SKU: PR.11641861SP
UPC: 680160685202.
What?! - my composer colleagues said - A concerto for the piano? It's a 19th century instrument! Admittedly we are in an age when originally created timbres and/or musico-technological formulations are often the modus operandi of a piece. Actually, this Concerto began about two years ago when, during one of my creative jogs, the sound of the uppermost register of the piano mingled with wind chimes penetrated my inner ear. The challenge and fascination of exploring and developing this idea into an orchestral situation determined that some day soon I would be writing a work for piano and orchestra. So it was a very happy coincidence when Mona Golabek phoned to tell me she would like discuss the Ford Foundation commission. After covering areas of aesthetics and compositional styles, we found that we had a good working rapport, and she asked if I would accept the commission. The answer was obvious. Then began the intensive thought process on the stylistic essence and organization of the work. Along with this went a renewed study of idiomatic writing for the piano, of the kind Stravinsky undertook with the violin when he began his Violin Concerto. By a stroke of great fortune, the day in February 1972 that I received official notice from the Ford Foundation of the commission, I also received a letter from the Guggenheim Foundation informing me I had been awarded my second fellowship. With the good graces of Zubin Mehta and Ernest Fleischmann, masters of my destiny as a member of the Los Angeles Philharmonic, I was relieved of my orchestral duties during the Hollywood Bowl season. Thus I was able to go to Europe to work and to view the latest trends in music concentrating in London (the current musical melting pot and showcase par excellence), Oslo, Norway, for the Festival of Scandinavian Music called Nordic Days, and Warsaw, Poland, for its prestigious Autumn Festival. Over half the Concerto was completed in that summer and most of the rest during the 72-73 season with the final touches put on during a month as Resident Scholar at the Rockefeller Foundation's Villa Serbelloni in Bellagio, Italy. So much for the external and environmental influences, except perhaps to mention the birds of Sussex in the first movement, the bells of Arhus (Denmark) in the second movement and the bells of Bellagio at the end of the Concerto. Primary in the conception was the personality of Miss Golabek: she is a wonderfully vital and dynamic person and a real virtuoso. Therefore, the soloist in the Concerto is truly the protagonist; it is she (for once we can do away with the generic he) who unfolds the character and intent of the piece. The first section is constructed in the manner of a recitative - completely unmeasured - with letters and numbers by which the conductor signals the orchestra for its participation. This allows the soloist the freedom to interpret the patterns and control the flow and development of the music. The Concerto is actually in one continuous movement but with three large divisions of sufficiently contrasting character to be called movements in themselves. The first 'movement' is based on a few timbral elements: 1) a cluster of very low pitches which at the beginning are practically inaudibly depressed, and sustained silently by the sostenuto pedal, which causes sympathetic vibrating pitches to ring when strong notes are struck; 2) a single powerful note indicated by a black note-head with a line through it indicating the strongest possible sforzando; 3) short figures of various colors sometimes ominous, sometimes as splashes of light or as elements of transition; 4) trills and tremolos which are the actual controlling organic thread starting as single axial tremolos and gradually expanding to trills of increasingly larger and more powerful scope. The 'movement' begins in quiescent repose but unceasingly grows in energy and tension as the stretching of a string or rubber band. When it can no longer be restrained, it bursts into the next section. The second 'movement,' propelled by the released tension, is a brilliant virtuosic display, which begins with a long solo of wispy percussion, later joined in duet with the piano. Not to be ignored, the orchestra takes over shooting the material throughout all its sections like a small agile bird deftly maneuvering through nothing but air, while the piano counterposes moments of lyricism. The orchestra reaches a climax, thrusting us into the third 'movement' which begins with a cadenza-like section for the piano. This moves gently into an expressive section (expressive is not a negative term to me) in which duets are formed with various instruments. There are fleeting glimpses of remembrances past, as a fragmented recapitulation. One glimpse is hazily expressed by strings and percussion in a moment of simultaneous contrasting levels of activity, a technique of which I have been fond and have utilized in various fixed-free relationships, particularly in my Percussion Concerto, Contextures and Games: Collage No. 1. The second half of the third 'movement; is a large coda - akin to those in Beethoven - which brings about another display of virtuosity, this time gutsy and driving, raising the Concerto to a final climax, the soloist completing the fragmented recapitulation concept as well as the work with the single-note sforzando and low cluster from the very opening of the first movement.
