Piano Solo-Animals In Concert - Three pieces for Piano solo by Per Nørgård.Programme Note 1. A Tortoise´s Tango (1984) - dur.: 4´  2. Light of a Night - Paul meets bird (1989) - dur.: 6´  3. Hermit Crab Tango - Esperanza (1997) - dur.: 5´  The pieces can be performed together or one by one. In the1980s quite a few 'finds' turned up in Per Nørgård's music. The material could be say a number of song birds' equilibrist melodic lines the overtones of the ocean surf or waltzing themes by theschizophrenic artist Adolf Wölfli (1864-1930). Or again as heard here it can be the rhythms and motifs of the tango and a Beatles song (with bird) explored in three independent piano pieces that form the Animals in Concert suite about which the composer writes:  'A Tortoise´s Tango': The tortoise as tango dancer must presumably possess certain rhythmic peculiarities which I have chosen to express by letting the tune of the tortoise shuffle broadly tripartite through the strict four partite time of tango.  Tortoise Tango was the original title of this piece 'written for Achilles' (the pianist Yvar Mikhashoff) for his so called tango project' including new tangos for piano by composers from all over the world.  'Light of a Night (Paul meets bird)' was commissioned by pianist Aki Takahashi. It is a 'reworked' arrangement for piano of the Beatles song 'Blackbird'. As some of us will recall the Beatles on 'The White Album' let the beautiful song to the blackbird be accompanied by an (apparently) live blackbird song. It is this authentic bird-motif world that in 'Light of a Night' weaves itself into the Beatles melody and in turn is gradually infected by it so that a completely new third entity ensues: a kind of Bird-rock ballad (or maybe it is a Beatle-bird?).

A superb four-volume collection of over 180 solos for the intermediate level Pianist. Includes popular film and show tunes - themes and songs from top TV shows - and classical favourites from choral works, concertos, ballets, operas and symphonies. / Piano

Au cours de dix ans, le légendaire jeunes compositeurs de bande John O'Reilly et Mark Williams a composé et arrangé plus de 100 oeuvres de création qui sont en corrélation avec des pages spécifiques dans leur méthode de bande très réussie, Accent sur ??le rendement. Alfred Music est maintenant fière de faire ces arrangements disponibles dans un format de livre qui comprend 22 un régime complet de chaque collection.La collection comprend Concert Lumière arrangements créatifs de folk, rock, jazz et de la musique latino-américaine. / Piano

Without Jealousy-Per Nørgård's A Tortoise Tango (Without Jealousy) is a work for Piano Solo composed in 1984.Programme noteA Tortoise´s Tango(1984) ´Light of a Night - Paul with bird (1989) and ´Esperanza - Hermit Crab Tango´(1997) are (the first) three movements of a suite ´Animals in Concert´ for piano. 1. A Tortoise´s Tango - Skildpadde-tango (1984) - dur.: 4´ 2. Light of a Night - Paul meets bird (1989) - dur.: 6´ 3. Hermit Crab Tango Esperanza (1997) - dur.: 5´ The movements can be performed separately. The tortoise as tango dancer must presumably possess certain rhythmic peculiarities which I have chosen to express by letting the tune of the tortoise shuffle broadly tripartite through the strict four partite time of tango. Tortoise Tango was the original title of this piece 'written for Achilles' (the pianist Yvar Mikhashoff) for his so called tango project' including new tangos for piano by composers from all over the world. Esperanza and Tortoise Tango were later arranged for saxophone quartet (by Jesper Nordin) and for bandoneon and small ensemble (by Niels Rosing-Schow ) Per Nørgård

Pavana Capricho is one of the last pieces from Isaac Albeniz’s early period before he turned to Spanish influences a style that would characterise the rest of his compositions. In this earlier period Albeniz who was a child prodigy on the Piano composed ‘salon style’ music and experimented with traditional styles in the manner of Rameau Bach Beethoven Chopin and Liszt. His shift towards Spanish music occurred after meeting the teacher and composer Felipe Pedrell a leading figure in the development of nationalist Spanish music.Pavana-Capricho is graceful and light-hearted at the same time. Theplayfulness that arises from the alternating moods is best achieved when the proper technique and articulation is applied. Arranged for the solo Piano and with a performance time of ca. 3:30 this piece of Romantic solo music is a perfect addition to any concert programme.

