Diether de La Motte De la Motte’s “Harmonielehre” is not as good as his ” Kontrapunkt,” but it nonetheless offers a swift, enjoyable, and . Manuale di armonia. : Manuale di armonia (Contrappunti) (Italian Edition) ( ) by Diether de la Motte and a great selection of similar New, Used and. Diether De La Motte Contrappunto Pdf Free >>> a1e5bf3 Techno Forum Pdf motte di de la diether armonia manuale Softonic .

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The consistency, though, is not to be equated with the lack of growth, crea- tivity, or originality. Beside the volatile and versatile Stravinsky, Wellesz mptte rock- like, but his consistency has allowed him to become the complete master of his chosen style.

The level of difficulty hardly changes, both op.


Both are to be highly recom- mended as music in a contemporary idiom for the advanced student as well as for concert performance. Januale Triptychon requires about 3V2 to 4 minutes; the two etudes, both of which are relatively slow Langsam and Sehr ruhigabout 3 minutes. Diether de la Motte: Both are enlivened through an imagination awak- ened by the direct contact with and knowledge of the nature of the piano itself. As the foreword states, some of the fantasies are tributes to personal acquaint- ances.

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The first, “Toccata C-H,” is a tribute to Conrad Hansen, who first taught de la Motte the potentialities of keyboard music, and the mwnuale, entitled “B-E-S-C-H,” is a thankoffering to the pianist Eckart Besch, who has performed the composer’s piano concerto master- fully a number of times. Other fantasies are given playful titles without serious diehher.

As he says himself, they were thought of after the fact.

10 Fantasien am Klavierby Diether de la Motte – [PDF Document]

The title states that the fantasies were composed “at” rather than “for” the piano, the more usual armonja. The composer in explaining his title remarks that his usual procedure is to compose at his desk, “controlling” his work at the piano. In this case, however, he reversed his usual habits.

There is a rhapsodic and impromptulike surface to the fantasies and an intimacy with the idiom of the piano mtote encountered among contemporary composers.

These characteristics doubtless owe something to manuwle manner of their “discovery” at the piano. Nevertheless, the “eontrolling” at the desk imposes upon the music great strength of mind, revealed in abstract organization and as well in positively baroque formal analogies. The latter is exemplified by the greeting to Carl Hansen, the teacher. The first section of the ABA structure begins with a wide- ranging figure encompassing four octaves and restricted to the tones C and B H.


Then one by one the other tones are added in the order of the ascending chromatic scale until all are in use: The middle section is ap- propriately a canon in two upper parts over an ostinato bass that reminds one of a Bach pilgrim’s bass. Other fantasies are concentrated studies of a motive or of a sonority in the tradition of the etude. The introduction states that the time required for the entire cycle of ten is thirty-four minutes and twenty seconds.

MANUALE Di Armonia Diether De La Motte

Following the introductions diehter explana- tions of certain peculiarities of the nota- tion, which is in the composer’s manu- script remarkably clear.

Several of these peculiarities are quite clever and possibly worth general adoption. For example, the bar connecting eighth notes grows broader to indicate acceleration. The technique required is advanced.

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