Arranged by Denes Agay. Book. Published by Music Sales. (YK21103) These famili...(+)
Arranged by Denes Agay.
Book. Published by Music
Sales. (YK21103)
These familiar melodies
in easy arrangements
include Fascination,
Moscow Nights, waltzes by
Strauss, and over 65 more
favorite pieces; themes;
and folk, popular, and
standard songs. The
variety is both appealing
and educational.
Arranged by Carol Matz. For Piano. Includes instructional pages, and exercises e...(+)
Arranged by Carol Matz.
For Piano. Includes
instructional pages, and
exercises exploring the
12-bar blues, swing
rhythm, and the blues
scale; historical
information; and an
explanation of jazz and
blues styles (64 pages).
Contents include: After
You've Gone; Alexander's
Ragtime Band; Basses
Loaded; Bill Bailey,
Won't You Please Come
Home?; Crazy Blues; Early
Morning Blues;
Fascination; Fat Cat
Boogie; Frankie and
Johnny; House of the
Rising Sun; I Ain't Got
Nobody; I Love a Piano;
Quiet Waters; Royal
Garden Blues; The St.
James Infirmary; St.
Louis Blues; Tishomingo
Blues; When the Saints Go
Marching In. Jazz &
Blues. Level: Easy Piano.
Book. Published by The
FJH Music Company, Inc.
Piano SKU: BT.MUSAM91544 Arranged by Steve Hill. Jazz. Book Only. Music S...(+)
Piano
SKU:
BT.MUSAM91544
Arranged by Steve Hill.
Jazz. Book Only. Music
Sales #MUSAM91544.
Published by Music Sales
(BT.MUSAM91544).
ISBN
9780711937666.
Fift
een great standards
arranged for piano in
jazz style by Steve Hill.
Newly engraved, with
chord symbols. Includes
Fascinating Rhythm,
Come Fly With Me, So
Nice and That Ole
Devil Called
Love.
Piano Solo - Easy-Intermediate SKU: FP.FBS03 Composed by Sarah Baker. She...(+)
Piano Solo -
Easy-Intermediate
SKU:
FP.FBS03
Composed by
Sarah Baker. Sheet Music
and Books. Nine pieces
on a day time theme
for solo piano, by Sarah
Baker. Suggested grade
4-5. Classical.
Collection. Forsyths
Publications #FBS03.
Published by Forsyths
Publications (FP.FBS03).
ISBN
9790570500192.
Sara
h Baker is Vocal Composer
in Residence at Education
Music Services, an ABRSM
examiner and a well known
composer of songs and
musicals for primary
schools and massed-choral
events.
All this
experience has come
together in the creation
of this album of piano
pieces, inspired by
growing up in the
Chiltern Hills. Suitable
for players of around
grade 4-5 standard, her
evocative sound pieces
describe a crash-landing
hot air balloon, garden
invading cows and a even
a snake in a
pond!
Air
Balloon!: One vivid
memory I have as a child
is of the day that a hot
air balloon passed over
our house and made an
emergency landing on the
road in front! The sound
of the gas being blown
into the balloon to try
to keep it high enough to
pass the house sounded so
loud and intimidating,
and then there was the
bustle of the neighbours
as we all went out into
the street to watch. It
was both terrifying and
exhilarating to watch the
balloon float past and
then land so near
by.
Buzzards
Circling: There is
something so calming and
restful about watching
birds of prey circling in
the thermal currents of a
summer sky. Growing up in
the Chilterns gave me
plenty of opportunity to
watch buzzards and red
kites. This piano solo
captures the beauty of
their flight as they
glide so effortlessly
through the
air.
There’
s A Cow In The Garden
Eating The Flowers:
Inspired by the memory of
seeing an unexpected cow
in the garden! This
surreal image is captured
in a quirky waltz, as I
portray both the
absurdity of the moment
and the sense of wonder I
felt as a child, looking
out of the window and
seeing the cow walking
round and eating the
flowers. The final phrase
articulates my longing:
‘I wish it would
come
again’.
Wat
ching The World Go By: A
short, reflective piece,
remembering what it was
like to have time to just
sit and watch the world
go by from my bedroom
window.
