... of all times. Composed by Various Artists. Music Sales America. Classical. B...(+)
... of all times.
Composed by Various
Artists. Music Sales
America. Classical. Book
Only. 110 pages. Wise
Publications
#MUSAM987943. Published
by Wise Publications
For Teresa Piano seul University Of York Music Press
Piano SKU: BT.MUSM570368235 Composed by Robert Saxton. Book Only. Univers...(+)
Piano
SKU:
BT.MUSM570368235
Composed by Robert
Saxton. Book Only.
University of York Music
Press #MUSM570368235.
Published by University
of York Music Press
(BT.MUSM570368235).
English.
For
Teresa was
commissioned by Tim Suter
for his wife, Helen, as
part of William
Howard’s Love Songs
Project and was first
performed privately by
William Howard for her
60th birthday in February
2017. He gave the public
premiere at Hoxton Hall,
London on 26th April
2017. The music is based
on the notes T E S (E
flat) A of the Christian
name of the
composer’s wife,
Teresa Cahill. The
music works towards a
quotation of the opening
of Beethoven’s
Bagatelle No. 25 in A
minor, Für
Elise (which also
uses letters from the
name Therese, H being B
natural in German
nomenclature), a piece
which, it is now thought,
was
originallytitled
Für Therese
and possibly
composed for Theresa
Malfatti, to whom
Beethoven unsuccessfully
proposed marriage in
1810, but recent
musicology has suggested
other possible
dedicatees.
Orchestra Piano SKU: PR.11641861SP Composed by William Kraft. Part. 35 pa...(+)
Orchestra Piano
SKU:
PR.11641861SP
Composed by William
Kraft. Part. 35 pages.
Duration 21 minutes.
Theodore Presser Company
#116-41861SP. Published
by Theodore Presser
Company (PR.11641861SP).
UPC:
680160685202.
What?
! - my composer
colleagues said - A
concerto for the piano?
It's a 19th century
instrument! Admittedly we
are in an age when
originally created
timbres and/or
musico-technological
formulations are often
the modus operandi of a
piece. Actually, this
Concerto began about two
years ago when, during
one of my creative jogs,
the sound of the
uppermost register of the
piano mingled with wind
chimes penetrated my
inner ear. The challenge
and fascination of
exploring and developing
this idea into an
orchestral situation
determined that some day
soon I would be writing a
work for piano and
orchestra. So it was a
very happy coincidence
when Mona Golabek phoned
to tell me she would like
discuss the Ford
Foundation commission.
After covering areas of
aesthetics and
compositional styles, we
found that we had a good
working rapport, and she
asked if I would accept
the commission. The
answer was obvious. Then
began the intensive
thought process on the
stylistic essence and
organization of the work.
Along with this went a
renewed study of
idiomatic writing for the
piano, of the kind
Stravinsky undertook with
the violin when he began
his Violin Concerto. By a
stroke of great fortune,
the day in February 1972
that I received official
notice from the Ford
Foundation of the
commission, I also
received a letter from
the Guggenheim Foundation
informing me I had been
awarded my second
fellowship. With the good
graces of Zubin Mehta and
Ernest Fleischmann,
masters of my destiny as
a member of the Los
Angeles Philharmonic, I
was relieved of my
orchestral duties during
the Hollywood Bowl
season. Thus I was able
to go to Europe to work
and to view the latest
trends in music
concentrating in London
(the current musical
melting pot and showcase
par excellence), Oslo,
Norway, for the Festival
of Scandinavian Music
called Nordic Days, and
Warsaw, Poland, for its
prestigious Autumn
Festival. Over half the
Concerto was completed in
that summer and most of
the rest during the 72-73
season with the final
touches put on during a
month as Resident Scholar
at the Rockefeller
Foundation's Villa
Serbelloni in Bellagio,
Italy. So much for the
external and
environmental influences,
except perhaps to mention
the birds of Sussex in
the first movement, the
bells of Arhus (Denmark)
in the second movement
and the bells of Bellagio
at the end of the
Concerto. Primary in the
conception was the
personality of Miss
Golabek: she is a
wonderfully vital and
dynamic person and a real
virtuoso. Therefore, the
soloist in the Concerto
is truly the protagonist;
it is she (for once we
can do away with the
generic he) who unfolds
the character and intent
of the piece. The first
section is constructed in
the manner of a
recitative - completely
unmeasured - with letters
and numbers by which the
conductor signals the
orchestra for its
participation. This
allows the soloist the
freedom to interpret the
patterns and control the
flow and development of
the music. The Concerto
is actually in one
continuous movement but
with three large
divisions of sufficiently
contrasting character to
be called movements in
themselves. The first
'movement' is based on a
few timbral elements: 1)
a cluster of very low
pitches which at the
beginning are practically
inaudibly depressed, and
sustained silently by the
sostenuto pedal, which
causes sympathetic
vibrating pitches to ring
when strong notes are
struck; 2) a single
powerful note indicated
by a black note-head with
a line through it
indicating the strongest
possible sforzando; 3)
short figures of various
colors sometimes ominous,
sometimes as splashes of
light or as elements of
transition; 4) trills and
tremolos which are the
actual controlling
organic thread starting
as single axial tremolos
and gradually expanding
to trills of increasingly
larger and more powerful
scope. The 'movement'
begins in quiescent
repose but unceasingly
grows in energy and
tension as the stretching
of a string or rubber
band. When it can no
longer be restrained, it
bursts into the next
section. The second
'movement,' propelled by
the released tension, is
a brilliant virtuosic
display, which begins
with a long solo of wispy
percussion, later joined
in duet with the piano.
