SKU: HL.49007250
ISBN 9790001077934. 9.0x12.0x0.096 inches.
The pavers * march * Musical box * Out of Tune * In Indian File * Mazur * Nightly Chimes * The fencers * a legend * The false Trumpet * Pingpong * From the far east * By the brooklet * When mother caresses * At the shooting-range * Don't you go mad? * The white sailing ship * Czardas * Bird on the window-sill * Lullaby.
SKU: OT.21124
ISBN 9789655050981. 8.27 x 11.69 inches.
Perpetuum Mobile, meaning perpetual motioni, is a Latin term that describes an impossible situation in which a substance has infinite energy. This situation is impossible because it violates the first and second laws of Newton. But it is possible in music. Imagine a musical piece that is a continuous stream of notes. These are exactly the etudes in this album. They do not stop, they are always in motion and they can be played continuously. Etudes are solo pieces, purposed to help the musician practice his technique. In this album, each etude is designed to practice another technique. In addition, the etudes in this album are arranged according to the circle of fifths - each etude ends in a key which is dominant to the beginning of the next etude, even the last etude to the first one, and so on and so forth. This further emphasizes the infinite mobility of the music in this piece. Once you enter the loop, you can't get out of it. All the etudes start in a minor key, as a symbol of the sadness of the matter, and end in a major key, to represent the hope, a false hope, that perhaps the next etude will take you out of the loop. This album is a three-year-long project, in which I gathered ideas from the environment in which I live, from the people in it and from their thoughts, from life that continues all the time, and the music that will never stop. Maayan Tal, 17, is a young Israeli musician, pianist and composer.
SKU: SU.12800062
Goldberg Variations, BWV 988 (3-page Preface, 63 pages, edited for piano, no fingerings). This attractive Urtext of Bach’s popular variation cycle is not only extremely user-friendly and extra-legible, but in addition, presents groundbreaking performance practice research that explains Bach’s never-before-revealed plan of tempo relationships between variations. This discovery is highly significant with regards to the tempi chosen for the 30 variations in a complete performance. The first edition from 1741, engraved by Bach himself, shows fermatas after some, but not all, variations. Most editors assume this was an oversight by Bach, and thus, add fermatas where they do not belong. Virtually all editions of our time add fermatas where Bach did not indicate them. Perhaps the only edition that correctly reproduces Bach’s fermata indications is Peters (ed. Kurt Soldan, 1937). Mapping out Bach’s fermata plan for the complete cycle reveals an ingenious and fascinating symmetrical arrangement of pairs and groups of variations unified by direct tempo relationships. Bach’s tempo plan has never yet been honored by commercial artists because they have been steeped in false, 19th-century tempo traditions, they have been too influenced by Glenn Gould, and they have never been made aware of Bach’s use of fermatas due to faulty editions. Bach’s master plan is beautifully laid out and all the tempo relationships are explained in the three-page Preface, which also contains a tempo hierarchy matrix relevant to Bach performance as well as Bach’s well-known Table of Ornaments. This edition is ideal for pianists from the late-intermediate levels and higher as well as concert artists, scholars, and teachers who seek an informative edition of the Goldberg Variations for the concert hall or teaching studio. Piano/Keyboard Published by: BachScholar.
SKU: FA.MFGT055
8.27 x 11.69 inches.
Germaine Tailleferre first met Charlie Chaplin when she was living in New York City with her first husband Ralph Barton. Tailleferre and Chaplin spent a great deal of time improvising at the piano and Tailleferre convinced him to write his own themes for the music he used in his films. After her divorce from Ralph Barton, she did not see Chaplin until the early 1950s during a visit he made to Paris. At that time, she wrote this attractive waltz in Chaplin’s own style to give to him as a gift.
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