Autumn
Skies: A miniature about
the beauty of Autumn
skies and the poignant
sense of loss for a
summer gone. Friends I
was fortunate to have
several children of my
own age living close by.
We seemed to be forever
making dens, playing out
in the street and
generally enjoying each
other’s company.
This piece reflects that
sense of
well-being.
Snake
In The Pond: One hot
summer I was astonished
and scared to see a grass
snake cooling off in our
garden pond! I watched,
both horrified and
fascinated, as it rose up
from the depths and then
disappeared again. Here I
portray the sense of the
hazy summer afternoon as
I peacefully watched the
tiny movements of fish in
the pond, contrasted with
the fear and excitement
of seeing the snake
appear.
Morning
Commute: I recollect many
mornings stuck in traffic
as my Dad took me to
school on his way to
work. There is one main
road out of the village
where I grew up, and that
got more and more
congested the closer we
got to the town. We may
not have chatted a lot,
but it was always good to
be together with my Dad,
lost in our own
thoughts.
The
Witch’s Cottage:
My siblings and I had a
fascination with a small
cottage nearby. It was
set back from the road in
a dark part of the woods
and we called it 'the
witch's cottage’.
Every time we passed, I
imagined I heard the
distant cackle of the
witch and wished I could
catch a glimpse of
her.
These pieces
are written to complement
my other collection,
Night Time Impressions,
which also draw on
childhood recollections,
particularly of the woods
behind the house where I
grew up. - Sarah Baker
2023.
(15 Jazz Variations in the Style of the Masters (incl. free mp3-download)). By M...(+)
(15 Jazz Variations in
the Style of the Masters
(incl. free
mp3-download)). By
Michael Publig. For
piano. Level 3 to 4. 60
pages. Published by
Doblinger Music
Publishers
Piano (Piano) SKU: HL.48182061 Composed by Olivier Messiaen. Leduc. Post-...(+)
Piano (Piano)
SKU:
HL.48182061
Composed
by Olivier Messiaen.
Leduc. Post-1900.
Softcover. 24 pages.
Alphonse Leduc #AL22937.
Published by Alphonse
Leduc (HL.48182061).
UPC: 888680850685.
9.0x12.0x0.237
inches.
“Oliv
ier Messiaen (1908-1992)
is known for his unique
composition style.
Incorporating complex
rhythms, harmony,
melodies and his passion
for ornithology, his
Catalogue of Birds for
Piano is no exception to
the composer's popular,
distinctive style.
Messiaen became
fascinated by birdsong
from an early age,
however, it wasn't until
the 1950s that he took
his passion to a new
level, incorporating
birdsong in to all of his
compositions. Catalogue
of Birds, composed in
1958, comprises thirteen
movements, each depicting
a specific bird. The
first volume contains the
first three movements; 1)
The Alpine Chough, 2) The
Oriole, and 3) The Blue
Merle. Catalogue of Birds
is essential to all
advanced pianists seeking
to expand and vary their
repertoire.â€.
Piano SKU: HL.48182064 Composed by Olivier Messiaen. Leduc. Classical. So...(+)
Piano
SKU:
HL.48182064
Composed
by Olivier Messiaen.
Leduc. Classical.
Softcover. 8 pages.
Alphonse Leduc #AL22941.
Published by Alphonse
Leduc (HL.48182064).
UPC: 888680850715.
9.0x12.0x0.136
inches.
â??Olivier
Messiaen (1908-1992) is
known for his unique
composition style.
Incorporating complex
rhythms, harmony,
melodies and his passion
for ornithology, his
Catalogue of Birds for
Piano is no exception to
the composer's popular,
distinctive style.
Messiaen became
fascinated by birdsong
from an early age,
however, it wasn't until
the 1950s that he took
his passion to a new
level, incorporating
birdsong into all of his
compositions. Catalogue
of Birds, composed in
1958, comprises thirteen
movements, each depicting
a specific bird. The
third volume contains
movements five and six;
Tawny Owl and Woodlark.
Catalogue of Birds is
essential to all advanced
pianists seeking to
expand and vary their
repertoire.â?.
Piano SKU: HL.48182063 Composed by Olivier Messiaen. Leduc. Classical. So...(+)
Piano
SKU:
HL.48182063
Composed
by Olivier Messiaen.
