Piano Exam Pieces Name ABRSM Grade 8 Selected from the 2017 & 2018 syllabus Date of exam Contents LSTA 1 Johann Sebastian Bach Gigue: seventh movement from French Suite No. 5 in G, BWV 816 2 2 George Frideric Handel Fugue in B flat, HWV 607: No. 3 from Six Fugues or Voluatarys 6 3 Rodion Konstantinovich Shchedrin Prelude and Fugue in A minor: No.2 from 24 Preludes and Fugues 10. 1 Ludwig van Beethoven Rondo: third movement from Sonata in E, Op. 14 No. 1 16 2 Wolfgang Amadeus Mozart Allegro: first movement from Sonata in C, K. 279 2B 8 Joseph Haydn Presto: first movement from Sonata in E minor, Hob. XVI:34 30 LIST 1 Miguel Astor Adriana: No. 1 from Valses venezolanos 36 2 Johannes Brahms Intermezzo in A minor: No. 7 from Clavierstiicke, Op. 76 41 3 Peixun Chen Selling Sundry Goods: No. | from Four Piano Pieces based on Cantonese Melodies, Op.5 44 4 Aaron Copland Jazzy: No.3 from Three Moods 48 5 Claude Debussy Doctor Gradus ad Parnassum: No. | from Children's Corner 51 6 _Lars-Erik Larsson Allegro: first movement from Sonatina No. 3, Op. 41 56 Other pce for Orde 8 4 J.S.Bach Prelude and Fugue in D minor, BWV 875: No rom. S.Bach, The Well-Tempered Clavier Part2(ABRSM) ‘5 Hindemith Intriudium and Fuga decima in Dat: P45 ftom Ludus Tonalis(Schott) or P.4 rom Ladus Tonalis (Wiener Uren) 6 Leke Fughets rom Sonata for Piano. French Romantic Repertoire Level 2 (Faber) 7 Relcha Fugue No: rom 35 Fugues, Op.36 Bateneiter) 8D. Searlati Sonata in E, Kp. 162.21). Scarlat, 3 Sonatas for Keyboard Birenrete) or No,31fromThe Scholar’. Seariat, Vol 3 Novello) usr 4 G.P.E-Bach Allegre: 3rd movt from Sonata in A, Wa, 55/4 No.S fom C PE. Bach, Piano Works Vo.1 (Universal) ‘5. Beethoven Allegro: Ist movt from Sonata nF minor, Op.2 No.1. Sonata published individually (ABRSM) or Beethoven, ‘The 5 Piano Sonatas Vl. 1 (ABRSM) or Encore, Book (ABRSM) 6 Cramer Largo assi-legroagitato: 1st mov from Sonata in C, Op. 22 No.2 (Edition HH) 7 Mocart Allegro in B fat, K, 400. No.3 fom Mozart, Mature Piano Pieces (ABRSM) {8 Zinck Allegro con bri: Ist movt fom Zinc, Sonata No.8 in G minor Eation HH) usre 7 Berkeley Prohude No.5: from Six Preludes for Piano, Op.23 (Chester) 8 Chopin Mazurka in A flat, Op.59 No.2. No.37 from Chopin, Mazurkas (Henle) or No.37 ftom Chopia, Macurkas ABRSM) 9 Gershvvin Liza. Met George Gershwin atthe Rayboard Faber) 10 Medtner Ill: No.1 from Three Arabesques, Op. 7 Simrock) 11 Mendelssohn Song without Words, 0p. 67 No.4. No.2 from Mendota, Songs without Words (ABRSM 12 Paderewski Nocturne, Op. 16 No.4 (Willis) or The Most Beautiful Paderewsk (PWM) 18 Poulene Improvisation No.7. Poulenc, 15 Improvisation (Slabert) 14 Rachmaninov Daisies, Rachmaninov, Piano Compositions Vol 2 (Boosey & Hawkes) 15 Ravel Menuet: No.5 from Le ombeau de Couperin Peters ox Durand) 16 Edwin Roxburgh Moonscape. Spectrum ABRSM) Fit pb in 2016 by ABRSM Pushing Lid ‘Usutarize photocopying leg usicton yao vholyowned bei of ABRSMG2¢Tortnd ace, alight rserved. No patofhis publeaon Corer by Kate Benjnin Andy Fors London Wi 10, Unitas ingdom Inaybetepedune eeordedortansrlied rnin Enandy Habana Lid Amersham, (Opoichy The Ascited Bord ofthe Royal Schoo of Muse Inanyfrmorbyanymaenawinouthe Busch mate fom unable searces Distibute woe by Oxo Unersty Press Prior permission a he opt omette illegal remake Unauthorized Gigue ae Seventh movement from French Suite No. 5 in G, BWV 816 J.S. Bach (1685-1750), All but the last of Bach's six French Suites were dedicated this highly musical young wife Anna Magdalena, They form the opening items in her CClaverbichlin (tle Keyboard Book) of 172, though Suite No. 5 in G, from which this Gigue is selected, was not completed till 1724 ater the family’s move from Cothen to Leipag. From that year onwards Bach made much use ofthe six suits for teaching purposes. As often in Bach, the Gigue is designed asa three-part fugue in typical gigue rhythm, built into an overal binary dance form. The exposition (bb. 1-8) presents three entvies ofthe playful, vivacious subject (treble, mide, bass), combined with two countersubjects (bb. 7-9, RE). The remainder ofthe frst half consite of motvi episodes interspersed with two rubject entries in the dominant key D (bb, Mand 20). The sacond halfisbuiltona ee inversion ofthe subject, which now entersin the opposite order (bass, middle, treble; bb.25-35), combined with anew, highly characterful countersubject (b. 28, bass) brief episode leads toa second rising series of entries, modulating downwards through the circle of ths: e~a~D~G (bb. 39, 44,46, 49).The movement concludes with alow toni bass entry (b. 52) plus a riefcoda. Sources: autograph MSand pupils’ copies, Staatsbibliothek 2u Bertin, Preufischer Kulturbesitz, Mus.ns BachP 224, P 420 and P 1221; Washington, Library of Congress, ML96.B187, © 1965 by The Associated Hoard ofthe Ryal School of Muse Reproduced from). 5. 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