SKU: AP.20162UK
ISBN 9781470611743. English.
The piano is a magnificently versatile instrument and great fun to learn, but all the considerations can seem a little overwhelming if you're thinking about taking it up. In So You Want To Play The Piano?, concert pianist and piano teacher Melanie Spanswick covers all concerns and gives advice on: - how to find the perfect instrument - what to look for in a teacher - things to bear in mind beyond playing the right notes - popular books for beginners - preparing for exams - supporting a child who is learning - and much, much more. So You Want To Play The Piano? is an excellent guide for anyone thinking about the piano as their instrument of choice. And who knows, you could see a pleasant pastime become a lifelong passion!'This little book is an absolute MUST for anyone thinking of taking up the piano, or sending their child to piano lessons!' - * * * * * Amazon review
SKU: PR.114408650
UPC: 680160013180. 8.5 x 11 inches.
The Laurel Tree is rooted in the world of mythology, for it reflects the legend of Daphne and Apollo. As the story goes, Cupid, in a fit of spite, shot Apollo with an arrow that rouses love, then shot Daphne with an arrow that vanquishes love. Upon seeing Daphne, Apollo fell passionately in love. When he approached her, Daphne fled in terror, and Apollo chased after her. Just as she was about to be caught by Apollo, Daphne cried for help to her father, the river-god Peneus. She begged him to change her, to destroy her beauty, so that Apollo would no longer persue her. And so, Peneus turned her into a radiant laurel tree. The Laurel Tree looks at the legend of Daphne in psychological terms. In an essay titled Schizophrenia - the Inward Journey, Joseph Campbell refers to the image of Daphne turning into a laurel tree as the image of a psychosis, and shows that the imagery of the mythological hero journey matches that of schizophrenic fantasy. The movement titles and the structure of the piece are influenced by Campbell's writings on mythology, particularly his universal formula of the hero's journey. The first movement is based on the legend as described above, up to the moment Daphne is turned into a laurel tree. The second movement explores Daphne's inward retreat, deep into her psyche and backward in time, toward chaotic and terrifying experiences, to recover something missed or lost. The third movement tracks Daphne's return journey of rebirth to life, in harmony, at peace, richer, stronger, and more joyous.
SKU: HL.49045373
ISBN 9783795709815. UPC: 841886027510. 9.0x12.0x0.183 inches.
Chopin - this is passion, elegance and melancholy! And it is exactly what makes him well liked in piano lessons and while music-making at home. Chopin's music is technically quite demanding, but thanks to the suitable fingerings of the composer most technical figures are very comfortable in the hands and can be easily played by advanced pianists. The collection contains Chopin's easiest piano pieces in one volume which is perfect for piano lessons - but also for playing the piano at home.
SKU: HL.49047037
ISBN 9781705182024. UPC: 842819116998. 9.0x12.0x0.123 inches.
My father, Y. “Raghu†Raghunathan, came from India to the U.S. in 1963, followed soon after by my mother Sita. Dad enjoyed a substantial career as a pharmaceutical chemist, but he drew satisfaction from a simple life among family and friends, never allowing professional demands to overshadow his devotion to loved ones. Modest, compassionate, and ardently egalitarian, he was careful not to take anything too seriously, especially himself. He embraced his own ordinariness because it connected him to everyone else; it made him no better or worse than his neighbor, no more or less deserving of friendship or kindness than any of his fellow human beings. He showed us how to live with dignity, compassion, grace, and boundless love. His last piece of advice to me: “Go slow.†Several weeks after his passing, I happened upon a recording of Shostakovich’s 24 Preludes and Fugues, opus 87. I couldn’t understand why at the time, but the sixteenth prelude and fugue took hold of me and would not let go. I completely immersed myself in that piece for ten days, until it became a mystical conduit for something else: in this semi-trance state I produced a prelude and fugue of my own, in prayer (orison) and in praise (upastuti). It shadows Shostakovich’s form, but it somehow expresses my father’s unhurried, loving spirit. I’ve come to believe that he sent me this piece as a blessing. I hope you feel his presence in it as I do. Vijay Iyer.
SKU: M7.ART-42091
ISBN 9783866420915.
Mit 'Emotional Piano Ballads' ist Autor Michael Gundlach eine wunderschöne Sammlung gefühlvoller und leicht spielbarer Klavierballaden gelungen. Die 16 zauberhaften Stücke sind von vielfältigen Stimmungen geprägt: romantisch, leicht melancholisch, aber auch beruhigend und zärtlich. Die eingängigen Melodien der Kompositionen sind unterlegt mit einfachen und zeitgemäßen Begleitfiguren der linken Hand und anhand der angegebenen Akkorde lassen sich die harmonischen Zusammenhänge schnell erkennen. Die Stücke sind daher in kurzer Zeit erlernbar und bereiten somit schnell Spielfreude. Dynamikzeichen wurden bewusst sparsam eingesetzt und lassen genügend Spielraum für die eigene kreative Interpretation. 'Emotional Piano Ballads' stellt eine perfekte Ergänzung zu den üblichen Anfänger-Klavierschulen dar und ist bestens geeignet für alle Pianistinnen und Pianisten, die wunderschöne Melodien und Spielspaß mit musikalischem Erfolg kombinieren möchten. Die Stücke eignen sich zudem hervorragend für Vorspiele aller Art und begeistern sowohl Klavierspieler als auch Zuhörer. Der optionale Download dient als praktische Lernhilfe, um den Ausdruck und die richtige Artikulation nachvollziehen zu können und auch als 'Soundtrack' für unterwegs ist 'Emotional Piano Ballads' ein echter Genuss.