Leduc. Classical.
Softcover. 36 pages.
Alphonse Leduc #AL22940.
Published by Alphonse
Leduc (HL.48182063).
UPC: 888680850708.
9.0x12.0x0.13
inches.
“Oliv
ier Messiaen (1908-1992)
is known for his unique
composition style.
Incorporating complex
rhythms, harmony,
melodies and his passion
for ornithology, his
Catalogue of Birds for
Piano is no exception to
the composer's popular,
distinctive style.
Messiaen became
fascinated by birdsong
from an early age,
however, it wasn't until
the 1950s that he took
his passion to a new
level, incorporating
birdsong into all of his
compositions. Catalogue
of Birds, composed in
1958, comprises thirteen
movements, each depicting
a specific bird. The
second volume contains
movement four; The
Black-eared Wheatear.
Catalogue of Birds is
essential to all advanced
pianists seeking to
expand and vary their
repertoire.â€.
Piano SKU: HL.48182067 Composed by Olivier Messiaen. Leduc. Classical. So...(+)
Piano
SKU:
HL.48182067
Composed
by Olivier Messiaen.
Leduc. Classical.
Softcover. 30 pages.
Alphonse Leduc #AL22946.
Published by Alphonse
Leduc (HL.48182067).
UPC: 888680853631.
9.0x12.0x0.153
inches.
Olivier
Messiaen (1908-1992) is
known for his unique
composition style.
Incorporating complex
rhythms, harmony,
melodies and his passion
for ornithology, his
Catalogue of Birds for
Piano is no exception to
the composer's popular,
distinctive style.
Messiaen became
fascinated by birdsong
from an early age,
however, it wasn't until
the 1950s that he took
his passion to a new
level, incorporating
birdsong into all of his
compositions. Catalogue
of Birds, composed in
1958, comprises thirteen
movements, each depicting
a specific bird. The
sixth volume contains
movement ten; The Rock
Thrush. Catalogue of
Birds is essential to all
advanced pianists seeking
to expand and vary their
repertoire..
Piano - Grade 4 SKU: FA.MFCD011PN Composed by Claude Debussy and Robert O...(+)
Piano - Grade 4
SKU:
FA.MFCD011PN
Composed
by Claude Debussy and
Robert Orledge.
Rediscoverd Debussy.
Classical,
Impressionistic. Score.
Musik Fabrik #MFCD011PN.
Published by Musik Fabrik
(FA.MFCD011PN).
8.27 x
11.69 inches.
In
January 1913, Debussy
struggled to complete
Toomai des elephants as
the 11th prelude in
Book2, finally replacing
it by a rather
Stravinskian study Les
Tierces alternees.
However, his daughter
Chouchou was fascinated
by elephants and in the
summer of 1913, Debussy
wrote her a 'Toybox
Ballet' (La Boite a
joujoux) which contains a
'Pas de l'elephant' and
an 'old Hindu chant which
is still used to train
elephants [in India]. It
is constructed on the
scale of 5 o'clock in the
morning,which means it
must be in 5/4 time.' My
reconstruction of this
lost prelude is based
around this material and
it evokes a day in the
life of Toomai, the young
mahout, and his faithful
elephant Kala Nag from
one dawn to the next,
incorporating the
legendary 'Elephants'
Dance' from Rudyard Kip
ling's First Jungle Book
(1894) which only Toomai
was ever privileged to
witness. The version
presented here is the
revised second version of
this prelude which
contains an effect of
piano harmonics as the
dawn returns towards the
end.
By Claude Debussy. Edited by Maurice Hinson. For Piano. Piano Solo. Masterwork. ...(+)
By Claude Debussy. Edited
by Maurice Hinson. For
Piano. Piano Solo.
Masterwork. Level: Early
Advanced (grade 6 ).
Sheet. 8 pages. Published
by Alfred Publishing.
By Alexander Scriabin (1872-1915). Edited by Valentina Rubcova. Henle Music Foli...(+)
By Alexander Scriabin
(1872-1915). Edited by
Valentina Rubcova. Henle
Music Folios. Softcover.
24 pages. G. Henle Verlag
#HN855. Published by G.
