(Selected Greatest Hits by Carlos Gardel arranged for Piano Solo by Luis Bacalov...(+)
(Selected Greatest Hits
by Carlos Gardel arranged
for Piano Solo by Luis
Bacalov). Composed by
Carlos Gardel. Edited by
Luis Bacalov. Arranged by
Luis Bacalov. For piano
solo. 44 pages. Published
by Ut Orpheus
Piano SKU: HL.14046633 CARISCH - MUSIC SALES. Latin. General Merchandise....(+)
Piano
SKU:
HL.14046633
CARISCH -
MUSIC SALES. Latin.
General Merchandise.
Carisch Edition #ML2378.
Published by Carisch
Edition (HL.14046633).
ISBN 9788850704996.
English.
This
collection features
The Best Of
Carlos Gardel,
the French Argentine
singer who rose to become
the most prominent figure
in the history of the
Tango. This is a
collection of his
best-known and well-loved
Tangos,
arranged for Piano, Vocal
and Guitar.
Piano - Grade 4 SKU: HF.FH-3400 Sur des melodies de Carlos Gardel, Vol...(+)
Piano - Grade 4
SKU:
HF.FH-3400
Sur des
melodies de Carlos
Gardel, Vol. 2.
Composed by Hannes
Pohlit. Sheet music. 40
pages. Friedrich
Hofmeister Musikverlag
#FH 3400. Published by
Friedrich Hofmeister
Musikverlag (HF.FH-3400).
ISBN 9790203434009. 9
x 12 inches.
Die
zwolf Stucke dieser
Sammlung fuhren die
romantische Tradition der
virtuosen
Klavierparaphrase fort,
die ihren Hohepunkt im
19. Jahrhundert durch
Franz Liszt erlebte. Als
doppelte Hommage bilden
sie eine Synthese aus der
chromaitischen Melodik
des Tango-Altmeisters
Carlos Gardel und dem
brillanten Klavierstil
Franz Lizsts. Die in drei
Banden enthaltenen
Paraphrasen sind als
Konzertmusik zu verstehen
und konnen sowohl einzeln
aus auch in einer Auswahl
aufgefuhrt werden.
Piano - Grade 4 SKU: HF.FH-3401 Sur des melodies de Carlos Gardel, Vol...(+)
Piano - Grade 4
SKU:
HF.FH-3401
Sur des
melodies de Carlos
Gardel, Vol. 3.
Composed by Hannes
Pohlit. Sheet music. 44
pages. Friedrich
Hofmeister Musikverlag
#FH 3401. Published by
Friedrich Hofmeister
Musikverlag (HF.FH-3401).
ISBN 9790203434016. 9
x 12 inches.
Die
zwolf Stucke dieser
Sammlung fuhren die
romantische Tradition der
virtuosen
Klavierparaphrase fort,
die ihren Hohepunkt im
19. Jahrhundert durch
Franz Liszt erlebte. Als
doppelte Hommage bilden
sie eine Synthese aus der
chromaitischen Melodik
des Tango-Altmeisters
Carlos Gardel und dem
brillanten Klavierstil
Franz Lizsts. Die in drei
Banden enthaltenen
Paraphrasen sind als
Konzertmusik zu verstehen
und konnen sowohl einzeln
aus auch in einer Auswahl
aufgefuhrt werden.
Alto Saxophone and Piano Alto Saxophone; Piano SKU: HL.50490309 For Al...(+)
Alto Saxophone and Piano
Alto Saxophone; Piano
SKU: HL.50490309
For Alto Saxophone and
Piano. Composed by
Carlos Gardel. Arranged
by Teho. Woodwind Solo.
Softcover. Hal Leonard
#ZN560101. Published by
Hal Leonard
(HL.50490309).
Chamber Music Piano SKU: PR.110418380 Composed by Carlos Gardels. Full sc...(+)
Chamber Music Piano
SKU: PR.110418380
Composed by Carlos
Gardels. Full score. 12
pages. Duration 8
minutes, 40 seconds.
Theodore Presser Company
#110-41838. Published by
Theodore Presser Company
(PR.110418380).
ISBN
9781491135334. UPC:
680160687497.
THREE
FANTASIES is a
fantastical escape from
reality. The first
fantasy
(“Preludeâ€)
features a luscious and
expressive melody
accompanied by dark,
romantic harmonies. The
following fantasy
(“Cosmic
Lullabyâ€) begins
and ends in a serene and
introspective manner,
with a tumultuous and
harmonically rich middle
section. To end the set,
“Intermezzoâ€
provides reflection and a
lively resolution.
Gardels’ profound
lyricism and masterful
piano writing make this
set enjoyable for any
pianist to perform at
home or in the concert
hall. The three
fantasies here were
written during the height
of the 2020-21
Coronavirus lockdowns
– a time everyone
will forever recall as a
period of the world
standing still and
experiencing new degrees
of isolation, inactivity,
and apprehension.A
fantasy is a genre to
which a composer can turn
as a respite from the
constraints of form,
tradition, and
expectation. What the
genre may lack in
structure and design it
makes up for with
spontaneity,
capriciousness, and
improvisatory musical
gesture.I hope performers
feel free to take a
similarly
“fantasticalâ€
approach to the
interpretation of these
works, seeing the score
and notation as a point
of departure rather than
arrival, and proceed with
unabashed freedom of
spirit in their
playing.