SKU: HL.48025032
ISBN 9783793143017. UPC: 196288019961. 9.0x12.0x0.064 inches.
Grasshoppers was written in 1956 during Mamlok’s studies at the Manhattan School. She balances a variety of moods, textures and tempi in six brief movemenm of a divertimento-like character that are thematically unified by the use of melodic fourths and scurrying chromatic figures. The second movement, Night Serenade, is a poignant siciliano, the fourth movement a bitonal Minuet, while the fifth movement, In the Army, is a humorous march. The third movement, In the Rain, is the most virtuosic of the set. Grasshoppers concludes with Hurrying Home, a rapid, often bitonal waltz. Marnlok orchestrared Grasshoppers in 1957. lts 1958 orchestral premiere, by Carl Bamberger and the Süddeutsches Rundfunkorchester, was one of the first important performances of her music. (Barry Wiener).
SKU: HL.50487761
ISBN 9790080141113. Bach (23 x 30,2 cm) inches. Hungarian. Janos Gonda.
This comprehensive, pedagogical work by Janos Gonda, the renowned jazz pianist, composer and teacher, introduces musicians to the secrets of improvisation. While the second and third volumes of the three-volume set deal mostly with the genre of jazz, this first volume presents the most basic methods of musical improvisation. It was written specifically for music school teachers and those familiar with classical music. It is intended primarily - but not exclusively - for pianists, therefore it can also be used by other instrumentalists and singers.
SKU: ST.Y236
ISBN 9790220221934.
1st complete perf: Catherine Gordeladze, The Gasteig, Munich (Winners & Masters Series), 21 April 2007 Ideal for confident young pianists keen to explore cutting-edge new music, the second book of Strides by Morgan Hayes adds five more distinctively original miniatures to the three 'fugitive visions' already published in Strides Book 1. Propulsive rhythm and melody mark out turbid expressive territory in the first two pieces, while the third Stride explores 'glacial' octaves, and the fourth and fifth add new fantasy to a Bach sarabande and a chaconne. Specific technical challenges in each piece test the reflex and stamina of players of Grade 6 standard and above, who will also enjoy the impressive virtuoso impact Strides deliver in performance.
SKU: HL.645879
ISBN 9781936098231. UPC: 008148007639. 9.0x12.0 inches.
This book offers a unique approach to classics for the piano student. Familiar themes by classic composers are presented in two, and sometimes three sections forming a medley. In the first section, the theme is arranged in traditional style with the second and third sections written in contrasting and embellished versions. Students will enjoy the stylistic changes and subtle humor that makes these pieces fun to play. This collection is for level 3 piano students.
SKU: HL.645878
ISBN 9781936098224. UPC: 008148007622. 9.0x12.0 inches.
This book offers a unique approach to classics for the piano student. Familiar themes by classic composers are presented in two, and sometimes three sections forming a medley. In the first section, the theme is arranged in traditional style with the second and third sections written in contrasting and embellished versions. Students will enjoy the stylistic changes and subtle humor that makes these pieces fun to play. This collection is for level 2 piano students.
SKU: HL.645880
ISBN 9781936098248. UPC: 008148007646. 9.0x12.0x0.108 inches.
This book offers a unique approach to classics for the piano student. Familiar themes by classic composers are presented in two, and sometimes three sections forming a medley. In the first section, the theme is arranged in traditional style with the second and third sections written in contrasting and embellished versions. Students will enjoy the stylistic changes and subtle humor that makes these pieces fun to play. This collection is for level 4 piano students.
SKU: ST.C463
ISBN 9790570814633.
