SKU: M7.ART-42166
ISBN 9783866421660.
Der Nachfolgeband 'Flowing Piano Songs' von Theresia Prelog bietet 18 leichte bis mittelleichte, romantische Klavierstücke für Herz und Sinne. Die gefühlvollen Kompositionen eignen sich hervorragend als Ergänzung und Auflockerung zu einer klassischen Klavierschule und wenden sich an Spielerinnen und Spieler ab dem 3. und 4. Unterrichtsjahr und jeder Altersstufe. Beim Spielen von 'Flowing Piano Songs' besteht die Möglichkeit für ein paar kostbare Augenblicke alles andere hinter sich zu lassen und sich dem Dahinfließen der Musik voll und ganz hinzugeben. Körper, Geist und Seele entspannen sich und tanken neue Energie. Hinter jedem Stück steht zugleich ein bestimmter technischer und musikalischer Aspekt, der beim Spielen ganz unbewusst und mühelos geübt wird, auch wenn das klangliche Erlebnis im Vordergrund steht. Trainiert werden unter anderem die Geläufigkeit in schnellen melodischen Figuren, die Differenzierung des Anschlages zwischen Melodie und Begleitung, erste Verzierungen, das Ablösen der Hände sowie die Entwicklung des Gefühls für eine musikalische Phrase. Die Tempobezeichnungen und Metronomangaben sind lediglich Richtwerte und können nach persönlichem Geschmack angepasst werden. Die Hörbeispiele dienen als Lernhilfe und sind auch als 'Soundtrack' für unterwegs ein wahrer Genuss. Wir wünschen viele entspannende Momente mit den 'Flowing Piano Songs'.
SKU: BR.EB-9387
ISBN 9790004188576. 0 x 0 inches.
Commissioned by the Kolner Philharmonie (KolnMusik) for the non bthvn projekt 2020 and the Cite de la musique / Philharmonie de Paris Dedicated to Arditti Quartet Each movement of this quartet explores a single state, its lights and its shadows. Each movement, you could say, is a moment . And these moments could last for more or less time without compromising their essential nature. The processes could be extended or compressed, repeated or reversed, but the core ideas - if they are ideas, but maybe they are simply experiences? - are what they are. Despite this, the precise sequence of movements matters a great deal. Heard together they do articulate some kind of linear narrative, maybe even a metaphorical journey (albeit a circular one where the arrival might, who knows, prove to be a new departure). One situation gives way to another and instrumental relationships within the quartet vary, but ultimately the imaginative impulse behind the piece preferences states of unity. Whether or not this unity is expressed texturally - sometimes literal unisons pervade, but not always - there is generally a sense that even seemingly diverse aspects relate to a fundamental condition of concord: a conscious limitation in the pitch structure to spectral emanations of the root notes E-flat and C. At the opening this is unambiguously audible in the perpetual alternation of these two notes in the low cello register. Later the two spectra are woven into a micro-tonal 'double-spectral-mode' (derived from the first 24 partials of the C and E-flat fundamentals), which defines the subtle melodic inflection of the second movement, and the never-quite-chromatic ascending scales of the third. For now this feels like a rich source of melodic possibility, so far only just glimpsed... And why the insistence on E-flat? Probably by way of historical anecdote. Apparently Karl Holz (a member of the Schuppanzigh Quartet) said to Beethoven: We performed your Quartet in E-flat Op. 127 in his [Weber's] honour; he found the Adagio too long; but I told him: Beethoven also has a longer feeling and a longer imagination than anyone standing or not standing today. - Since then, even Linke (another member of the quartet) can no longer stand him: we cannot forgive him for this. Listening again to Op. 127, in light of these comments, I was struck by the opening moment: the unfolding of an E-flat 7th chord over the course of a few bars. Every time I hear it I find myself wishing that Beethoven would have lingered longer there, without resolution or progression, just enjoying that sonority. And maybe - why not? - tune the 7th naturally. And what would it be to stretch that moment into an entire piece? What would Weber think of that?! In the end I was not so extreme in my self-limitation, and other concerns took over, but it was from these thoughts that the composition process began... Lastly, about the title: it comes from a book called 'The Clock of the Long Now' by Stewart Brand, published at the turn of the millennium. It's about the creation of a thousand-year clock to embody the aspiration to thinking in terms of longer time-spans than are presently habitual. If the music of Beethoven embodied a 'longer' feeling and imagination than some of his contemporaries were able to appreciate, what is our relation to time now? Longer or shorter? Maybe it depends who you ask... It's probably more extreme in both directions: attention spans might be diminishing in the digital world, but conversely there is an awareness of distant pasts and potential futures which would have been inconceivable at the time of Beethoven. In any case, the interesting thing is to ponder how societal conditions, assumptions and expectations might - whether consciously or unconsciously - influence the time of art, for listeners and creators alike. And what if time is running out? (Christian Mason)World premiere: Paris, Cite de la musique, January 14, 2020.
