SKU: BT.MUSAM982861
ISBN 9781846090561.
The French superstar with a recording career that stretches from the mid-seventies to the present day. Clayderman's romantic Piano solos and irresistible melodies have enchanted audiences and Piano fans for many years, andthisbook of Piano solos features his best-loved melodies, as well as transcriptions of of his own reworkings of popular classics. Includes Don't Cry For Me Argentina and All By Myself.
This book is speciallyproducedwith Lay-Flat pages that are designed to sit easily at the Piano.
SKU: LM.27280
ISBN 9790230972802.
TRADITIONNEL : Down by the Riverside - BACH : Prelude en fa majeur BWV 927 - BAROUH / LAI : Un Homme et une femme - BEETHOVEN : Pathetique (theme de la Sonate n. 8, Op.13) - BORODINE : Danse Polovtsienne - BREL : Ne me quitte pas - CABREL : Je l'aime a mourir - CARMEN : All by Myself - EBB / KANDER : New York, New York - FRANCK : Les Plaintes d'une poupee - FREED / BROWN : Singin' in the Rain - GAINSBOURG : Elisa - GRIEG : La Chanson de Solveig - HAENDEL : L'Harmonieux forgeron - HANDY : St. Louis Blues - HEUMANN : Piano Dreams - Walking Blues Shoes - JARRE : Chanson de Lara (Docteur Jivago) - JENNINGS / HORNER : My heart will go on (Titanic) - LENNON : Imagine - MANCINI : The Pink Panther Theme (La Panthere Rose) - MASSENET : Aragonaise - MOZART : Cavatine de Figaro - PACHELBEL : Canon - PLANTE / AZNAVOUR : La Boheme - VIVALDI : Le Printemps.
SKU: BR.EB-9253
World premiere of the orchestral version: Stuttgart, January 1, 2018World premiere of the piano version: Mito, June 17, 2017
Have a look into EB 9283.
ISBN 9790004185537. 9 x 12 inches.
Marche fatale is an incautiously daring escapade that may annoy the fans of my compositions more than my earlier works, many of which have prevailed only after scandals at their world premieres. My Marche fatale has, though, little stylistically to do with my previous compositional path; it presents itself without restraint, if not as a regression, then still as a recourse to those empty phrases to which modern civilization still clings in its daily utility music, whereas music in the 20th and 21st centuries has long since advanced to new, unfamiliar soundscapes and expressive possibilities. The key term is banality. As creators we despise it, we try to avoid it - though we are not safe from the cheap banal even within new aesthetic achievements.Many composers have incidentally accepted the banal. Mozart wrote Ein musikalischer Spass [A Musical Jape], a deliberately amateurishly miscarried sextet. Beethoven's Bagatellen op. 119 were rejected by the publisher on the grounds that few will believe that this minor work is by the famous Beethoven. Mauricio Kagel wrote, tongue in cheek, so to speak, Marsche, um den Sieg zu verfehlen [Marches for being Unvictorious], Ligeti wrote Hungarian Rock; in his Circus Polka Stravinsky quoted and distorted the famous, all too popular Schubert military march, composed at the time for piano duet. I myself do not know, though, whether I ought to rank my Marche fatale alongside these examples: I accept the humor in daily life, the more so as this daily life for some of us is not otherwise to be borne. In music, I mistrust it, considering myself all the closer to the profounder idea of cheerfulness having little to do with humor. However: Isn't a march with its compelling claim to a collectively martial or festive mood absurd, a priori? Is it even music at all? Can one march and at the same time listen? Eventually, I resolved to take the absurd seriously - perhaps bitterly seriously - as a debunking emblem of our civilization that is standing on the brink. The way - seemingly unstoppable - into the black hole of all debilitating demons: that can become serene. My old request of myself and my music-creating surroundings is to write a non-music, whence the familiar concept of music is repeatedly re-defined anew and differently, so that derailed here - perhaps? - in a treacherous way, the concert hall becomes the place of mind-opening adventures instead of a refuge in illusory security. How could that happen? The rest is - thinking.(Helmut Lachenmann, 2017)CD (Version for Piano):Nicolas Hodges CD Wergo WER 7393 2 Bibliography:Ich bin nicht ,,pietistisch verformt. Ein Gesprach [von Jan Brachmann] mit dem Komponisten Helmut Lachenmann, in: FAZ vom 7. Juni 2018, p. 15.World premiere of the piano version: Mito/Japan, June 17, 2017, World premiere of the orchestral version: Stuttgart, January 1, 2018, World premiere of the ensemble version: Frankfurt, December 9, 2020.
SKU: PR.114423350
ISBN 9781491135112. UPC: 680160686339.
