Allain Gaussin, a pupil of Olivier Messiaen at the CNSM in Paris, and a veritable alchemist of sound, created a sensual and sparkling work that aims to induce in listeners the sort of ?internal awakening? that the Japanese refer to as Satori ? the title given to a piece for solo clarinet he wrote in 1998. Composed a decade later, Tokyo-City for solo Piano draws on the same inspiration, fuelled by several stays in Japan. Gaussin sets out to reproduce the various sensations he experienced during his walks around the Japanese megalopolis: a fear of being swallowed up by its vastness gives way to a bedazzlement in the face of a buzzing universe awash with harmonies and colours. The work follows a dual symmetrical structure (in terms of register and tempo): after an enigmatic start entrusted to the low notes of the piano, a musical figure gradually emerges from ?floating polyphonies?, producing a veritable toccata which is slowly deformed, like an ana­morphosis. Then, only a glimmering of crystal-clear harmonies remains, and the work ends sparsely on the highest notes of the piano.

Cool Through Styles And Centuries. Par KALLMEYER ULRICH. Cool Cat Piano Goodies - What's that? To begin with, watch as Ulrich Kallmeyer explores various pop idioms in cool pieces conceived for easy to medium difficulty and for contrasting harmonies and rhythms. Such a claim still doesnt do justice to the Goodies, however, since references to the classical tradition shimmer through these pieces. Behind Second Loss is Schumanns Erster Verlust, and the New Solo for Mr. Byrd reaches much farther yet into music history. Other works were influenced by Baroque and Classical forms such as prelude, chorale and rondo. The Goodies leap nimbly through eras and styles and have something to offer both beginning and proficient pianists./ Recueil / Piano

Again Gustavo Beytelmann has taken some of the most beautiful tango music ever written and created his own arrangements for solo piano. His selection of ten pieces shows how varied in compositional style the tango can be and his advice on the various aspects of performance practice and interpretation is just inspiring. Caro Francisco de: Flores negras Alvez Horacio Antonio Castellanos : La punalada Ponzio Ernesto: Don Juan Gardel Carlos: Melodia de arrabal Bardi Agostin: Que noche! Bardi Agostin: Nunca tuvo novio Gardel Carlos: Por una cabeza

Par AYRES RICHARD. A quartet of paintings by the American Mark Tobey that displays expanses of white in various shades provides the inspiration for this solo piano work. The images from the paintings are translated into music that plays off static and dynamic forces, interweaving with sounds reminiscent of a Javanese gamelan. / Date parution : 2006-11-20/ Répertoire / Piano

A must have for all pianists seeking a creative approach to developing left and right hand coordination. The exercises and solos (based on the chord changes to well-known standards) are rhythmic, colorful, and fun to play. The chapters cover six specific areas of left hand development and left/right hand integration, with practical application from standard jazz tunes in the form of musical solo piano pieces. This book will definitely be an essential part of your practice routine. Besides improving your hand coordination, it will challenge you to think differently about it. All of the concepts are easily applicable to the real world. Highly endorsed! Pianist Emiko Hayashi has written a very comprehensive, challenging yet very accessible method book. With exercises designed for left hand alone and exercises designed to develop interplay between the hands, I wholeheartedly recommend this book. I\'ve already started practicing! - Kenny Barron In Etudes for Jazz Piano Emiko Hayashi illuminates a challenge that faces scores of jazz pianists at all levels; that of integrating the left hand in improvisation in a meaningful way, not only as an accompanist, but as an integral part of the whole. By taking various jazz standards and creating etudes specifically for the left hand as well as for developing coordination and the conversational aspects between the left and right hands, Ms. Hayashi illustrates many possibilities for expanding one�s technical and expressive range. I would think this set of etudes would be extremely useful to jazz pianists at any stage of development since the obvious outcome of the study will improve one�s ability to play melodically and expressively throughout the keyboard, without regard to the traditional roles of the left and right hands. - Todd Coolman It is understood that all musicians must play piano. Emiko\'s book fills a void for non-pianists addressing specific technical problems which will help towards being able to use the piano to improve and enlarge one\'s playing and composing, no matter what instrument you play. This is a hands-on book directed towards immediate results. - David Liebman

from opus 170 - Edizione a cura di Luca Ciammarughi. Par CASTELNUOVO-TEDESCO MARIO. Mario Castelnuovo Tedesco composed 52 Greeting Cards for various instruments between 1953 and 1967, collectively catalogued as opus 170, which he developed in a non-systematic manner up to the year before his death. These pieces were conceived as gifts for his interpreters and students, whom the author meant to gratify with these pleasant little vignettes. Composed between 1953 and 1964, the 18 Greeting Cards for piano (17 for piano solo and 1 for two pianos) represent a point of equilibrium between experimentation and tradition. In the same series : Greeting Cards for guitar, critical edition by Frédéric Zigante (NR 141936)/ Répertoire / Piano

Piano solo / Divers compositeurs , Various composers / Version facile / Arrangement : Hans Günther Heumann