This volume contains contrasting works by Federico Ruiz spanning quite a large and rich period of his compositional output that goes from his early Micro-Suite (1971), to lilting, sweet and rhythmic Venezuelan waltzes passing by the mysterious, intimate, and intense Nocturno (1994) plus pieces originally composed for film, and theatre. Real eclecticism in styles, moods and atmospheres that show Ruizâ??s talents and scope.The Nocturno is a deep, intriguing, substantial piece presenting a satisfying length which moves from different paths of the mind and the heart written in an abstract, chromatic idiom, that does not dissociate itself from the Venezuelan waltz and the joropo. One could perhaps say that there is a deconstruction of the latter. For the interpretation, the composer has suggested to me that it is allowed to have some flexibility in the tempo. Ruiz kindly dedicated it to me, and I have had the pleasure of performing it in many concerts.Although all highly expressive, the Three Venezuelan Waltzes present in this collection as well as the piece titled Aliseo, are works that are close to the colourful Venezuelan folk tradition. Federico Ruiz had given me two of them when we first met: â??Tu Presenciaâ?? (1981) and â??EloÃsaâ?? (1989) and then I attended a performance of the play â??Office Number Oneâ?? by Miguel Otero Silva with a fantastic actor, Elba Escobar in the role of Carmen Rosa and, I just fell in love and was very moved by the incidental music that I later discovered, by reading the programme, had been written by Federico Ruiz. Later that evening, I called him and asked to please make a piano score of the composition, so I could have the desired piece in my hands. That is how â??Carmen Rosaâ? waltz (1987) came to exist in a piano version.â??Eloisaâ?? is another Venezuelan waltz with more jazzy harmonies where precision in the rhythm and elegant playing is also essential, as it is in most of his pieces.â??Tu Presenciaâ?? was dedicated to his mother, Margarita. It is written with the structure of the Venezuelan waltz, which consists of a nostalgic subject that leads to a faster, happier middle section where the typical graceful rhythm is given by the left-hand accompaniment figure of a dotted crotchet followed by a quaver and a crotchet.The craft and magic found in the five movements of the Micro-Suite is based on a dodecaphonic row by Ernst Krenek. They remind us of the idiom of the Second Viennese School. These real miniatures seem to tell short stories. The â??Preludioâ?? is full of humour. I imagine dancing figures given by the jumps all over the keyboard and extreme dynamics; the phrases give the impression of a conversation with many questions and answers. The â??Invenciónâ?? is a kaleidoscopic piece where the hands mirror each other. The â??Passacagliaâ?? is the longest movement, at just over a minute where the prime motif is repeated three times on the bass line. For its construction Federico Ruiz uses as well the retrograde and the retrograde inversion of the twelve-tone series. It must be played expressively with dynamic contrasts between pianissimo and louder events. The â??Scherzoâ?? has repetitive motifs of a minor third in both hands and the â??Finalâ?? displays virtuosic passages for the pianist.Aliseo was originally written for the film â??Aire libreâ? (1995), by Luis Armando Roche. It contains elements of diverse types of Venezuelan joropo. In the film, the character of Aliseo Carvallo is played by the composer himself who performs this piece on a harpsichord to welcome scientists Alexander von Humboldt and Aimé Bonpland one day at the turn of the 1800â??s, as a sample of the new music from the South American land. It presents the refinement of the late European classical era in fusion with Venezuelan folk music.
SKU: BT.EMBZ14111
Hungarian.
This comprehensive, pedagogical work by János Gonda (1932-2021), the renowned jazz pianist, composer and teacher, introduces musicians to the secrets of improvisation. While the second and third volumes of the three-volume set deal mostly with the genre of jazz, this first volume presents the most basic methods of musical improvisation. It was written specifically for music school teachers and those familiar with classical music. It is intended primarily - but not exclusively - for pianists, therefore it can also be used by other instrumentalists and singers.
SKU: FG.55011-630-6
ISBN 9790550116306.
Erkki Melartin's six-movement Per speculum in enigmatae suite op. 93 for piano is published for the first time. The Latin title of the suite means Through a glass, darkly. Melartin probably compiled it from non-related pieces composed at different times. The biblical heading maybe has a spiritual rather than a religious connotation, though some of the movements - and the title - are programmatic. The first movement, Katedralen (The Cathedral), was possibly inspired by the architecture of Bruges (Brugge). The second movement, Die andere Seite (The Other Side) has expressionistic features, and possibly reflects the influence of Scriabin. In the third movement, Dunkle Traume (Dark Dreams), the chorale-like motifs in the left hand strive upwards, but always fall back again. Movement four, Schwester Namenlos (Sister Nameless is a short cameo in 5/4 time. Erinnerung is a Late-Romantic mood piece with unconventional phrasings. Melartin later expanded the early version of late 1913 with the closing Weihnachtsglocken (Christmas Bells).
SKU: AP.48700
ISBN 9781470643935. UPC: 038081559773. English.
