SKU: SU.50018110
Copyright 1984. Published by: Seesaw Music.
SKU: HL.49047113
ISBN 9781705189269. UPC: 842819117520. 0.096 inches.
The final movement of the Sonata in A major K. 331 by Wolfgang Amadeus Mozart, the Rondo Alla Turca, is one of the most famous pianopieces of all. Once reserved for all music connoisseurs, later played by every piano student, its opening melody, alienated like a sine tone, is now omnipresent even as a mobile phone ringtone. The arrangement by Fazil Say, created as an effective encore, builds on this popularity. Mounted on the still recognizable classic basic level, typical jazz elements such as syncopation of the top tones and embellishment with chromatic blue notes, embedded in sometimes frenzied chains of sixteenth notes, are found - after the first eight bars have been presented originally. In accordance with the improvisational character, Say himself likes to perform his Alla Turca Jazz in other combinations, for example with the accompaniment of jazz singers or with an orchestra. Perhaps it is surprising that Fazil Say, who was born in Turkey and lives there when not on tour, does not trace Mozart's adaptation of genuinely Turkish music closer to its origins, since many of his compositions such as Black Earth or the Violin Sonata are characterized by a subtle touch Combination of classic-romantic tradition, Turkish folk music and jazz elements. In another Mozart arrangement, the ballet music Patara, which premiered in Vienna in 2006, but now composed on the rococo-esque (and almost equally popular) theme from the first movement of the same A major sonata, Say still has the connection denied to the Alla Turca, albeit inthe opposite direction. In distinctive chamber music instrumentation, the piano stands for Western culture, the ney flute for that of the Orient, atmospherically conveyed by sparse percussion and vocalises by a soprano.
SKU: HL.14023265
ISBN 9788759810866. Danish.
From the preface:
The aim of the publication of these four-handed piano compositions is to fill a void within the sphere of sight-reading(and almost sight-reading) at the beginner and intermediate level. These three volumes together contain 36 Nordic folk songs from Denmark, Norway, Sweden, Finland and theFaroe Islands. The selection is based first and foremost on their being well suited to the instrumental expressivepossibilities of the piano, and being good representatives of the rich and atmospheric Nordic musical heritage.When one practises sight-reading on one’s own it is tempting to stop as onegoes along, because the desire to playthe correct notes is often given priority at the expense of the rhythm and expression.Music without an organic pulse will leave the player with an unsatisfactory feeling of stress and failure, and thestream of thought will not form part of a natural flow. Good sight-reading training is therefore ensemble playing,where the teacher supports the pulse and rhythm.In many other publications of four-handed duets the secundo part is written in two bass clefs, and the primo part in twotreble clefs. Reading this untrained combination of clefs, along with the stressful fact that the music has never beenseen nor heard before, can confuse the pupil.In volumes 1 and 2 the secundo part, which is intended for the pupil, is therefore notated in a treble clef and bassclef, as piano music for two hands is usually notated. In volume 3 the degree of difficulty is more varied, but in mostof the pieces improvisation is an interposed element in the primo part, being therefore a good challenge for the pupil.In the improvisatory sections a chord or a scale is notated. These can form the tonal starting point, but here too thepupil is encouraged to experiment with, for example, the shift between major and minor thirds, and between the high andlow sixth and seventh.
SKU: BR.EB-8835
Jussim takes us to cities that have become famous through their music, or, more precisely, through their rhythms.
ISBN 9790004183991. 9 x 12 inches.
Many cities around the world are celebrated for their unique beauty, their breathtaking sights or their historical significance. These elements also often go hand in hand. What is much less frequent is to showcase a city from the perspective of its music. This is precisely the path taken here by Stadte und Rhythmen on its journey to cities that have become famous through their music, or, more precisely, through their rhythms, and from where dances such as the polka, the waltz, the tarantella and others began their triumphant march through music history. Igor Jussim, known for his Blues Collection (EB 8718), fashions the pieces in Stadte und Rhythmen after characteristic patterns. He highlights the selected rhythms in a musical idiom and form that encourage the players access to these rhythms. Igor Jussim livre des morceaux originaux qui ne manquent pas de dynamisme. (Pianiste)Jussim takes us to cities that have become famous through their music, or, more precisely, through their rhythms.
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