SKU: AP.47363
ISBN 9781470641122. UPC: 038081545189. English.
A lyrical melody in the right hand provides an excellent study in shaping phrases. Left-hand patterns include cross-overs and stretches within the hand. The beauty and character of the piece are further enhanced by crescendos, diminuendos, ritardandos, and changes in tempo.
SKU: HL.49019903
ISBN 9790001193917. UPC: 888680623616. 9.25x12.0x0.069 inches.
Maurice Bejart's great admiration for the films of Federico Fellini and their accompanying music prompted the French choreographer to seek the opportunity to collaborate with composer Nino Rota who remained Fellini's musical alter ego throughout his life.The music for Le Moliere imaginaire, a comedie-ballet in two acts in commemoration of the great French dramatist, was created during an extended period in the summer of 1976 when Bejart and Rota had allotted almost a month to be devoted solely to this project.The version of this music for piano originated during the collaborative working phase of the two artists and appears in abbreviated form at the beginning of the ballet when the curtain rises on the first act.
SKU: IG.PM063
9 x 12 in inches.
By Jennifer Castellano. Spectrum, Seven Preludes for Piano was inspired by a work by the American artist, Ellsworth Kelly (b. 1923). The composer writes, When I was a freshman in college, I saw his work entitled Spectrum at the Metropolitan Museum of Art. The work consisted of thirteen large panels, and each contained a different color or shade of color. The first panel was yellow and the last was yellow. To me this work was a visual representation of a chromatic scale played one full octave up the piano keyboard. Five years after the magnificent sighting at the Met, I decided that I wanted to make an audio representation of the seven colors of the rainbow, each represented by a different tonality or pitch center: A being red, B orange, C yellow, D green, E blue, F indigo, and G violet. Spectrum abandons the use of the conventional major-minor key systems and instead uses a scale which the composer invented called the Castellonian Mode. In it's original form the scale is spelled C D E F G G# (or Ab) A Bb C. The sound of this new tonal system exhibits both major and minor-like qualities and yet has a new sonority of its own. The Castellonian Mode was invented in the summer of 2004 and has served as the basis of many of her tonal compositions.
SKU: SU.27040390
Composed during the summer of 2019, the Toccata for Solo Piano was influenced to some extent by the seven early Bach pieces known under the collective title Toccaten. It consists of several contrasting sections juxtaposing running rhapsodic material with recitative and fugal sections. There are two distinct themes that abound throughout: a seven-note aeolian-mode tune that is juxtaposed with a more chromatic one. The latter serves as a countersubject for the former in the Ricercare section before morphing into a double fugue, employing each as a subject, more or less equally. The two aforementioned themes are introduced individually in the opening section of the work.Piano Duration: 18' Composed: 2019 Published by: Hutter Music.
SKU: BR.EB-9246
World premiere: Passau (Festspiele Europaische Wochen), 26. Juni 2016
ISBN 9790004185469. 9 x 12 inches.
In a world of invisible waves: a butterfly is a response to the idea of the butterfly effect: that a small cause can have a disproportionately large effect. Before composing the music I wrote this short poem in order to focus my imagination and help with shaping the most appropriate sonic gestures:In a world of invisible waves: a butterfly Flies into a storm Which it unknowingly created When it took its first flight.This narrative is not literally translated, but maybe you can hear the resonances of delicate flapping and mercurial weather somewhere amid the rippling waves of the music? It is warmly dedicated to Catherine Le Bris. (Christian Mason, 2016) Bibliography: Whittall, Arnold: Questioning the Sound: the Music of Christian Mason, in: The Musical Times 161 (Summer 2017), S. 85-99World premiere: Passau (Festspiele Europaische Wochen), 26. Juni 2016.
SKU: BR.EB-8142
ISBN 9790004175255. 9 x 12 inches.