Henle Verlag
Piano SKU: PR.701175060 Arranged by Edison Quintana. Peermusic Classical ...(+)
Piano
SKU:
PR.701175060
Arranged
by Edison Quintana.
Peermusic Classical
#70117-506. Published by
Peermusic Classical
(PR.701175060).
UPC:
888680101268.
“Th
e idea of writing the
Danzón No.2 originated
in 1993 during a trip to
Malinalco with the
painter Andrés Fonseca
and the dancer Irene
Martínez, both of whom
are experts in salon
dances with a special
passion for the danzón,
which they were able to
transmit to me from the
beginning, and also
during later trips to
Veracruz and visits to
the Colonia Salon in
Mexico City. From these
experiences onward, I
started to learn the
danzón’s rhythms, its
form, its melodic
outline, and to listen to
the old recordings by
Acerina and his Danzonera
Orchestra. I was
fascinated and I started
to understand that the
apparent lightness of the
danzón is only like a
visiting card for a type
of music full of
sensuality and
qualitative seriousness,
a genre which old Mexican
people continue to dance
with a touch of nostalgia
and a jubilant escape
towards their own
emotional world; we can
fortunately still see
this in the embrace
between music and dance
that occurs in the State
of Veracruz and in the
dance parlors of Mexico
City. The Danzón No.2 is
a tribute to the
environment that
nourishes the genre. It
endeavors to get as close
as possible to the dance,
to its nostalgic
melodies, to its wild
rhythms, and although it
violates its intimacy,
its form and its harmonic
language, it is a very
personal way of paying my
respects and expressing
my emotions towards truly
popular music. Danzón
No.2 was written on a
commission by the
Department of Musical
Activities at Mexico’s
National Autonomous
University and is
dedicated to my daughter
Lily.” -- Arturo
Marquez About the danzon
genre, Lidice Valenzuela
writes in Cubanow: The
history of the danzon
goes back to the arrival
in Cuba of the European
contradance. It came in
three different ways:
directly from Spain, the
colonial metropolis; with
the British, who occupied
Havana in 1762; and the
French colonizers and
their slaves who landed
in Cuba's Eastern shores
after fleeing from the
Haitian Revolution. From
all of that
trans-cultural process
the Danzon was born. This
new Cuban dance,
naturalized by the
Creoles, had much more
expressive freedom: the
couple danced in each
other's arms, and the
dancing time was
extended. People began
calling it Danzon and it
was in Matanzas, in the
1870s that figure dancing
also began to be called
Danzon. Thus, Failde, an
outstanding musician,
named his composition
with the generic name of
Danzon..
Piano SKU: PR.701185010 Arranged by Leticia Gómez-Tagle. Peermusic Class...(+)
Piano
SKU:
PR.701185010
Arranged
by Leticia Gómez-Tagle.
Peermusic Classical
#70118-501. Published by
Peermusic Classical
(PR.701185010).
UPC:
888680101275.
“Th
e idea of writing the
Danzón No.2 originated
in 1993 during a trip to
Malinalco with the
painter Andrés Fonseca
and the dancer Irene
Martínez, both of whom
are experts in salon
dances with a special
passion for the danzón,
which they were able to
transmit to me from the
beginning, and also
during later trips to
Veracruz and visits to
the Colonia Salon in
Mexico City. From these
experiences onward, I
started to learn the
danzón’s rhythms, its
form, its melodic
outline, and to listen to
the old recordings by
Acerina and his Danzonera
Orchestra. I was
fascinated and I started
to understand that the
apparent lightness of the
danzón is only like a
visiting card for a type
of music full of
sensuality and
qualitative seriousness,
a genre which old Mexican
people continue to dance
with a touch of nostalgia
and a jubilant escape
towards their own
emotional world; we can
fortunately still see
this in the embrace
between music and dance
that occurs in the State
of Veracruz and in the
dance parlors of Mexico
City. The Danzón No.2 is
a tribute to the
environment that
nourishes the genre. It
endeavors to get as close
as possible to the dance,
to its nostalgic
melodies, to its wild
rhythms, and although it
violates its intimacy,
its form and its harmonic
language, it is a very
personal way of paying my
respects and expressing
my emotions towards truly
popular music. Danzón
No.2 was written on a
commission by the
Department of Musical
Activities at Mexico’s
National Autonomous
University and is
dedicated to my daughter
Lily.” -- Arturo
Marquez About the danzon
genre, Lidice Valenzuela
writes in Cubanow: The
history of the danzon
goes back to the arrival
in Cuba of the European
contradance. It came in
three different ways:
directly from Spain, the
colonial metropolis; with
the British, who occupied
Havana in 1762; and the
French colonizers and
their slaves who landed
in Cuba's Eastern shores
after fleeing from the
Haitian Revolution. From
all of that
trans-cultural process
the Danzon was born. This
new Cuban dance,
naturalized by the
Creoles, had much more
expressive freedom: the
couple danced in each
other's arms, and the
dancing time was
extended. People began
calling it Danzon and it
was in Matanzas, in the
1870s that figure dancing
also began to be called
Danzon. Thus, Failde, an
outstanding musician,
named his composition
with the generic name of
Danzon..
