SKU: PR.110418370
ISBN 9781491135075. UPC: 680160686247.
Composed as an organ solo by the 17-year-old Ives for his own performance purposes, the beloved Variations on America is a treat for any occasion, whether a holiday concert, a serious recital, or other special event. Danny Holt’s transcription for Piano, Four Hands adds a dazzling new option to play at home or on stage, taking best advantage of Ives’ tremendous contrasts in color, dynamics, and texture.Composed when Charles Ives was a teenager, Variations on “America†is both a convenient introduction to Ives’ body of work, and an early example of his iconoclastic musical voice and creative genius. Just a few years after composing this piece, Ives would leave home to study music at Yale. But until then he had been taught by his father, George (who had been a bandmaster in the Civil War). George subjected the young Ives to experiments such as singing a song in one key while being accompanied in another, or arranging for two marching bands to converge on a town center, with the resulting cacophony that ensued.The Variations exemplifies an early period of experimentation in Ives’ work, spurred on by the unusual pedagogy of his father. The piece is particularly notable for its use of bitonality in the two interludes, subtly foreshadowing more well-known examples by Stravinsky, Bartók, and others by approximately two decades.The bitonal interludes were so ahead of their time, in fact, they were omitted from the first copy that was submitted to a publisher in 1892. (Alas, the piece was rejected even despite these “shocking†elements having been left out, and it wasn’t published until more than five decades later.) There is some ambiguity about when exactly Ives added the interludes into his manuscript copy, though ample evidence suggests he had performed the piece with the interludes around the time he notated the piece in 1891-92. In any case, in light of this piece and his other polytonal explorations from the last decade of the 19th century, it seems fair to give Ives credit for being a pioneer in this area!This arrangement for Piano, Four Hands, closely follows Ives’ original version for organ, setting aside William Schuman’s popular adaptation for symphony orchestra and William Rhoads’ band transcription of the Schuman orchestration. Pianists will find that the piece translates well to the instrument. Ideally, the choreography and logistics of elbow-to-elbow four-hands playing approximates the wild joy one gets from watching an organist play the piece (e.g., the elaborate pedal part in the final variation).In preparing this publication, attention was paid to details in the dual Critical Editions (Presser 443-41003) of both Ives’ manuscript edition and the 1949 publication edited by organist E. Power Biggs (who is credited with discovering what had been a long-lost, forgotten work.) But as with much of Ives’ output, attempting to create a true ‘urtext’ score is a futile endeavor, and especially with a piece such as this one – in which Ives incorporated improvisation in live performance – seems unnecessary anyhow. True die-hards are of course encouraged to consult the critical editions and even find inspiration in the orchestrated version. Generally, performers are advised to be wild, have fun, and not to be too rigid in their interpretive choices.Dynamics in this arrangement mostly follow the organ score closely. Pianists will use good judgment about pedaling throughout, which should be straightforward and intuitive. Courtesy accidentals have been provided frequently – without parentheses – balancing the need for extra clarity in the context of Ives’ murky musical language, and a desire to avoid unnecessary clutter.A few notes that might inform interpretive decisions:mm. 15-16: There are inconsistencies here between Ives’ original manuscript and the 1949 Biggs edition, regarding the top voice in m. 15, beat 3 (C# vs. Cn) and m. 16 (D Major vs. D Minor).mm. 76-84 & 143-146: In both Interludes, Ives emphatically notates extreme dynamic contrast, in order to highlight the bitonality. Although it may seem counterintuitive (or even a misprint, as has apparently been misconstrued by some), performers are urged to follow the composer’s marking!m. 109: Two-note slurs have been added here for clarity and consistency with other similar passages, though they do not appear in either the original manuscript or Biggs.m. 112: The last two eighth notes of Primo appear as 16ths in the original manuscript.mm. 183-186: The original manuscript has a slightly different bass line.mm. 184 & 186: Primo gestures have been re-written to be slightly more idiomatic for Piano, Four Hands.m. 186: The breath mark at the end of this bar does not appear in either the manuscript or Biggs, but is an editorial suggestion – aside from being appropriately dramatic, it will indeed be necessary in a reverberant hall!I would like to thank Steven Vanhauwaert, the other half of my piano duo, 4handsLA, for his input on early drafts of this arrangement.— Danny Holt, April 2022.
SKU: BT.BOE7935
ISBN 9783954562008. German.
Known professionally as Hauschka, composer Volker Bertelmann has catapulted himself into the top tier of instrumental composers. This is proven, not least, by the Oscar nomination which he received for his soundtrack to the2016 film Lion.
In his latest album A Different Forest, released on 8 February 2019 at Sony Classical, Hauschka takes the forest as a contrast to the urban life. The names of the pieces, such as 'Talking To My Father',testify equally that those natural experiences are metaphorical of the important things in life.
