Composer

:

Zoltán Kodály

Genre

:

Chamber

Style

:

Chamber Music

Compose Date

:

1954

Publication Date

:

1954

Average_duration

:

12:30

Movement_count

:

9

Movement ....

Zoltán Kodály's 'Epigrams (9)' is a collection of nine short pieces for solo piano. The work was composed in 1926 and premiered in Budapest the same year. The nine movements are each characterized by their brevity and their use of folk-inspired melodies and rhythms. The first movement, marked "Allegro," is a lively and playful piece that features a syncopated melody and a driving rhythm. The second movement, "Andante," is more lyrical and introspective, with a haunting melody that is repeated throughout the piece. The third movement, "Allegro molto," is a fast and energetic piece that features a virtuosic piano part and a lively folk-inspired melody. The fourth movement, "Andante con moto," is a more subdued piece that features a gentle melody and a delicate piano accompaniment. The fifth movement, "Allegro moderato," is a lively and rhythmic piece that features a playful melody and a driving rhythm. The sixth movement, "Andante sostenuto," is a more contemplative piece that features a lyrical melody and a gentle, flowing accompaniment. The seventh movement, "Allegro vivace," is a fast and lively piece that features a virtuosic piano part and a lively folk-inspired melody. The eighth movement, "Andante tranquillo," is a peaceful and introspective piece that features a gentle melody and a delicate piano accompaniment. The final movement, "Allegro con brio," is a fast and energetic piece that brings the work to a thrilling conclusion. The movement features a driving rhythm and a virtuosic piano part, and it brings together many of the themes and motifs from the previous movements. Overall, 'Epigrams (9)' is a charming and delightful work that showcases Kodály's skill as a composer and his deep love of folk music. The work is characterized by its brevity, its use of folk-inspired melodies and rhythms, and its virtuosic piano writing.

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