SKU: HL.978474
ISBN 9781638871361. UPC: 196288090922. 9.0x12.0x0.102 inches.
This one of a kind album pairs two of the most performed Ave Maria's for violin and piano, meticulously edited by Jascha Heifetz' protege, Endre Granat. The first of these is Schubert's melody, which was originally composed as a setting of a song from Walter Scott's popular narrative poem The Lady of the Lake, titled, “Ellen's Third Song” (Ellens dritter Gesang). The opening words and refrain of Ellen's song, namely “Ave Maria” (Latin for “Hail Mary”), may have led to the idea of adapting Schubert's melody as a setting for the full text of the traditional Roman Catholic prayer. The Latin version of the song is now so frequently used with Schubert's melody that it has led to the misconception that he originally wrote the melody as a setting for the “Ave Maria.” The second Ave Maria in this collection was created when Gounod famously improvised the melody over the background of J.S. Bach's Prelude No. 1 in C major, BWV 846, from The Well-Tempered Clavier. Gounod's beatiful improvisation was transcribed by his future father-in-law Pierre-Joseph-Guillaume Zimmermann, which was published with the Bach keyboard accompaniment in 1835 under the title “Méditation sur le Premier Prélude de Piano de S. Bach.” Alongside Schubert's version, the Bach/Gounod Ave Maria has become a fixture at funerals, wedding masses, and quinceañeras. Both works have been recorded hundreds of times during the twentieth century.
SKU: CZ.9798876169723
ISBN 9798876169723.
Introduce your budding pianist to the joy of playing with Seventy Famous Easy Piano Songs for Kids. This specially crafted book is the perfect companion for beginners, offering an engaging and educational musical journey for young musicians.🌟 Key Features:🎼 Jumbo Print for Easy Reading: The book features jumbo print, ensuring that young eyes can easily follow along. This makes it a delightful experience for kids as they explore the enchanting world of music.🎶 Seventy Famous Tunes: Unlock the magic of music with seventy famous tunes carefully curated for young learners. From classic melodies to popular favorites, this collection introduces children to a rich variety of musical styles.📚 Dual Presentation for Quick Learning: To expedite the learning process, each song is presented twice – once with letters inside the note heads and once with regular notation (without letters). This dual presentation empowers students to swiftly grasp the art of reading music.🎵 Limited to Six Different Notes: The book strategically limits itself to the first six notes of the C major scale. This intentional simplification prevents overwhelming young learners with too many note choices. The focus on these fundamental notes accelerates the learning curve, providing a solid foundation for future musical endeavors.🚀 Rapid Progress and Recognition: Witness the astonishment as young musicians quickly master 70 different songs. Many of these tunes are not just educational but also instantly recognizable to both students and parents. The sense of accomplishment is unparalleled!👨👩👧👦 Perfect for Parents and Students: Parents and students alike marvel at the rapid progress achieved through this book. The delightful tunes and simplified learning approach make it an ideal choice for families embarking on a musical journey together.🎹 Unleash the Musical Potential: Seventy Famous Easy Piano Songs for Kids is more than a book; it's a gateway to a world of musical possibilities. Start your child's musical adventure today and watch them blossom into confident, skilled pianists.🌈 Note: This book is tailored for beginners and designed to be an enjoyable learning experience.
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