Contains:
"En Face Du Miroir (Facing The Mirror)"
- taken from the Isadar solo piano complete collection, "Red" (also available on SMP)

Sounds like: Keith Jarrett, Bill Evans, Vince Guaraldi, Liz Story, George Winston, early Windham Hill solo piano artists

Transcribed by: David Shenton ( https://www.shentonmusic.com/ ) verbatim to the sound recording

Album & Songbook Review by: Kathy Parsons

Red is pianist/composer Isadar?s genre-defying tenth solo piano album and seventeenth independent release from the past twenty years. It is also the third installment in a trilogy of solo piano albums released in the past year - Reconstructed, a Will Ackerman-produced anthology of some of Isadar?s best piano pieces; O Christmas, Isadar?s second piano Christmas album; and now Red, a bittersweet love-themed album that took seven years to produce and that consists of the first new original solo piano material Isadar has released in more than ten years.

I have been reviewing and thoroughly enjoying Isadar?s releases since his second piano album, 1999?s Active Imagination, which still stands as one of my favorite recordings. Even though I have been a big fan for many years, I was still blown away by Isadar?s live performance in my house concert series in July 2010. The man has magic fingers and an extraordinary piano touch that are perfectly suited to express his imaginative, distinctive, and emotionally powerful music.

Isadar is also a singer/songwriter and an electronic musician who creates the music videos for much of his music, dramatizing the stories that inspired the songs. I will always be partial to Isadar?s piano albums because his voice and vision are unique, incorporating jazz, new age, pop, and classical stylings into a musical language all his own.

Red opens with ?Broken Valentine,? a free-flowing expression of heartbreak and the broad range of emotions that go with it, alternating between grief and confusion then shifting to perhaps anger and resignation - a great beginning. The title track conveys the freedom of an improvisation while weaving together a variety of upbeat themes. ?The Man Who Broke My Heart? is energetic and in constant swirling motion - also very free and from deep within. ?The Stairwell? is darker and much more mysterious, overflowing with Isadar?s intriguing accented rhythms and picturesque compositional style. My favorite track is the almost nine-minute ?Letting Go,? a piece that intertwines a series of musical vignettes into a powerful, colorful musical collage. I love the way Isadar seamlessly goes from flowing and smooth to a bouncy jazz style to high drama without missing a beat. Great stuff! ?En Face Du Miroir (Facing the Mirror)? is much lighter, with fingers dancing nimbly around the piano keyboard. The album closes with ?Blood ... Thicker Than Water,? again a combination of changing themes that could well be a musical family portrait - different personalities working separately and as a unit, bound together by the unseen ties that keep families together through thick and thin.

Isadar has created another piano masterpiece that should be more widely heard than his previous releases due to the success of Reconstructed. I hope so, anyway! Red is available from isadar.com, Amazon, iTunes, and CD Baby. Very highly recommended!

Isadar?s Red: Solo Piano Sheet Music Collection is a note-for-note transcription of all seven pieces from Isadar?s 2013 CD/download release by the same name. The music was transcribed by David Shenton (shentonmusic.com) with clear, concise notation that includes dynamics, pedaling and metronome settings.

Isadar is an amazing pianist with a style all his own, so this isn?t a book that most pianists will be able to just sit down and play. It will take some work and attention to detail to get this music right, but it will be well worth the effort. Having the recording for handy reference would be a big help.

Rhythms are often complex and syncopated, but are usually repeated within each piece, so once you have them, the rest will follow fairly easily. There are only a few chords with a reach of more than an octave and none of the key signatures are terribly difficult. The layout and spacing of the music is excellent, and the paper stock is a bright white 9?x12? format with a stapled binding.

If you enjoy listening to Isadar?s music, I?m sure you will enjoy playing it, too! This songbook is available from isadar.com. Recommended!

The songs with their key signatures and the number of pages is listed below:

Broken Valentine - C minor (3 flats) - 4 pages
Red - A minor (0 sharps or flats) - 5 pages
The Man Who Broke My Heart - A minor - 6 pages
The Stairwell - F# minor (3 sharps) - 7 pages
Letting Go - F minor (4 flats) / C minor (3 flats) - 8 pages
En Face Du Miroir (Facing the Mirror) - Ab (4 flats) / F minor/ Bb minor (5 flats) / Db (5 flats) - 7 pages
Blood ... Thicker Than Water - A Minor/ C (0) / F (1 flat) - 7 pages

Isadar is an artist on both Enlightened Piano Radio & Whisperings Solo Piano Radio, the latter featuring some of today's biggest names in solo piano music, including Ludovico Einaudi, David Nevue, Brian Crain, Kevin Kern, Robin Spielberg, Michele McLaughlin, Philip Wesley and over 300 more...

Also available as sheet music in physical songbooks, digital downloads, as well as software for Yamaha Disklavier player-pianos.