The Sonata op. 12 is the largest of Sibeliuss piano works. Sibelius may have composed it in the summer of 1893. The second movement comes from a work originally planned for male choir to a text from the Finnisch national epic Kalevala. Something of its character my still have shaped the final outcome, with its restless opening bars, sparkling writing in the pianos high register, the calming homophonic passages, and soothing arpeggio writing. The first public performance took place on April 17, 1895, in the Solennity Hall of Helsinki University. The first edition was published by Breitkopf & Hartel in 1906. Over and beyond the excellent music text, this volumes contains an extensive preface by Sibelius expert Kari Kilpelainen.
SKU: PR.110418160
ISBN 9781491114049. UPC: 680160640393. 9 x 12 inches.
Stacy Garrop began hiking in northern Colorado’s Rocky Mountain National Park in her early 20s. From the start, she was drawn to a jagged stretch of rock formations linking Longs Peak to Pagoda Mountain, at over 13,000 feet. These formations are called the “Keyboard of the Winds,†as their thin, spindly peaks suggest splintered keys of an old, broken piano. Inspired by one particular journey the composer took through the Keyboard of the Winds en route to Pagoda’s summit, this work is a tribute to the Keyboard of the Winds. Its fast, whirling gestures depict swirling clouds above, and the musical high points represent a hiker reaching the peak of Pagoda Mountain. These sections are set in contrast with quiet, introspective material embodying the hiker quietly surveying the grandeur and beauty of the valley below, as well as the soaring pinnacle of Longs Peak overhead.I began hiking in the Rocky Mountain National Park in northern Colorado when I was in my early twenties. RMNP is home to some of the most gorgeous mountains in North America, encompassing 265,000 acres of wilderness, flora, and fauna. Among the park’s numerous summits is Longs Peak, a mountain that is 14,259 feet high (the highest in the region). From my earliest days of hiking, I was drawn to Longs Peak, as well as to a jagged stretch of rock formations that link Longs Peak to Pagoda Mountain (which stands at 13,497 feet). These formations are called the Keyboard of the Winds, as their thin, spindly peaks loosely suggest the splintered keys of an old, broken piano.One summer, I made the ascent to Pagoda Mountain using a route that took me along the right side of the Keyboard of the Winds. My hiking partner and I started up the trail in the pre-dawn hours, and the weather was stormy. Dawn had broken by the time we reached the base of the Keyboard, but its peaks were still surrounded by clouds. As we climbed higher and higher, the Keyboard’s thin spires became visible, along with the top of Pagoda Mountain. We reached the summit of Pagoda, admired the view (what we could see through the clouds), and made our descent.My piece is a tribute to the Keyboard of the Winds. The fast, whirling gestures depict swirling clouds, and the musical high points represent a hiker reaching the peaks of the Keyboard. I have contrasted these sections with quiet, introspective material; these embody the hiker quietly surveying the grandeur and beauty of the valley below (on a cloudless day), as well as the soaring pinnacles of Longs Peak and Pagoda Mountain overhead.
SKU: BT.MUSAM34851
ISBN 9780711904347. English.
The only piano course based throughout on today's popular songs and famous light classics. Easy to follow text and clear demonstration diagrams. Book Four introduces you to the piano pedals which add colour to yourplaying,syncopation, left hand fills, plus songs in the style of Boogie-Woogie, Modern Blues and Rock 'n' Roll. You will also learn to play in several new keys.
SKU: BT.MUSM570208593
English.
Tombeau which takes its title from the central elegy of the work was composed 1966-69. Its form is a series of fairly specific technical studies interspersed with variations. The introduction provides a sort of ‘trailer’, in which each phrase of the theme is punctuated by a brief quote from the ensuing studies (heard in reverse order). This scheme is balanced by that of the finale, which is also punctuated by short ‘flashbacks’. Tombeau was written as a tribute to certain composers for the piano, notably Schumann and Szymanovsky, and to a style of playing that has now become almost ‘historic’. It is also a tribute to our beloved masters, many of them obscure, who made usmusicians. It is therefore, in many senses, a retrospective work, the last of a phase, undertaken just before a fairly drastic re-evaluation of techniques, ideas, and intentions. It is dedicated to Stephen Kovacevich, who commissioned it and gave its first performance on the BBC Third Programme and subsequently at Dartington Hall Summer School.
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