SKU: YM.GTP01100467

ISBN 9784636103182.

The etude collection book for levels from mid to late Bayer, up to Czerny No. 30, selected from Italian, French, German, Austrian, Hungarian and English composer's methods. Supervised by Yoshiko Kurokawa. Although Czerny is well established in Japan as etudes for children, there are still many wonderful etudes that are not well known and are often used in Europe. In this series, etudes from 15 popular composers from Italy, France,Germany, Austria, England, and Hungary are carefully selected and included in one volume for effective practice. The levels range from Czerny 100 to 30 and Cramer-Bülow, which are the most important phase of piano practice. Unlike songs, etudes have the purpose of improving technique. The pieces have been carefully selected so that the students will be able to acquire this objective. In addition, the emphasis is placed on finger independence, finger movement, and wrist flexibility. Volume 1 starts with etudes that are easy and short enough to beginpracticing with Bayer. The book is structured in such a way that students will gradually move up the levels from volume 1 to volume 2 and volume 3, so that they will be able to learn techniques equivalent to Czerny No. 30 without falling behind, just like climbing up a ladder.

SKU: HL.281563

Stephen Reynolds has been heard as pianist and composer in concerts and broadcasts across Europe and the United States. He is currently on the faculty of his alma mater, the Royal Northern College of Music in Manchester. This set of pieces were originally written in the 1980s as a diversion from the more serious and experimental music he was writing at the time. He talks of wanting to invade and absorb the sound-world of Delius, one of his favourite composer, and to use his musical language to create works of his own. The Delius-inspired pieces are especially welcome since that composer wrote very little for the piano. In both of the sets a longer, more substantial piece is prefaced by a shorter one in a related key.

SKU: FA.MFRO001P

8.27 x 11.69 inches.

Over the years 1908-16, Debussy had produced a viable scenario for Usher on his third attempt. Butwhen he came to making a complete draft of the music, he seems to have lost interest during Roderick Usher's long monologue, even though he was setting his own text. As in No-ja-li he jumped to the next passage that interested him, in this case the exciting final melodrama and the collapse of the Usher house itself. In the process of completing the missing half of the score, I discovered that by reusing Debussy's material for similar psychological situations across the opera, and by metamorphosing existing ideas (as Debussy does with Melisande's theme in his opera Pelleas et Melisande), the only things I really needed to add were linking material and any passages where fast music was required. So the 'nightmare scherzo', and Lady Madeline's escape from her coffin and her final bloody revenge on her brother are all mine, but most of the rest is existing Debussy in changing contexts (in which the Russian technique of 'changing backgrounds', both harmonic and textural, proved extremely useful, as it did to Debussy in his Prelude a l'apres-midi d'un faune). Eventually, both my completed ballet No-ja-li and the House of Usher were successfully premiered in 2006 and the latter soon began to find its way into the established repertoire in Europe and the US. To further support this, I transcribed some of the highlights of Debussy's score as A Night in the House of Usher for organ, and subsequently piano--with a focus on Scene 2 and the final, horrific and maca-bre melodrama. This climaxes in the double deaths of Roderick Usher and his Sister Madeline, together with the disintegration of the ill-fated House of Usher into the stagnant lake-all beneath a blood-red moon.In this form it was first performed by Ian Buckle in the Howard Assembly Rooms, Leeds in 2010.

SKU: HL.50585414

SKU: BT.MAU9790365614271

SKU: BT.MAU9790365614950