This stunning addition to the bassoon repertory features dramatic outer movements framing a slow and plaintive aria. Harberg’s program notes put the drama and its crying-out high notes in the context of writing in 2021: “The composition was deeply influenced by disruptive forces unfolding around us. While this unrest made writing difficult at times and brought me to uncomfortable places within myself, the process was also full of unexpected discoveries and musical solutions I never would have found in less troubled times.â€.Connections are all around us. I first met bassoonist Adrian Morejon while writing my Suite for Wind Quintet for the Dorian Wind Quintet in 2017. He and I quickly became fast friends and decided to collaborate on a new piece. Over the next two years, Adrian assembled a phenomenal group of 28 bassoonists from around the world to be co-commissioners. Adrian and I premiered the resulting sonata at the International Double Reed Society’s 2021 Virtual Symposium.The SONATA was composed between January and June 2021. In composing it, my goal was to offer bassoonists a substantial work that would show off the instrument’s remarkable strengths including its athletic agility, gorgeous singing qualities, and enormous range. While I generally avoid being programmatic, this composition was deeply influenced by the disruptive forces unfolding around us. While this unrest made writing difficult at times and often brought me to uncomfortable places within myself, the process was also full of unexpected discoveries and musical solutions I never would have found in less troubled times.I am deeply grateful to Adrian for our collaboration, and to everyone in the consortium for making the SONATA possible.
SKU: HL.49047037
ISBN 9781705182024. UPC: 842819116998. 9.0x12.0x0.123 inches.
My father, Y. “Raghu†Raghunathan, came from India to the U.S. in 1963, followed soon after by my mother Sita. Dad enjoyed a substantial career as a pharmaceutical chemist, but he drew satisfaction from a simple life among family and friends, never allowing professional demands to overshadow his devotion to loved ones. Modest, compassionate, and ardently egalitarian, he was careful not to take anything too seriously, especially himself. He embraced his own ordinariness because it connected him to everyone else; it made him no better or worse than his neighbor, no more or less deserving of friendship or kindness than any of his fellow human beings. He showed us how to live with dignity, compassion, grace, and boundless love. His last piece of advice to me: “Go slow.†Several weeks after his passing, I happened upon a recording of Shostakovich’s 24 Preludes and Fugues, opus 87. I couldn’t understand why at the time, but the sixteenth prelude and fugue took hold of me and would not let go. I completely immersed myself in that piece for ten days, until it became a mystical conduit for something else: in this semi-trance state I produced a prelude and fugue of my own, in prayer (orison) and in praise (upastuti). It shadows Shostakovich’s form, but it somehow expresses my father’s unhurried, loving spirit. I’ve come to believe that he sent me this piece as a blessing. I hope you feel his presence in it as I do. Vijay Iyer.
SKU: BR.EB-9333
World premiere of the piano version: Orleans (8th Int. Piano Competition of Orleans ,,Brin d'herbe), April 14, 2019
ISBN 9790004187975. 9 x 12 inches.
Inspiring Nature These three piano pieces, composed for the ,,Concours, Brin d'Herbe 2019, may be performed separately or as a collection, in which case they should be played in the given order. Though each piece is aimed at a different technical level (I. Elementary, II. Advanced, III. Intermediate), they have a common artistic aim: to connect musical expression with poetic inspiration. In particular, these pieces meditate on the emotional connection between our interior life and the vast and varied landscapes of the natural world all around us. While composing I found myself re-reading Kathleen Raine (one of my favourite poets) and was struck by her statement (in the foreword to her ,,Selected Poems): ,,'Nature-poetry' is not what we write about nature, but rather the language of images in which nature daily speaks to us of the timeless, age-old mystery in which we participate. Nature communicates today what it told the earliest of humankind, and what it will tell future generations when our modern high-rise cities are no more. Meanings, moods, the whole scale of our inner experience, finds in nature the 'correspondences' through which we may know our boundless selves. Nature is the common, universal language, understood by all. What she says about nature resonates with my understanding of music, which also sometimes affords us an opportunity to know 'our boundless selves'. And I am especially interested in the way that sounds - which, as vibrations in the air, are another aspect of nature - can reveal and heighten our sense of connectedness to ourselves and our surroundings. Each movement is inspired by a single stanza from the poem ,,Amo Ergo Sum by Kathleen Raine, and I would encourage anyone playing these pieces to devote time to internalising the words as well as the music, for they may contain the key to an accurate expression. As such, the relevant words are quoted at the start of each score. ,,Inner Landscapes is dedicated to Joe Browning, Lexy Oliver and Omar Shahryar. (Christian Mason, 2018)World premiere of the piano version: Orleans (8th Int. Piano Competition of Orleans ,,Brin d'herbe), April 14, 2019.
SKU: HL.233155
9.0x12.0x0.076 inches. English.