For this album Hauschka renounces entirely his prepared Piano. The existential questions which he musically poses, however,donot lose their intensity, but rather, without the alienation by electronic elements, gain urgency.
In addition to the 13 LP tracks, this songbook for Piano also contains three exclusive arrangements of previouslyunreleased songs: 'Collecting Stones', 'Loosing Directions' and 'Misty Day'.
Titels zoals Talking To My Father tonen dat deze ervaringen in de natuur metaforen zijn voor belangrijke gebeurtenissen in het leven. Dit songbook voor piano bevat, naast de 13 nummers van de LP, eneneens 3 exclusieve bewerkingen van tot nu onuitgebrachte nummers: Collecting Stones, Losing Directions and Misty Day.Volker Bertelmann alias Hauschka hat sich mittlerweile in die oberste Riege der Instrumentalkomponisten katapultiert. Dies beweist nicht zuletzt die Oscar-Nominierung, die er für seinen Soundtrack zum Film Lion“ erhielt. In seinem neusten Album A Different Forest“ am 08. Februar 2019 bei Sony Classical erschienen nimmt er sich dem Wald als Kontrastraum zum städtischen Leben an. Titelnamen wie Talking To My Father bezeugen gleichermaßen, dass jene Naturerfahrungen metaphorisch für die wichtigen Dinge des Lebens stehen. Für dieses Album verzichtet Hauschka gänzlich auf sein präpariertes Klavier. Die existentiellen Fragen, denen er sich musikalisch stellt, verlieren hierdurch aber nicht an Intensität, sondern gewinnen ohne die Verfremdung durch elektronische Elemente vielmehr an Dringlichkeit. Dieses Songbook für Klavier enthält neben den 13 Titeln der LP drei exklusive Arrangements bisher unveröffentlichter Songs: Collecting Stones, Losing Directions und Misty Day.Volker Bertelmann, également connu sous le nom de Hauschka, s'est retrouvé au premier rang des compositieurs instrumentaux : ceci a été confirmé par sa nomination aux Oscars pour la bande-originale du film Lion. Dans son dernier album « A Different Forest », sorti le 8 février 2019, la forêt fait usage de contaste avec la vie urbaine.
Des titres tels que Talking to My Father déclarent de la même façon que ces expériences au contact de la nature sont des métaphores de moments importants dans la vie. En plus des 13 pistes du vinyl 33 trous, ce recueil de chansons pour piano comprend en exclusivité trois arrangements de titres inédits : Collecting Stones, Losing Directions et Misty Day.Volker Bertelmann aka Hauschka si è portato a un livello superiore dei compositori strumentali. Questo non è subito evidente nella colonna sonora del film Lion, per cui ha ricevuto una candidatura all' Oscar, ma nel suo ultimo album A Different Forest - uscito l'8 febbraio 2019 - in cui utilizza l'immagine della foresta come contrasto con la vita urbana.
Titoli come Talking to My Father testimoniano allo stesso modo che tutte quelle esperienze della natura sono metafore di eventi importanti della vita. Questo canzoniere per pianoforte contiene, oltre ai 13 brani dell'LP, tre arrangiamenti esculisivi di canzoni inedite: Collecting Stones, Losing Directions e Misty Day.
SKU: BT.MUSAM39645
ISBN 9780711906723. English.
All five books of The Complete Piano Player series are published in this single volume at a substantial savings over the price of the five individual books. Complete with keyboard chart.
SKU: M7.VHR-3564
ISBN 9783864340765. German.
Zum 20-jährigen Jubiläum der Zusammenarbeit von Anne Terzibaschitsch und dem Holzschuh-Verlag erscheint vorliegende Sammlung. Enthalten sind sowohl Eigenkompositionen von Anne Terzibaschitsch als auch Bearbeitungen der Autorin von Werken aus Barock über Klassik und Romantik bis hin zu Musik des 20. Jahrhunderts. Populäre Melodien - Traditionals, Volkslieder sowie Themen aus Film, Musical und Pop - bereichern diese Edition.
SKU: HL.1329355
ISBN 9798350112979. UPC: 196288184539. 9.0x12.0 inches.
13 fantastic pop piano solo arrangements by Kevin Olson, perfect for a recital, your YouTube channel, or just chilling in your living room. Includes the latest hits from the mega movie Barbie, like â??Dance the Nightâ? and â??What Was I Made For,â? as well as other big hits like Jack Black's dramatic â??Peaches,â? 007's â??No Time to Die,â? The Little Mermaid's â??Wild Uncharted Watersâ? and so much more!
SKU: HL.1213733
ISBN 9788759845387. UPC: 196288139645. 9.0x12.0 inches.
'All I do is write down what comes. Sometimes a huge amount comes, at other times nothing at all. I'm not in control. They are almost frozen improvisations, and when I've written it down, I don't do very much more with it. If it's good or bad is something other people must decide.' -Niels Viggo Bentzon.
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