The four movements of Great Smoky Mountains take the listener on a visit to scenic panoramas throughout the national park. The first movement, Great Smoky Mountain Splendor, captures the vibrant colors of the fall foliage with grand gestures that span the range of the keyboard. In Towering Mount Mitchell, the second movement, an expressive legato right-hand melody, with interesting harmonic support in the left hand, captures the summit with its forest and plants. The third movement, Ballad of Cades Cove, is in the key of A minor with melodic interest in both hands and depicts the historic buildings in this green valley. A left-hand ostinato figure in the fourth movement, The Potter's Wheel, represents the turning of the wheel when skilled local craftsmen create ceramic wares.
SKU: HL.14041307
ISBN 9788759819333. 10.25x14.5x0.052 inches.
Waterways (Vandveje) - Three Pieces for Piano by Per Nørgård (2008-09).
Written for Anne Marie Fjord Abildskov.
Preface / Programme NoteThe three small piano pieces collectively called WATERWAYS was composed in 2008-2009 for Anne Marie Fjord Abildskov and they are dedicated to her.You will hear traces of earlier piano works of mine – GROOVING from 1968 and ACHILLEUS AND THE TORTOISE from 1983 – in these new pieces.
The first movement is characterized by echo-like sounds, which also appear in GROOVING. Semitones are overlayered and soundsimultaniously, and then they are muted one by one to give a reminiscence of the initial sound. In this new movement an extra echo is added, like an extra skim of the stoneacross the water surface – three skims, actually.
In the second movement you may hear traces of ACHILLEUS AND THE TORTOISE. The left and right hand both play arpeggio-like scale patterns. The music is shimmering, like a moiré on a water surface, with constantly changing, very short durations.In the third movement the pattern of irregular durations is maintained and expanded, but only in fragments – and you may catch a glimpse of a new melody emerging.
Per Nørgård
SKU: B7.B770
8.5x11 inches.
Scherzi for Piano by Allen Molineux - These miniatures are 6 different ways of looking at the scherzo genre. The first deals with allowing the performer to freely play the material. The second, at times, hints at a jazz-like swing style. The third is a special kind of quodlibet in that it uses snippets of well-known scherzi for piano and also for orchestra with numerous appearances of the Chopin Scherzo No. 2 holding it all together, while some actually interact with each other. For example, Brahms, Clara and Robert Schumann do get in a bit of a tangle and Bruckner seems to be at odds with the early Romantics of Beethoven and Schubert. The fourth is a conversational contrast between herky-jerky and groove motion. The fifth, which is the briefest, is a contest between a short staccato figure and an ever-expanding legato one. The final scherzo is a distorted ragtime piece where the left hand avoids the typical march-like accompaniment pattern. (9'50) Grade V.
SKU: BT.EMBZ12913
English-Hungarian.
The third piece from Liszt's Grandes Études de Paganini presents an especially formidable technical challenge to performers. Based on the finale movement of Paganini's Violin Concerto in B minor, La campanella was dedicated to Clara Schumann. Liszt first had the opportunity to witness the famous violin virtuoso's playing at a concert in Paris in 1832, and it inspired the young Liszt to obsessively pursue his own music through practice and intensive study of literature and arts. As a result, Liszt composed his six transcendent études that made up the piano cycle Études d'exécution transcendante d'aprés Paganini for a time, Liszt himself was the only one capable ofperforming them. In addition to the final version of the third étude, the present edition includes its earlier version in the appendix.This publication contains not only musical scores of excellent quality, but also a detailed foreword in English and German as well as critical notes in English.
SKU: BT.EMBZ8767A
English-German.
This volume marks the 40th volume of Liszt's published piano works for two hands. The free arrangements and fantasies created in the second half of the 1830s accurately represent the composing skills of the already mature, celebrated piano virtuoso that Liszt was by that time. The themes of Trois morceaux de salon (the first work of this volume) are derived from Swiss and Spanish melodies in the first two movements, respectively. The third movement, on the other hand, quotes Giovanni Pacini's opera Niobe. Following this ''trilogy'' melodies from Bellini, Donizetti, Meyerbeer, and Mercadante's major operas appear. Examples include reminiscences and fantasies based on Ipuritani, Lucia di Lammermoor, Les Huguenots, and Il giuramento. To the best of our knowledge, the latter has not appeared in print anywhere so far.
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