For more information, visit his website at: http://www.isadar.com

Contains Le Roi Lear: Pr�lude,Premi�re Fanfare, and La Mort de Cord�lia,Toomai des �l�phants, Rodrigue et Chim�ne: Pr�lude � l?acte 1p. Le Martyre de Saint S�bastien: La Passion , and No-ja-li ou Le Palais du Silence

From Robert Orledge's notes:

My interest in the wonderful music of Claude Debussy began in the 1980s when I researched and published a book with Cambridge University Press entitled Debussy and the Theatre. During the course of my studies in Paris, I was amazed to discover that Debussy planned over 50 theatrical works but only finished two of these entirely by himself (the opera Pell�as et M�lisande in 1893?1902 and the ballet Jeux for Diaghilev?s Ballets Russes in 1912?13). Of the rest, many were never started musically (like Siddartha and Orph�e-roi with the Oriental scholar Victor Segalen, 1907); some had a few tantalising sketches (like the Edgar Allan Poe opera Le Diable dans le beffroi, 1902?03); some were half-finished (like his other Poe opera La Chute de la Maison Usher, 1908?17); while others were musically complete but had their orchestrations completed by other composers (like Khamma, by Charles Koechlin, 1912?13; or Le Martyre de Saint S�bastien and La Bo�te � joujoux by his ?angel of corrections? [?l?ange des Corrections?] Andr� Caplet in 1911 and 1919 respectively).

For it has to be admitted that what some scholars call Debussy?s ?compulsive achievement? could equally well be viewed as laziness, especially as far as the minute detail required for calligraphing his orchestral scores was concerned. It was as if creating the music itself was of greater importance than controlling its final sound, even if Debussy was an imaginative orchestrator when he found the time and energy to do it. It also seems true that Debussy also preferred inventing ideas to turning them into complete pieces. However, despite the lack of detail in many of his sketches (missing clefs, key signatures, dynamics, phrasing, etc.) the notes themselves are surprisingly accurate, whether or not they can be compared with a later draft. Thus, a large number of sketches exist for his Chinese ballet No-ja-li ou Le Palais du Silence and it is not too difficult to see which parts of Georges de Feure?s 1913 scenario (see below) inspired which ideas. But Debussy hardly made any attempt to join them together after the first few bars.

It was usually up to his publisher, Jacques Durand, to find solutions when Debussy risked a breach of contract. Debussy was supposed to supervise the orchestrations completed by others, but this supervision was usually very light and restricted to quiet, sensitive moments in which problems were easier to spot. Far from jealously guarding every one of his created notes, as Ravel did, Debussy once even went as far as to ask Koechlin to ?write a ballet for him that he would sign? on 26 March 1914 when he was hard-pressed to fulfil his lucrative contract for No-ja-li with Andr� Charlot at the Alhambra Theatre in London. In the end, Debussy (through Durand) sent Charlot the symphonic suite Printemps instead, whose orchestration had been completed by Henri Busser in the Spring of 1912.

So, when I was offered early retirement as Professor of Music at Liverpool University in 2004, I seized the opportunity it would give me to spend time trying to reconstruct some of Debussy?s lost potential masterpieces from his existing sketches and drafts?then orchestrating them in Debussy?s style when this was appropriate. I had begun this mission in 2001 with the most promising project, the missing parts of Scene 2 of La Chute de la Maison Usher and the sheer joy it gave me at every stage persuaded me to tackle other projects, especially when Debussy experts were unable to identify exactly where I took over from Debussy (and vice versa) in Usher.

With this sheet music, you can play "La Foule" by �dith Piaf on piano!

It's an accurate, carefully created piano arrangement of the full song.

The entire melody is included in the piano part, so it makes for a perfect instrumental / piano solo cover.

Originally, "La Foule" was an Argentine song titled "Que nadie sepa mi sufrir" ("Let no one know my suffering"). It was composed by tango legend �ngel Cabral, with lyrics
by Enrique Dizeo.
The original Spanish version of the song has been recorded by many artists, including Alberto Castillo, Julio Iglesias and Mar�a Dolores Pradera.

�dith Piaf recorded a French version of the song in 1957, with new lyrics by Michel Rivgauche. Under its new title "La Foule", it became one of her most famous chansons!

The combination of Spanish tango rhythms and the softness of French chansons makes "La Foule" a timeless classic.

It's also a wonderful piece to play on the piano!

#########

Avec cette partition, vous pouvez jouer "La Foule" par �dith Piaf au piano!

C'est un arrangement pour piano pr�cis et soigneusement cr�� de la chanson compl�te.

La m�lodie enti�re est incluse dans la partie piano, ce qui en fait une parfaite reprise de solo instrumental / piano.

� l'origine, "La Foule" �tait une chanson argentine intitul�e "Que nadie sepa mi sufrir" ("Ne laissez personne conna�tre ma souffrance"). Il a �t� compos� par la l�gende du tango �ngel Cabral, avec des paroles
par Enrique Dizeo.
La version espagnole originale de la chanson a �t� enregistr�e par de nombreux artistes, dont Alberto Castillo, Julio Iglesias et Mar�a Dolores Pradera.