Federico Ruiz finds constant inspiration in the rich popular and folkloric music of his country.No. 10 The little Peruvian girl is featured by the Associated Board of the Royal Schools of Music in their Grade 4 piano exam pieces 2013 & 2014.Clara has recorded these pieces on CD: The Music of Federico Ruiz - on Nimbus Alliance Records (Catalogue No. NI6179).They first met in 1993 and she became acquainted not only with his music but through it discovered the precision and the soft expressiveness of each of the numerous rhythms of Latin America and the Caribbean. His music is a sophisticated synthesis of Latin American styles that amongst manyother traits expresses the subtle interface between 'classical' and 'popular' music of the continent.Clara Rodriguez is often described as an Ambassador of Latin-American piano music recognising the great number of concerts she has given and CDs where this music features prominently. Born in Caracas Clara studied there with Giomar Narváez and with Phyllis Sellick after winning a scholarship from the Venezuelan Arts Council to train in London at the Royal College of Music. At the age of sixteen she made her debut playing Mozart's last piano concerto with the Simón Bol var Orchestra under the baton of José Antonio Abreu which was the starting point of her international career as a concert pianist.Her discography includes CDs of the piano music of Venezuelan composers Moises Moleiro (Nimbus NI6104) Teresa Carreño (Nimbus NI6103) VENEZUELA (Nimbus NI 6122) receiving glowing reviews from international publications such as Gramophone Magazine: 'Clara Rodriguez makes the most of her innate feel for the exuberant and languorous dispatching the toe-tapping cross-rhythms with panache and a light touch. This is a treasure chest from which to cherry-pick.' She regularly plays in London's Wigmore Hall Southbank Centre St. John's Smith Square St. Martin in-the-Fields and at Barbican Centre. Clara Rodriguez teaches the

The 25 Easy Exercises that comprise Friedrich Burgmüller's Opus 100 are perennial favourites for both Piano students and teachers alike. Originally entitled 25 Études faciles et progressives composées et doigtées expressément pour l'etendue des petites mains the pieces offer a uniquely melodic and elegant opportunity to develop your Piano technique whilst learning a real repertoire of performance pieces - they are more than 'just an exercise'. Light and intimate in style the pieces won popularity among the Parisienne salons of the time and have been popular concert pieces since. This is the Bosworth Edition edited by ErwinChristian Scholz.

When Christa Landon presented the first printed version of her edition of Joseph Haydn's Piano sonatas Haydn's sonata oeuvre was still overshadowed by the works of Mozart and Beethoven. Since then Haydn's sonatas have progressed from the teaching rooms to the concert halls and Landon's edition has played a crucial role in that process. Since the Haydn anniversary in 2009 this 'legendary' edition has been thoroughly revised for over the course of more than forty years new sources have come to light. Questions of authenticity have also been resolved not least because the editorial principles for 18th-century music havechanged considerably. The new edition is published in four volumes the content of each volume being compatible with the volumes of the previous edition. Volume 3 of the new edition comprises the 17 sonatas Hob. XVI:21–32 and Hob. XVI:35–39 contained in Vol. 2 of the previous Wiener Urtext edition including popular works for music lessons such as Hob. XVI:27 35 and 37. In the Notes on Interpretation Robert D. Levin explains important aspects of Haydn's performance practice and with the help of numerous examples shows possibilities to embellish the pauses frequently used by Haydn.

When Christa Landon presented the first printed version of her edition of Joseph Haydn's Piano sonatas Haydn's sonata oeuvre was still overshadowed by the works of Mozart and Beethoven. Since then Haydn's sonatas have progressed from the teaching rooms to the concert halls and Landon's edition has played a crucial role in that process. The Haydn anniversary in 2009 is a welcome occasion to thoroughly revise this 'legendary' edition for over the course of more than forty years new sources have come to light and questions of authenticity have been resolved not least because the editorial principles for 18th-centurymusic have changed considerably. The new edition comprises all works of the previous Wiener Urtext edition plus the sonata Hob. XVI:16 edited by Landon along with the Sonata in F major which was rediscovered in Bozen a few years ago and attributed to Joseph Haydn. The new edition is published in four volumes the content of each volume being compatible with the volumes of the previous edition. Volumes 1 and 2 contain the early sonatas. In the Notes on Interpretation Robert D. Levin explains important aspects of Haydn's performance practice.

The music of small forms was to become the focus of the French composer Gabriel Fauré (1845-1924). In 1874 after many years spent in the 'provinces' the teacher of Camille Saint-Saëns took the position of organist in Paris; later he worked not only as a church musician but as a teacher as well. In the summer of 1887 Fauré wrote his Pavane Op. 50 originally intended for a concert providing light entertainment which soon gained wide popularity as an orchestral setting without and with the chorus added by Fauré. The romantic slightly melancholy melody is a catchy tune which thanks to the present arrangement can now also be played on the piano.

from The 12th Room for Solo Piano (2015). Par BOSSO EZIO. Ezio Bosso?s Sonata No. 1 in G minor is a fundamental stage in the journey through his music. It was created while the musician was in that ?unpleasant? room (that of his illness) which sometimes became dark and, when he came out of it, remained inside him and conditioned his body ? his ?twelfth room?. But precisely because, in Ezio?s words, ?every problem is an opportunity?, those dark moments were converted into light, his suffering translated into music, into a three-stroke sonata for piano solo full of intensity and emotion, the same emotions that Ezio conveyed in the concerts of the 2016 tour, the only one that saw him as a soloist, or a ?pianist when necessary?, as he liked to refer to himself. / Répertoire / Piano

Humoresque makes use of syncopation and staccato to create a light-hearted mood with a slightly slower middle section for contrast before a return to the initial theme and a rocketing finish.Twentieth century British composerAlec Rowley was also an Organist pianist and dedicated teacher. Many of his compositions are miniatures and works appropriate for amateur musicians though he also gained renown through his large-scale works performed at thePromenade Concerts and elsewhere.