Virtually all my recent music has been composed of four, five or six simultaneous tempo layers. If those ensemble and orchestral pieces are multi-dimensional sculptures, then Among Red Mountains is more like a drawing. In this piece, the challenge I set for myself was to suggest five independent tempo planes, within the limitations of two hands and what Vicki Ray calls 'the Big Black Box'. For three decades I've admired the Piano music of Peter Garland. At last I have a piece that I hope is worthy of this dedication. The title, Among Red Mountains, is the translation of the Gwitch'in Athabascan name for a place in the Brooks Range, north of Arctic Village.'- John Luther Adams.
SKU: BR.MN-901
Francis Schneider improvisiert am Klavier. Er schreibt zu seinem Werk: Die 17 Orte in diesem Buch sind Orte, zu welchen ich eine starke Beziehung habe: Sie wecken Musik in mir. ...
ISBN 9783765199233. 8.5 x 8.5 inches.
... Back at home, at the instrument, I put myself in a relaxed state and connect inwardly with the place in question. Music emerges, I let it flow, give it form, give it time and space. IT plays, I just let it happen.In each piece I start from a theme characteristic of the corresponding place and then let the music unfold freely. Nothing is written down. The only thing that counts is the place, its music and the play in the here and now.The 17 places:Engelberg, Ridges on the Stoos, Comologno: La Barca, Grosser Mythen, Above Brione sopra Minusio, Juf, Grimsel, The Silsersee, The Caumasee near Flims, By the Lac des Tailleres, The Murg Lakes, St. Ursanne, The Giessbach Falls, The Klimsenkapelle, By Lavertezzo, Creux-du-Van, By the Castle of Leuk.Francis Schneider improvises on the piano. He writes of his work, The 17 places in this book are places to which I have a strong relationship: They awaken music in me. ....
SKU: HL.50601295
9.0x12.0x0.108 inches.
“My musical education began with piano instruction, as with most composers of my generation in Central Europe. This interest in the piano has a quite obvious origin: I have been playing the instrument since my childhood and have meanwhile mastered it enough to appear in public as a pianist. Thus for many years I wrote my piano compositions for myself, whilst other pianists took them up in their repertoires only over the course of time. So not only piano sonatas have been written, but also chamber music with piano (2 Cello Sonatas, Piano Trio, Piano Quartets, Piano Quintet, etc.) I finished the Sei intermezziÂ’in 2013. In this cycle, I wanted to give the interpreter the opportunity to present himself/herself both with technical virtuosity and with sonic beauty in the traditional sense of the word. This beautiful toneÂ’is basically indispensible in all pieces. The Intermezzi form a cycle that conjures up the spirit of classical piano music without engaging itself in the traditional constraints associated with it.â€(Krzysztof Meyer).
SKU: HL.49019205
ISBN 9790001177214. UPC: 884088907594. 9.0x12.0x0.087 inches.
At the age of 16, Georg Kreisler was forced to leave his home country and set off to an uncertain future. 'Then I was in exile in New York, had little money and much hunger and tried to cheer myself up with these piano pieces. I do not remember if they cheered me up, but on the other hand they have become a testimony to that time. Anyone who has been through a difficult childhood will understand the pieces soon.'.
SKU: HL.49044516
ISBN 9790220135262. 9.0x12.0x0.073 inches.
Best-known as an internationally sought-after pianist, Thomas Larcher has presented an impressive series of CDs on the renowned label ECM New Series. But he has become increasingly successful as a composer as well.About his piano piece 'Naunz' recorded by ECM he writes:'The name refers to an Alpine region in Tyrol which, to me, has always been a place of refuge and of experiencing nature. But it also leaves room for onomatopoeic associations. The piece even listens to the sounds, and it was composed in a phase when I began to occupy myself with tonality again.'.
SKU: BT.MUSAM92047
ISBN 9780711941779.
Playing some of the biggest pop hits of all time couldn't be easier with this selection of accessible and easy-to-read Piano arrangements. What better way could there be for you to boost your Piano confidence andtechniquesthan by playing the songs you know and love! From sassy divas Christina Aguilera and Shania Twain to the rock n'roll stomp of Oasis and Franz Ferdinand, there's something to suit every elementary Piano or Keyboardplayer.
SKU: IG.PFF201
9 x 12 inches.
I was introduced to Scott Joplin's ragtime by my piano instructor. I fell in love with Joplin’s rags and became steeped in his style of music. Although I learned many of his rags, I found them quite challenging to play. Later, when I started composing, I decided I'd write good ragtime pieces that were accessible to intermediate level players like myself. I hope I have achieved this goal and that you enjoy playing my ragtime piano pieces.
SKU: BT.MUSAM1000868
ISBN 9781849385893.
This great songbook features a selection of the best music from Season 1 of the hit show Glee. Re-live all the great moments as a group of ragtag performers is transformed into a Show Choir Nationalscompetingteam.Features time-proven classics as well as modern hits, including the Bill Withers soul classic, Lean On Me, My Life Would Suck Without You by Kelly Clarkson, Cyndi Lauper's hit, TrueColoursand the hit single, Don't Stop Believin', originally by Journey.
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