SKU: HL.285230
UPC: 888680908737. 9.0x12.0x0.264 inches.
'Flee the storms.' Reynaldo Hahn (1874-1947) put this motto of classical artists at the heart of his music for piano four hands, preferring the balance of proportions to the roar of passions, the eclecticism of good taste, charm and delicacy. Berceuses falls within the French tradition of children's music such as illustrated by Faure's Dolly and Ravel's Ma mere lOye. These seven pieces evoke with refinement the happiness of a cloudless day, the effervescence that reigns on Christmas Eve, or the gentle syncopated rocking of a young Creole, Selfiana. The Variations pueriles sur une melodie de Carl Reinecke manifest a free, whimsical vein, whereas the Trois preludes sur des airs irlandais drink at the pure sources of folk music, borrowing their thematic material from the famous collection Songs of Old Ireland which Stanford had brought out in 1882. Published for the first time from ahandwritten score, the Variations sur un theme de Charles Levade end with a wild quadrille that takes the heroes of the celebration to the nearest inn. The Piece en forme daria et Bergerie from 1896, finely polished, takes up with the ambiance of the pastorale, popular in the 17th century.
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.
SKU: HL.49019354
ISBN 9790001187527. UPC: 888680697372. 9.0x12.0x0.182 inches.
On Christmas Eve 1950, the Italian Radio broadcast a radio play based on Adalbert Stifter's novella Rock Crystal. The music was written by Nino Rota, the translation was made by Gabriella Benci and Ippolito Pizzetti (the son of the composer Ildebrando Pizzetti, one of Rota's teachers). Here, too, the duo carefully edited the existing piano version. With these two pieces, the piano duet repertoire has taken on a whole new colour, and both performers and listeners can plunge into the atmosphere of Rota's film music. Contents: I Allegretto, con intimo fervore * II Andante con moto * III Andantino * IV Andante immobile * V Allegro * VI Lento, non troppo * VII Allegro * VIII Andantino mosso * IX Mosso e leggero, appena rubato * X Andante sostenuto * XI Allegretto agitato * XII Grandioso * XIII Allegretto.
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.
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