Beach, Amy. (1867–1944). Fugue for Piano, op. 81 - Autograph Musical Quotation.
Amy Beach, the most prominent female composer of her time, was the first prominent American woman musician to receive all her training in the United States. Her Prelude and Fugue for piano, op. 81, is composed around a theme based on her name, A–B–E–A–C–H (A–B flat–E–A–C–B natural), taking inspiration from the widely used B–A–C–H motive. The fugue, an exuberant and virtuosic showpiece, recalls Liszt's Fantasia and Fugue on B–A–C–H.
Autograph musical quotation from the important composer, one of the first women composers to write in the larger forms and to receive genuine recognition abroad. She has penned four measures of the theme from her Fugue for Piano, op. 81, inscribed to Cuban collector Antonio Barreras and dated June 27, 1928. On a small card, together with the original envelope. 13.5 x 7.5 cm.
Beach, Amy. (1867–1944). Fugue for Piano, op. 81 - Autograph Musical Quotation.
Amy Beach, the most prominent female composer of her time, was the first prominent American woman musician to receive all her training in the United States. Her Prelude and Fugue for piano, op. 81, is composed around a theme based on her name, A–B–E–A–C–H (A–B flat–E–A–C–B natural), taking inspiration from the widely used B–A–C–H motive. The fugue, an exuberant and virtuosic showpiece, recalls Liszt's Fantasia and Fugue on B–A–C–H.
Autograph musical quotation from the important composer, one of the first women composers to write in the larger forms and to receive genuine recognition abroad. She has penned four measures of the theme from her Fugue for Piano, op. 81, inscribed to Cuban collector Antonio Barreras and dated June 27, 1928. On a small card, together with the original envelope. 13.5 x 7.5 cm.