(40 Original Piano Pieces). Composed by Various. Edited by Monika Twelsiek. For ...(+)
(40 Original Piano
Pieces). Composed by
Various. Edited by Monika
Twelsiek. For Piano.
Piano Collection.
Softcover. 96 pages.
Schott Music #ED9043.
Published by Schott Music
Piano SKU: BR.EB-8990 After R (A Portrait for Piano and Orchestra)...(+)
Piano
SKU:
BR.EB-8990
After R
(A Portrait for Piano and
Orchestra). Composed
by Nicola Campogrande.
Solo instruments;
stapled. Edition
Breitkopf.
He
re you will find the
concerto R (A Portrait
for Piano and
Orchestra).
Solo
concerto; Music
post-1945; New music
(post-2000). Score.
Composed 2015. 36 pages.
Duration 15'. Breitkopf
and Haertel #EB 8990.
Published by Breitkopf
and Haertel (BR.EB-8990).
ISBN 9790004187197. 9
x 12 inches.
A
Musical Portrait In 2012
Nicola Campogrande
received a rather
singular commission when
a total stranger asked
him to compose a musical
portrait of his fiancee.
The man knew exactly what
he wanted: a concerto for
piano and orchestra.
After some reflection,
Campogrande realised that
he would be able to paint
with music. It would
never be possible, of
course, to recognise the
shape of the woman's face
or the colour of her
hair, but the score could
evoke the way in which
she occupied space and
time, and the different
movements of the
composition would be like
the faces on a rotating
prism. Campogrande thus
accepted the commission
and the stranger sent him
a few photos of his
fiancee, spoke to him
about her and, finally,
introduced him to her.
This is how R (A portrait
for piano and orchestra)
was born, first performed
in April 2013 by Lilya
Zilberstein with the
Orchestra Verdi in Milan.
Subsequently, following
other performances and a
TV documentary, a number
of different pianists
asked Campogrande to
write a version for solo
piano. Hence Nudo
emerged, a piece that
would be very similar to
R , were it not for the
fact that, as the title
suggests, the pianist is
naked, without orchestral
clothing. Information on
Nudo on the composer's
website Audio recording
of Nudo (YouTube) Un
portrait musical En 2012,
Nicola Campogrande s'est
vu proposer une
commission fort
singuliere ; un parfait
etranger lui demandait de
composer le portrait
musical de sa compagne.
L'homme savait exactement
ce qu'il voulait : un
concert pour piano et
orchestre. Apres quelques
hesitations, Campogrande
s'est rendu compte qu'il
pouvait se servir de la
musique comme d'un
pinceau. Bien entendu, il
ne serait jamais possible
de reconnaitre la forme
du visage de la femme ou
la couleur de ses
cheveux, mais la
partition pourrait
evoquer la facon dont
elle se deplacait dans
l'espace et dans le
temps, et les differents
mouvements de la piece
seraient comme les
figures d'un prisme en
rotation. Campogrande a
donc accepte la
commission ; l'etranger
lui a envoye des photos
de sa compagne, il lui a
parle d'elle, avant de
les faire se rencontrer
personnellement. Ainsi
est ne R (Un portrait
pour piano et orchestre)
, interprete pour la
premiere fois en avril
2013 par Lilya
Zilberstein et
l'orchestre Verdi de
Milan. D'autres
executions ont suivi,
ainsi qu'un documentaire
televise, apres quoi
plusieurs pianistes ont
prie Campogrande d'ecrire
une version pour piano
seul. C'est ainsi que
Nudo a vu le jour : un <<
nu >> tres semblable au
premier portrait, si ce
n'est que le piano s'y
trouve, comme le suggere
le titre, depouille de
son vetement orchestral.
