Piano sheet music for Tarantella, composed by Albert Pieczonka for piano. Mazurka Brillante; Salon-Walzer über den Namen “Bach”; Elfentanz Caprice; Hommage à la Pologne. Mazurka; Second Tarantella in E major. Composer Time . The only information we have on Albert Pieczonka (ca. ) is sketchy and not completely reliable. For example, his first name may have been “Alfred.

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There is no doubt that the Tarantella in A Minor was the composition that made Albert Pieczonka famousespecially in the United Tagantella. And for good reason. For over a hundred years, it has appealed to students of all ages with its flashy idiomatic figurations, pianistic style, technical ease, and tuneful melodies. Pedagogically, it is in a class by itself in terms of motivating students to tackle more challenging master works.

It is a flashy piece that is fun to play. The reviews of the Tarantella have always been stellar. In February,the Tarantella in Tarantwlla Minor was the first of the featured compositions in the popular music magazine, The Etude.

pieczomka On page 72 of that issue, the taarntella describes it: It is musicianly, and yet thoroughly attractive to the average player. The set was published in by Augener of London. There is some evidence that Pieczonka wrote and published the A Minor Tarantella a few years earlier. It featured mazurkas, waltzes, a fandango, a polonaise and was framed by two tarantellas that are linked motivically —the A Minor Tarantella is first and the E Minor Tarantella is the last dance of the set.


There is no known existing manuscript of the Tarantellaso the Augener edition is the earliest source. A free copy of the Tarantella in A Minorpublished by Augenercan be downloaded from Pianoarchive.

Danses de Salon (Pieczonka, Albert)

At the time, the United States albeet not recognize foreign copyrights, so it is doubtful that Pieczonka, who had already published the Tarantella in London, had any connection with this American publishing frenzy. It is equally doubtful that he received any royalties from the American publishers. Note and Rhythm Changes. Note-wise, most of our current editions of the Tarantella are faithful to the Augener edition, with the exceptions of measure 93, measuresand measures Sometime aroundthe notes of these measures were changed and simplified in several of the American editions.

Here is measure 93 as it appears in the original Augener edition: Below is measure 93 as it appears in most American editions dated after Indeed the half tarantwlla followed by silence, from the post American editions, is very different from the authentic cadence and continuous 8ths of the original London edition. The source of the altered measure has yet to be discovered.

Albert Pieczonka – Wikipedia

Perhaps it was just an editorial simplification that became popular. It is interesting to note that the American edition by White-Smith Publishers and the American Schirmer edition are both faithful to the first edition in measure As expected, the post London Augener edition retains the original notes to measures 93, and Measures to For the return of the main theme in measurePieczonka originally added an inverted pedal point— i.

In many current American editions, this accompaniment has been simplified, as seen here: Even in some of the American editions that had simplified measure 93, this original accompaniment in measures can be found.


As with the case of measure 93, there is no documentation as to how or why this simplification was made. Syncopation in Measures 10 to What is missing in most of pieczonkka current editions is the very first syncopation of measures In the original Augener edition, Pieczonka actually opened his famous Tarantella melody with a syncopated accompaniment, as seen here: Replacing this initial syncopation with the straightforward broken chord accompaniment we commonly see today was one of the first changes made albetr most of the American publishers post Of the historic American editions I have examined, only one edition pieczonks this original, first syncopation: The left hand accompaniment in measure appears changed in only the Augener edition from London.

Since this measure is identical to measure in every other edition I have seen—historical and current—I have come to the conclusion that it is a misprint. It should have been a repeat of measure Chopin died just as Pieczonka was leaving the Leipzig Conservatory inbut his compositional legacy had a big impact on Albert Pieczonka. For many years it was often identified as the Tarantelle in A Farantella. Although there is a brief hint of this pattern in measure of the Chopin Tarantelle.

I believe that Pieczonka actually looked to an earlier work by Chopin for inspiration: