SKU: BT.EMBZ14888
English-Hungarian.
Aulos to a certain degree continues Orbán's easy piano pieces for children, which he composed for Ãgnes Lakos's piano tutor and which Editio Musica Budapest published in a separate volume entitled Enchanted Forest in 2011 (Z. 14742). Yet on this occasion the composer took on something which was both significantly different and more than his earlier pieces for children. On the one hand, he did not compose for beginners but for more advanced students who have studied piano for at least three years. On the other, he did not set developing the technique of piano playing as an aim, rather a systematic presentation of different polyphonic genres and compositional procedures(imitation, fugue, stretto, inversion, augmentation and diminution, double counterpoint, latent polyphony, double and triple fugue, cantus firmus technique, etc.). Orbán introduces his students to the mysteries of polyphony in a direct and practical manner, and thus actually makes them familiar with the art of composition.The educational use of the series is significantly increased by the fact that before each piece the composer presents and clarifies with demonstrative illustrations the polyphonic procedure he introduces. Orbán's explanations are not text-book-like at all, but are deliberately personal and subjective, full of lessons and individual associations taken from his practice as a composer. They were written in the same spirit as the works themselves - while they perfectly fulfil their educational purpose they are equally individual, witty and inspired pieces of music that are a joy to play. Aulos is composed for more advanced students who have studied piano for at least three years. Aim is a systematic presentation of different polyphonic genres and compositional procedures (imitation, fugue, stretto, inversion, augmentation anddiminution, double counterpoint, latent polyphony, double and triple fugue, cantus firmus technique, etc.). The educational use of the series is significantly increased by the fact that before each piece the composer presents and clarifies withdemonstrative illustrations the polyphonic procedure he introduces. Orbáns explanations are not text-book-like at all, but are deliberately personal and subjective, full of lessons and individual associations taken from his practice as a composer. They were written in the same spirit as the works themselves - whilethey perfectly fulfil their educational purpose they are equally individual, witty and inspired pieces of music that are a joy to play.
SKU: HL.50603329
ISBN 9781540091710. UPC: 840126918823. 9.0x12.0x0.073 inches.
Duration: 12:30. Premiere: 11 November 2006. Joel Fan, piano. Cambridge, MA.
SKU: FH.S51
ISBN 9781554409532.
The Piano Syllabus is the official guide to The RCM Certificate Program from Preparatory A through Level 10, plus the Associate and Licentiate Diploma levels. Extensive repertoire lists from all eras provide the flexibility to design individualized short- and long-term lesson plans that meet the needs of every student. Carefully sequenced musicianship and technical requirements make the syllabus an essential resource for preparing students for examinations of The RCM Certificate Program.
SKU: HL.14006472
ISBN 9780711922938. 9.0x12.0x0.109 inches.
The twelve pieces range in standard from approximately Grade One to Grade Four, and three of the titles have been set on the Piano Syllabuses of the Associated Board of the Royal Schools of Music.
SKU: HL.48025368
UPC: 196288194293.
Simon Laks (1901-1983), who moved from Warsaw to Paris in 1926 at the age of 25, belonged to the large group of composers from Central and Eastern European countries who went down in 20th-century music history as the “École de Parisâ€. Slavic temperament amalgamated in their music with French esprit, the folklore of their native countries combined with the stylistic elements of neoclassicism and jazz typical of the time. As a member of the “Association of Young Polish Musiciansâ€, Laks quickly made his way into French musical life. However, his career was ended with the beginning of World War 2 due to the collaboration of the Vichy government with Nazi Germany. Internment in 1941 was followed by deportation to Auschwitz in 1942. Laks survived the Shoah as a member and later leader of a camp band in Birkenau, which he testified to in his moving book Music in Auschwitz. After the traumatic experiences, Laks did not return to regular compositional activity until the 1960s, producing an opera, songs, and chamber music works, some of which were awarded important composition prizes. At the peak of this optimistic creative phase, he composed incidental music for Peretz Hirschbein's famous Yiddish comedy Dem Schmids Techter (The Blacksmith's Daughters), which premiered in New York in 1918, for a new production of the play at the Théâtre de lÂ’Entrepôt in Paris. Along with Prokofiev's Overture on Hebrew Themes and Shostakovich's cycle From Yiddish (Jewish) Folk Poetry, it is one of the most significant 20th-century explorations of art music with Jewish folklore – homage to a culture irreparably destroyed. From the original score, Holger Groschopp compiled two suites, for violoncello and piano and piano solo, that capture the essence of Lak's enchanting drama music. The premiere recording of the suites with Holger Groschopp and Adele Bitter was awarded the Opus Klassik 2023 in the category Editorial Achievement of the Year.
