SKU: HL.50512311
SKU: BT.EMBZ5411A
English-German.
The history of Liszt's intensely virtuosic and unwaveringly popular Transcendental Etudes dates back to his 12 Etudes which was composed around 1826. Liszt later reworked 11 pieces of this not-so-technically-difficult series into virtuoso concert etudes, and replaced one of the etudes with a new piece. This version was published in 1837 under the name Grandes études. However, Liszt reworked these 12 ''big'' etudes again: the final version of the series - in which, with two exceptions, the pieces were titled - was published in 1851 under the series title Études d'exécution transcendante. Transcendental Etudes was the very first volume of the New Liszt Complete Critical Edition, andit was first published in 1970 based on the previous editions of the work. This edition includes footnotes highlighting common performance difficulties as well as English and German forewords, facsimiles, and critical notes in English.
SKU: HL.50602841
ISBN 9781848671430.
SKU: HL.48025042
ISBN 9781705154212. UPC: 196288021711.
The work, which the composer counts among her favourite pieces, was inspired by the life and work of Marguerite Duras. In her play of the same name, a Flemish woman goes to Saigon at the beginning of the 20th century, marries a civil servant and has two children.After her husband's death, she also works as a piano player at the local 'Eden Cinema'. Eden Cinema, which is 'to be played like a traditional piano piece from the Romantic period' according to the composer, sounds poetic, but also cool, funny and extremely modern. Motif repetitions and ostinatos play a major role, as they do with Duras. In addition, quotations appear, literal ones from Beethoven's Hammerklavier Sonata as well as vague echoes of dance rhythms and commonplace music as used in silent film theatres. Thepreparation of the piano strings - metal parts on the high ones, rubber pieces on the low ones - creates a tonal patina and the impression of the past - 'in connection with Duras also recognizable as traumas sedimented in the subconscious, whose indistinct traces obsessively push to the surface' (Eckhard Weber).
SKU: BT.BWH004576
Joan Last’s Rhythmic Reading: Book IV is a preparatory work for Grade 4 Piano examination that acknowledges the large differences between work at Grades 3 and 4. The book includes twenty-eight short pieces and preparatorystudies, which cover Independence of Hands, Slurs, Leger lines, Tied Notes in Chords, Dotted Quavers, Change of Clef, 6/8, 6/4 and 9/8 Time, Flowing Accompaniment and more.Last’s goal is to prepare the student thoroughly for therhythmic demands of the Grade 4 exam. Her authoritative and commonsensical tone, gained from her own early solo career and her years as a teacher at the Royal Academy of Music, shines through this very practical publication.
SKU: BT.BWH004512
English.
Joan Last’s Rhythmic Reading: Book III is a preparatory work for Grade 3 Piano examination. The book includes forty short pieces and preparatory studies, which cover Sight Reading, Fingering, Part Playing, Accidentals, clappingrhythms, Semiquavers, Dotted Crotchets and Anacrucis. Last’s goal is to prepare the student thoroughly for the rhythmic demands of the Grade 3 exam. Her authoritative and commonsensical tone, gained from her own early solo careerand her years as a teacher at the Royal Academy of Music, shines through this very practical publication.
SKU: B7.B103
8.5x11 inches.
Inspired by the visual variations that Pablo Picasso painted in 1957 on Velasquez' 1656 masterpiece commonly known as Las Meninas. Several different musical styles are employed during this Theme and 21 Variations in a manner analogous to the stylistic changes Picasso effected from one painting to the next.
SKU: AP.36-60760005
ISBN 9798888521670. UPC: 676737910259. English.
Hungarian composer, pianist and ethnomusicologist Béla Bartók (1881-1945) wrote this collection of five fairly difficult piano pieces in 1926, his 'piano year.' Although often referred to as a suite, IM FREIEN (OUT OF DOORS) appears to have not been thought of as a suite by Bartók himself. The work is a rarity also in that Bartók's works did not commonly use programmatic titles: 1. With Drums and Pipes, 2. Barcarolla, 3. Musettes, 4. Musiques Nocturnes, 5. The Chase.
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