Less
La Valse Ravel Organ Transcription By Eugenio Maria Fagiani
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Welcome to Maurice Ravel's La Valse, transcribed for organ solo by Eugenio Maria Fagiani. Several interpretations have been given to this masterpiece by Ravel. The work, commissioned to the author... More > first in 1909 by the Russian theatre producer Djagilev, was actually written between 1919 and 1920 and first premiered in Paris on December, 12th 1920. In these ten years, Ravel experienced both the culmination of the Viennese waltz, symbolically representing also the climax of the glory of the Austrian empire, the decay brought about by the World War I and the deep grief linked to the death of his mother, whom he was particularly attached. But, even if La Valse is a growing progression of waltzes blooming and spreading finally into a heated final dance between life and death, Ravel himself denied these interpretations and described the work’s scenario as a “scene that grows progressively brighter” where couples in an imperial dance court dance like “swirling clouds that afford glimpses”.< Less
La Gazza Ladra Ouverture Rossini Transcription for Organ By Eugenio Maria Fagiani
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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... More > 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.< Less
Mozart Transcriptions for Organ, Volume 1 By Eugenio Maria Fagiani
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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 own instrument... More > 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.< Less
Allegretto Beethoven's Seventh Symphony Organ Transcription By Eugenio Maria Fagiani
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The Seventh Symphony by Beethoven was composed between 1811 and 1812. This work seems to coincide with the beginning of a new period in the life of the composer. The Allegretto hereby transcribed was... More > composed with a similar structure as the Funeral March’s one. This is a genre Beethoven went through in several works, like for instance the Second Movement of the Heroic Symphony. The circular structure of the movement begins with the presentation of the main theme in minor mode, followed by a Trio in major mode (with the second theme of the movement) ending up in a fugue on the main theme. A new entrée by the trio and a final part, like a mirror of the beginning, lead to the conclusion of the work. This transcription does not require a predetermined choice of stops, but it gives a main idea about the internal dynamics of the work, as the frequent manual changes show. The performer has, as always, the chance to choose solo stops and different manual options.< Less
Mozart Magic Flute Ouverture Organ Transcription By Eugenio Maria Fagiani
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The Magic Flute is a too much well-known and complex opera to be described shortly. The idea of the overture transcription was born from two main reasons: a) it is an absolute musical masterpiece,... More > with the idea of the old French overture two-movements structure (grave-allegro fugato) which is genially synthetized; b) the fugato writing made me think about how Mozart should have improvised on the organ (that period's chronicles describe his improvising style with superlative terms). This ouverture was transcribed by me in two versions: one (this one) for one organist and another for two organists which was published by Editions Delatour France.< Less
Musorgsky's, Gopak of joyful fellows, Organ Transcription By Eugenio Maria Fagiani
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Besides being an outstanding composer, Modest Musorgsky was a great pianist. His first compositions were thus written for piano. The descriptive attitude towards local folklore scenes, which will... More > flourish in the famous “Pictures at an Exhibition”, is always present. The Fair at Sorochintsy (Russian: Сорочинская ярмарка) was meant to be, in the composer’s will, a comedian work and was left undone at his death. The Gopak here transcribed, already arranged by Musorgsky himself for piano solo, was the work’s final chorus. Together with the orchestral introduction, these are the most famous pages of the composition (which is almost unknown in the western countries).< Less