SKU: HL.14027889
ISBN 9788759851753. 8.25x11.75x0.06 inches. English.
Without A Title Op.72 is a 1972 work for Accordion by Danish composer, Poul Rovsing Olsen, dedicated to Mogens Ellegaard.
SKU: HL.48024908
UPC: 840126931631.
The pragmatic title hides a real challenge to the rhythmic and technical skills of the interpreters. Created in close collaboration with the Finnish accordionist Janne Rattya (professor at the University of Music and Dramatic Arts in Graz), this work takes the instrument, which is mostly based on folklore-related genres, into an abstract, atonal sound world. There are two versions to choosefrom, which reach the limits of written music without losing any of their emotional depth or melodic singing.
SKU: HL.49045119
ISBN 9783795744472. 9.25x12.0x0.212 inches.
Akkordeon spielen - mein schonstes Hobby is a practical method that aims at young people and adults who wish to get to know the whole multifaceted world of accordion music. Suitable for beginners and false beginners.After Vol. 1 (ED 20951) and Vol. 2 (ED 20952) of the method, Schott now publishes tune book No. 1 with many beautiful songs and pieces for lessons, ensemble playing at home or auditions. The level of difficulty of the pieces has been adjusted to the progression of the volumes of the method. Many songs come with an accompanying part for the teacher or other accordion players. The enclosed CD serves as an acoustic learning aid and shall motivate the student to practise and play.
SKU: HL.50565820
Born in 1948 in Rome, Philippe Hersant studied music at the Paris Conservatory, notably in the composition class of Andre Jolivet, before residing at the Casa Velasquez from 1970 to 1972 and then at the Villa Medici from 1978 to 1980. Since 1973 he has been a producer for radio broadcasts with France Musiques. Refusing to play tricks with history, Philippe Hersant has forged a language that extends the course of Western music as a whole, and, without ever seeking to establish a school, he was one of the first of his generation to place himself, once more, in the domain of tonality and modality. He does not, for all that, banish all neo-classical tendencies. On the contrary, he champions the mannerism and the deep subjectivity of his memory as sources and guides to creation.
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