Etudes-Variations (Besset, Julian Raoul)

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Synthesized/MIDI

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Composer (2011/01/19)

5 more: Etude-Variations 2 • Etude-Variations 3 • Etude-Variations 4 • Etude-Variations 5 • Etude-Variations 6

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Composer (2017/10/29)

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Composer (2017/10/29)

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Composer (2019/10/17)

MP3 file (audio)
Composer (2019/11/22)

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Composer (2020/1/10)

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Publisher Info. Julian Raoul Besset
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Misc. Notes All versions processed with Garritan CFX Concert Grand.
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Sheet Music

Scores

Etude-Variations 1

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Composer (2011/10/22)

5 more: Etude-Variations 2 • Etude-Variations 3 • Etude-Variations 4 • Etude-Variations 5 • Etude-Variations 6

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Composer (2019/10/07)

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Composer (2019/3/15)

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Composer (2019/10/17)

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Composer (2019/11/22)

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Composer (2020/1/10)

Publisher. Info. Julian Raoul Besset
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Misc. Notes High Quality
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General Information

Work Title Etudes-Variations
Alternative. Title Wrisks
Composer Besset, Julian Raoul
I-Catalogue NumberI-Cat. No. IJB 17
Movements/SectionsMov'ts/Sec's 3 volumes:
Volume 1: 12 variations
Volume 2: 18 variations
Volume 3: 1 continuous variation
Volume 4: 1 continuous variation with hurdles or "gates" (i.e. transition points)
Volume 5: 1 continuous variation with markings and secondary themes (with sub-gates)
Volume 6: 1 continuous variation in leaps and bounds
Year/Date of CompositionY/D of Comp. 2004, 2007, 2019
Composer Time PeriodComp. Period Modern
Piece Style early 20th century
Instrumentation piano

Misc. Comments

  • Etudes initially imagined in 3 counterlogical parts, the first technically demanding would be termed "easy", the second "intermediate", and the last technically easy would be termed "difficult", for easy it should not really be. All this is, was, in the mind : only the first part so far completed. Score first composed in 2007, Revised October 2011 using Finale 2012 and January 2016 with Finale 2014 together with an audio engine swap. A Complete revision instigated in October 2017, with layout improvements, and some minimal score modifications.
  • The same remark can apply to the second work (a prior composition, as indicated above). Initially named "Variations on a trite theme" in 2001 it went through several transformations until it reached its present form, slightly shortened, the concluding "derivation" which was an unnecessary addition, having been scratched.
  • The third work in this series, undertaken in February-March 2019, is notably shorter than its two predecessors, and was destined to be the first movement of the piano sonata n°10, which stalled in an early stage (page 1), so it was felt it might develop more fruitfully in the form of an Etude-Variation. This turned out to be indeed the case. The emphasis in the compositional process has been laid on the audio output; consequently, the score reflects this (practically no articulation marks are proposed). The latest version of Finale (v.26) has been used, though it doesn't show.
  • The same remark applies to the fourth piece in the series, all symbols have been left out in favor of markings that have to do with the audio output only. One particularity is that the central piece is repeated at the end practically unchanged, probably because the composer felt he couldn't do it much better.
  • The fifth work reinstates full markings and symbols. The variation element is not continuous, or necessarily based on the theme exposed at the outset : some themes are introduced 'out of nowhere' except that they occur when composing, in which case they can be described as a departure from the theme, but not wholly so since they were imagined during the process. They are therefore 'imaginary linked themes', varied semi-independently as the piece develops.
  • The sixth Etude opens with a ternary sequence of chords alternating in octaves and this structure is varied all through the piece, subtitled Leaps and Bounds. As is the case with the other numbers, the audio and graphic aspects of the work are inseparable.