Oxford University Press is proud to publish musical works by some of the most significant composers of the 20th and 21st centuries, with a catalogue that includes a broad range of choral, orchestral and chamber music.
One of the world’s leading publishers of printed classical and educational music.
This wonderful anthology presents a fascinating survey of music by African composers, both those living in Africa and those now resident elsewhere in the world. The music, much of which is published here for the first time, includes a kaleidoscope of different styles, moods, genres, and colours. You will find works influenced by the blues, jazz, and ragtime and works built on exotic scales, African folk-tunes, and drumming rhythms. The volumes are graded, ranging from beginner (Vol. 1) to advanced (Vol. 5). They provide exciting material for pianists just beginning their studies and for those who are looking for new and exciting recital repertoire.
xi 44 Performance Notes
xi 44 Performance Notes 11. Volta Fantasy -- J.H. Kwabena Nketia This music reflects the tonal and rhythmic characteristics ofthe music ofthe Anlo-Ewe andthe bell pattern commonly associated with this community. To best perform this piece, preserve the pulse ofthe dotted quarter, especially against the hemiolas. 12. Igbá Kerin – Àwon Abàmi Eye – Akin Euba This work is in a style called African Pianism where the piano behaves like African instruments, andthe music derives its character from African percussion. Care should, however, be taken not to create harsh sounds on the piano. Strictly observe the dynamic markings andthe left hand articulations. 13. Igbá Kìnní – Akèrègbè Baba Emu– Akin Euba Similar to Igb Kerin this should be approached percussively and played in a rhythmic and driving way. for online perusal only 14. Pomme Cannelle -- Alain Pierre Pradel Pomme Cannelle is a tropical fruit also known as the custard apple or sweet-sop. Pradel evokes the laid back dances ofthe Caribbean. This work is not fast and all the rhythmic nuances between right handand left hand should be projected. 15. Basseet – Halim El-Dabh The title refers to the word “simplicity.” In Pre-Islamic poetry Basseet reflected a simplicity that was very hard to attain. The piece should be played quietly as the dynamics hardly get louder than piano; however, be sure to observe all articulations. 16. Nim Nawakht – Halim El-Dabh The title refers to a seven (3+2+2) beat meter or iqa’at in traditional Arab music. The composer does not use this meter literally but sometimes expands or reduces gestures by a beat. The time signature is in 5/8, andthe Arabic symbol for 5 is a circle, which is balanced and reflective, the way the music should be played. 17. If the Silver Bird Could Speak – Eleanor Alberga Alberga writes, “The sharp and brittle quality of this piece suggests the metal silver. If the Silver Bird Could Speak has references to the piano music of Schoenberg andthe rhythms and syncopations ofAfrican music.” Strictly observe all articulations and dynamics, which are essential to an effective performance.
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