Not to be ignored, the
orchestra takes over
shooting the material
throughout all its
sections like a small
agile bird deftly
maneuvering through
nothing but air, while
the piano counterposes
moments of lyricism. The
orchestra reaches a
climax, thrusting us into
the third 'movement'
which begins with a
cadenza-like section for
the piano. This moves
gently into an expressive
section (expressive is
not a negative term to
me) in which duets are
formed with various
instruments. There are
fleeting glimpses of
remembrances past, as a
fragmented
recapitulation. One
glimpse is hazily
expressed by strings and
percussion in a moment of
simultaneous contrasting
levels of activity, a
technique of which I have
been fond and have
utilized in various
fixed-free relationships,
particularly in my
Percussion Concerto,
Contextures and Games:
Collage No. 1. The second
half of the third
'movement; is a large
coda - akin to those in
Beethoven - which brings
about another display of
virtuosity, this time
gutsy and driving,
raising the Concerto to a
final climax, the soloist
completing the fragmented
recapitulation concept as
well as the work with the
single-note sforzando and
low cluster from the very
opening of the first
movement.
Piano SKU: HL.49002680 Composed by Knight. This edition: Hardback/Hard Co...(+)
Piano
SKU:
HL.49002680
Composed
by Knight. This edition:
Hardback/Hard Cover.
Book. Edition Schott.
Classical. 112 pages.
Schott Music #ED 11151.
Published by Schott Music
(HL.49002680).
ISBN
9780901938039.
English.
Ballet an
its Music traces the
influence of the
outstanding personalities
in the world of ballet
from the seventeenth
century to the present
day. The development of
dance-technique and
ballet music is followed
from the courtly and
peasant dances of the
High Renaissance through
to contemporary
productions. The author
deals in detail not only
with the great
choreographers, past and
present, but also with
the composers whose names
are especially linked
with ballet and who have
made a significant
contribution to music for
the dance. She combines a
historical narrative with
a perceptive treatment of
world-famous Schools and
Companies. Ballet and its
Music is copiously
illustrated with
photographs and
engravings. A special
feature of the book is
the collection of music
extracts from many famous
ballets, arranged for
piano solo, which will
make it particularly
attractive to the student
an amateur musician.
Althrough primarily
intended for young people
embarking on a study of
ballet, the wealth of
information contained in
this book will make it a
stimulating and
invaluable guide for
readers of all ages.
Piano SKU: BT.YK21376 By Denes Agay. Joy Of. Classical. Book Only. Compos...(+)
Piano
SKU:
BT.YK21376
By Denes
Agay. Joy Of. Classical.
Book Only. Composed 1992.
80 pages. Yorktown Music
Press #YK21376. Published
by Yorktown Music Press
(BT.YK21376).
ISBN
9780711911017.
Noth
ing can quite compare to
the satisfaction,
pleasure and joy of
learning and playing the
finest pieces of
classical music and this
terrific volume gives you
the opportunity to do
exactly that! Inside
there are more than 60
easy pieces and Keyboard
miniatures by master
composers, selected and
edited by Dennis Agay.
All the pieces are
printed in their original
form though have had
sensible expression marks
and fingerings added.
There is a wonderful
range and diversity to
these pieces with works
by the likes of Bach,
Haydn, Mozart and also
lesser-known composers,
set for Piano solo.
Written by Amanda Vick Lethco, Morton Manus, Willard A. Palmer. For piano. Forma...(+)
Written by Amanda Vick
Lethco, Morton Manus,
Willard A. Palmer. For
piano. Format:
instructional book. With
introductory text,
instructional text,
illustrations, easy piano
notation and fingerings.
Instructional. Series:
Alfred's Basic Piano
Library. 48 pages. 9x12
inches. Published by
Alfred Publishing.
(40 Arrangements for Beginning Pianists). Arranged by Gayle Kowalchyk and E. L. ...(+)
(40 Arrangements for
Beginning Pianists).
Arranged by Gayle
Kowalchyk and E. L.
Lancaster. For Piano.
Book; Piano Collection;
Piano Supplemental.
Elementary. 80 pages.
Published by Alfred Music
Publishing
(40 Arrangements for Beginning Pianists). Arranged by Gayle Kowalchyk and E. L. ...(+)
(40 Arrangements for
Beginning Pianists).
Arranged by Gayle
Kowalchyk and E. L.
Lancaster. For Piano.
Book; Piano Collection;
Piano Supplemental. Early
Elementary. 80 pages.
Published by Alfred Music
Publishing