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: BR.EB-6775

ISBN 9790004169742. 9 x 12 inches.

This series of easy piano music for teaching purposes presents pupils in the lower and lower middle grades with a carefully chosen selection of well-known and lesserknown compositions by important masters. The volumes are deliberately kept small in extent, since it is more stimulating for children to change the teaching material frequently. In his last years, Mozart composed a large number of German Dances for orchestra. This music for daily use of the time - intended functionally, for dancing and entertainment - is distinguished by enchanting ideas and simple textures. The editor has tried to cany over the instrumental subtleties into the piano-duet writing. These dances are particularly suitable for introducing some relaxation into the learning of the piano, for the interpretative and technical workingout demanded by Mozart's original piano-duet works is not required to the same degree here. The marks of expression have been taken over from the original score and in part supplemented. Notes not marked otherwise are to be played non legato. The technical difficulty of these pieces corresponds roughly to the third and fourth year of study. Heinz Walter, Salzburg, Spring 1977.