SKU: PR.114416440
UPC: 680160620333. 9 x 12 inches.
Songs of Love and Loss was originally written for bass voice and piano, and premiered by Bryan Matthews at Juilliard in 1984. Subsequently in 2004, I arranged the work for Bass Trombone and Piano for Charlie Vernon, who premiered the work at the International Trombone Association Festival at Ithaca College. The poetry of Edna St. Vincent Millay, with her beautiful, sometimes enigmatic, and always evocative poetry was the inspiration for the four songs of this cycle. (Eric Ewazen).
SKU: PR.111402630
UPC: 680160641789. Edna St. Vincent Millay.
SKU: ET.PNO81
ISBN 9790207003256.
L’enfance en éclats 2001 [Childhood Shattered] As its title suggests, Childhood Shattered is program music. A simple and graceful tune, symbolizing childhood, is abruptly interrupted by a horrific, dissonant chord. The tune returns ; but the echo of the chord, still lingering in the background, tells us that the memory of the traumatic event persists. Life has darkened. Nothing is as it was before. The initial melody wanders into keys ever stranger and more distant, ultimately arriving at a new theme, obsessive, with grating seconds and thrusting accents. This shattered childhood and its episodes of aimlessness, will it give birth to new certainties? The piece is an exercise in contrasting detached notes with tied notes. Commissioned by the Association Jeune musique. Required work at the International Piano Competition Freiburg - Jeune Musique, 2002. Toccata (2004) This piece by Caroline Charrière issues from the historical lineage of the toccata, traditionally an exercise of dexterity characterized by repeated musical motifs. The introduction is constructed of subtly displaced upper-register chords in the right hand that alternate with two lower notes in the left hand, creating an almost meditative preamble. In the rapid section of the piece, the performer playfully exploits the keyboard's full breadth in the course of spirited dialogues between notes high and low. Commissioned by the Association Jeune Musique. Required work in Category IV at the International Piano Competition Freiburg - Jeune musique, 2004. Irène Minder-Jeanneret.
SKU: BT.EMBZ14898
Aulos to a certain degree continues Orbán's easy piano pieces for children, which he composed for Ãgnes Lakos's piano tutor and which Editio Musica Budapest published in a separate volume entitled Enchanted Forest in 2011 (Z. 14742). Yet on this occasion the composer took on something which was both significantly different and more than his earlier pieces for children. On the one hand, he did not compose for beginners but for more advanced students who have studied piano for at least three years. On the other, he did not set developing the technique of piano playing as an aim, rather a systematic presentation of different polyphonic genres and compositional procedures(imitation, fugue, stretto, inversion, augmentation and diminution, double counterpoint, latent polyphony, double and triple fugue, cantus firmus technique, etc.). Orbán introduces his students to the mysteries of polyphony in a direct and practical manner, and thus actually makes them familiar with the art of composition. The educational use of the series is significantly increased by the fact that before each piece the composer presents and clarifies with demonstrative illustrations the polyphonic procedure he introduces. Orbán's explanations are not text-book-like at all, but are deliberately personal and subjective, full of lessons and individual associations taken from his practice as a composer. They were written in the same spirit as the works themselves - while they perfectly fulfil their educational purpose they are equally individual, witty and inspired pieces of music that are a joy to play. The volumes and the CD are also available separatly.
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