SKU: AP.12-0571539181
ISBN 9780571539185. English.
Faber Music is celebrating Dame Fanny Waterman's fundamental and vast contribution to music education with the release of her autobiography, Dame Fanny Waterman: My Life in Music. It tells the extraordinary story of one of the twentieth century's most inspirational British women. Born into an artistic family in impoverished circumstances, her prodigious musical talent and sheer determination were her passport out of hardship, leading to recognition as one of the most talented young pianists of her generation. Her emergence as a visionary teacher leads to the founding of the Leeds International Piano Competition and relationships with many internationally renowned pianists whose lives she has touched through her work. Interwoven throughout the story, Dame Fanny shares her inspirational philosophies on life, learning, and music, and her compelling, utter passion for the piano.
SKU: HL.49018139
ISBN 9790001171786.
The richly varied concert piece shows how well the composer, himself a brilliant piano player, knows how to use the instrument. His polyphonic, complex compositional style gives way to various possibile interpretations. Despite high technical demands, the entire work is comfortable to play.A beginning appearing from nowhere which, with its consistent basic rhythm, reveals Jost's passion for jazz music, gradually becomes more intense. Eventually, the music changes into a softer, lyrical passage, allowing time to breathe. At the end, motifs from the beginning are taken up again. And after a phase of great intensity, the work fades into nothing.
SKU: BO.EI0314
Within musical activities there exists a great diversity of different aspects that often go far beyond any particular specialization. Of all cultural activities clearly music is one that manifests numerous multidisciplinary features which not only enriches music itself but also all who are involved in it. This is certainly the case of Jordi Vilaprinyo, an excellent pianist, brilliant composer and a dedicated pedagogue with a remarkable career as a professor at the Conservatorio Municipal de Musica de Barcelona and in other educational institutions. All of this is all in addition to his role as a tireless advocate of everything relating to the piano, which reveals his exceptional personality completely dedicated to his greatest passion-music.The academic year 2011-12 marked the celebration of the 125th anniversary of the Conservatorio Municipal de Musica de Barcelona. In honor of the occasion, Jordi Vilaprinyo composed a series of eleven short pieces which present a pianistic-musical portrait of each professor of the Piano Department in our Conservatory. This piece, written in the form of a suite, brings together eleven imaginative musical sketches which reflect the personal qualities and musical personalities of his colleagues as seen through the eyes of Mr. Vilaprinyo. These eleven portraits reveal the respect which Jordi feels for his colleagues and at the same time they are ideal teaching pieces.The various portraits are written in a free and diverse musical language which is always effective. Certain moments are quite evocative while others are more descriptive and, at times, more energetic. The varied textures and sonic balance are always highly controlled and affecting. However, I would like to emphasize, that although the work could be considered as program music due to its personal nature, the pieces stand apart for their musical quality.Published by Editorial Boileau, the work was premiered in a student concert which Professor Maria Rosa Ribas organizes each year. Professor Ribas is one of the members of the Piano Department depicted in the musical portraits. The premiere, performed by students of the Conservatory, took place in the Auditorio Eduard Toldra on May 30, 2011.The Onze retrats [Eleven Portraits] are dedicated respectively to the following professors: Carolina Saldana, Merce Molero, Maria Drets, Montserrat Cabero, Maria Jesus Crespo, Carles Marques, Maria Rosa Ribas, Albada Olaya, Montse Padros, Carme Poch and Mireia Planas.
SKU: FA.MFCD017B
8.27 x 11.69 inches.
Contains Le Roi Lear: Prelude,Premiere Fanfare, and La Mort de Cordelia,Toomai des elephants, Rodrigue et Chimene: Prelude a l'acte 1p. Le Martyre de Saint Sebastien: La Passion , and No-ja-li ou Le Palais du SilenceFrom 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 Pelleas et Melisande 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 Orphee-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 Sebastien and La Boite a joujoux by his 'angel of corrections' ['l'ange des Corrections'] Andre 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 Andre 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.
SKU: MN.15-670
UPC: 688670156700.
Eight creative arrangements of familiar hymns that can be used in many different places in the worship service.
SKU: HL.50586415
SKU: HL.50586639
ISBN 9783938809143.
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