�dith Piaf a enregistr� une version fran�aise de la chanson en 1957, avec de nouvelles paroles de Michel Rivgauche. Sous son nouveau titre "La Foule", elle est devenue l'une de ses chansons les plus c�l�bres!

La combinaison des rythmes du tango espagnol et de la douceur des chansons fran�aises fait de "La Foule" un classique intemporel.

C'est aussi une pi�ce magnifique � jouer au piano!

Contains A Night in the House of Usher Un Jour affreux avec Le Diable dans le beffroi, Les accords de septi�me regrettent!!!, Petite Valse,F�tes galantes, and Pr�lude � ?L?Histoire de Tristan?

From Robert Orledge's notes:

My interest in the wonderful music of Claude Debussy began in the 1980s when I researched and published a book with Cambridge University Press entitled Debussy and the Theatre. During the course of my studies in Paris, I was amazed to discover that Debussy planned over 50 theatrical works but only finished two of these entirely by himself (the opera Pell�as et M�lisande in 1893?1902 and the ballet Jeux for Diaghilev?s Ballets Russes in 1912?13). Of the rest, many were never started musically (like Siddartha and Orph�e-roi with the Oriental scholar Victor Segalen, 1907); some had a few tantalising sketches (like the Edgar Allan Poe opera Le Diable dans le beffroi, 1902?03); some were half-finished (like his other Poe opera La Chute de la Maison Usher, 1908?17); while others were musically complete but had their orchestrations completed by other composers (like Khamma, by Charles Koechlin, 1912?13; or Le Martyre de Saint S�bastien and La Bo�te � joujoux by his ?angel of corrections? [?l?ange des Corrections?] Andr� Caplet in 1911 and 1919 respectively).

For it has to be admitted that what some scholars call Debussy?s ?compulsive achievement? could equally well be viewed as laziness, especially as far as the minute detail required for calligraphing his orchestral scores was concerned. It was as if creating the music itself was of greater importance than controlling its final sound, even if Debussy was an imaginative orchestrator when he found the time and energy to do it. It also seems true that Debussy also preferred inventing ideas to turning them into complete pieces. However, despite the lack of detail in many of his sketches (missing clefs, key signatures, dynamics, phrasing, etc.) the notes themselves are surprisingly accurate, whether or not they can be compared with a later draft. Thus, a large number of sketches exist for his Chinese ballet No-ja-li ou Le Palais du Silence and it is not too difficult to see which parts of Georges de Feure?s 1913 scenario (see below) inspired which ideas. But Debussy hardly made any attempt to join them together after the first few bars.

It was usually up to his publisher, Jacques Durand, to find solutions when Debussy risked a breach of contract. Debussy was supposed to supervise the orchestrations completed by others, but this supervision was usually very light and restricted to quiet, sensitive moments in which problems were easier to spot. Far from jealously guarding every one of his created notes, as Ravel did, Debussy once even went as far as to ask Koechlin to ?write a ballet for him that he would sign? on 26 March 1914 when he was hard-pressed to fulfil his lucrative contract for No-ja-li with Andr� Charlot at the Alhambra Theatre in London. In the end, Debussy (through Durand) sent Charlot the symphonic suite Printemps instead, whose orchestration had been completed by Henri Busser in the Spring of 1912.

So, when I was offered early retirement as Professor of Music at Liverpool University in 2004, I seized the opportunity it would give me to spend time trying to reconstruct some of Debussy?s lost potential masterpieces from his existing sketches and drafts?then orchestrating them in Debussy?s style when this was appropriate. I had begun this mission in 2001 with the most promising project, the missing parts of Scene 2 of La Chute de la Maison Usher and the sheer joy it gave me at every stage persuaded me to tackle other projects, especially when Debussy experts were unable to identify exactly where I took over from Debussy (and vice versa) in Usher.

ISBN 9781609746384. This collection showcases the syncopated piano music of Latin American during the nineteenth and early twentieth centuries. It features Latin rhythms, which are really African rhythms brought to the Americas by slaves and applied to the music of the European colonists. These rhythms are varied and complex and so is their history. They've had a widespread and profound influence on the evolution of popular music not only in Latin America, but also in the United States. The most obvious offshoots are the tango in Argentine and Uruguay and most of the other popular dances of South and Central America, as well as ragtime and jazz in the United States. Jelly Roll Morton claimed this "Latin tinge" is the essential element that distinguishes jazz from ragtime. These rhythms are the musical roots of groups like "The Buena Vista Social Club."Includes historic tangos written by Ignacio Cervantes - Cuba, Manuel Saumell - Cuba, Juan Morel Campos - Puerto Rico, Jose Quinton - Puerto Rico, Ernesto Nazareth -Brazil, Tomas Leon - Mexico, Sebastian Yradier - Spain, Eduardo Sanchez du Fuentas - Cuba, Will Tyers - USA, Vincente Greco - Argentina, Anselmo Rosendo (Mendizabal) - Argentina, Angel Villoldo - Argentina, Eduardo Arolas - Argentina, Juan Maglio - Argentina.