Ritrarre con la musica
Nel 2012 Nicola
Campogrande ha ricevuto
la piu singolare delle
commissioni, quando un
perfetto sconosciuto gli
ha chiesto di comporre il
ritratto musicale della
sUrauffuhrung fidanzata.
L'uomo sapeva esattemente
cio che voleva: un
concerto per pianoforte e
orchestra. Dopo qualche
esitazione, Campogrande
si e reso conto di poter
dipingere con la musica;
certo, non sarebbe stato
possibile riconoscere la
forma del viso della
donna o il colore dei
suoi capelli, ma la
partitura avrebbe evocato
il modo nel quale lei si
muoveva nello spazio e
nel tempo, e i vari
movimenti del brano
sarebbero stati come le
facce di un prisma in
rotazione. Campogrande ha
dunque accettato la
commissione e lo
sconosciuto gli ha
mandato alcune foto della
sUrauffuhrung fidanzata,
gli ha parlato di lei e,
alla fine, gliela ha
presentata personalmente.
E cosi nato cosi R (Un
ritratto per pianoforte e
orchestra ), eseguito per
la prima volta
nell'aprile 2013 da Lilya
Zilberstein insieme
all'Orchestra Verdi di
Milano.In seguito, dopo
altre esecuzioni e un
documentario tv, diversi
pianisti hanno chiesto a
Campogrande di preparare
una versione per
pianoforte solo. E stato
cosi che ha preso forma
Nudo , un brano del tutto
simile a R tranne per il
fatto che, come
suggerisce il titolo, il
pianista e nudo, senza un
abito orchestrale. 'Nudo'
is a scintillating work
that paints a vivid and
fascinating sequence of
musical portraits of its
subject. And the
Breitkopf score is simply
superb.
(www.pianodao.com).
Nora's Dance Piano seul [Conducteur] Theodore Presser Co.
Chamber Music Piano SKU: PR.140401310 Composed by Nora Holt. Edited by La...(+)
Chamber Music Piano
SKU: PR.140401310
Composed by Nora Holt.
Edited by Lara Downes.
Sws. Score. 8 pages.
Duration 2 minutes.
Theodore Presser Company
#140-40131. Published by
Theodore Presser Company
(PR.140401310).
ISBN
9781491134153. UPC:
680160684250. 9 x 12
inches. Key: G
major.
NORA’
S DANCE is a
jazz-influenced rag from
1921, and among the only
surviving compositions by
Nora Douglas Holt. A
charming and exciting
work rejuvenated by Lara
Downes’ 2021
recording for the Rising
Sun label, the rag is
both a fun 2 minutes for
pianists and audiences,
and also a fascinating
time capsule. Composed
several years after Scott
Joplin’s death,
and several years before
the Charleston pervaded
popular music,
NORA’S DANCE
blossoms with the energy
and jazz harmony starting
to emerge as The Roaring
20’s, using
ragtime and stride as the
seed for pianistic
style. My own life in
music has been driven by
a quest to find strong
female role models,
trails to follow,
shoulders to stand on. In
Nora Douglas Holt, I find
an inspiring example of
creativity, independence,
and resilience –
with a dash of
troublemaking. She was a
free spirit, a force of
nature, and she lived a
fascinating and eventful
life on her own terms.
She reinvented herself
through five marriages
and at least as many
careers. From her
beginnings at the piano
at age four, she explored
many avenues of musical
expression –
performing, composing,
music journalism,
broadcasting, teaching
– all with
inventiveness, style, and
zeal.She made the most of
the Roaring ’20s,
as an artist, socialite,
jetsetter, muse, and
patroness of the Harlem
Renaissance. In 1921 she
started an independent
arts journal called
“Music and
Poetry,†where the
charming piano solo
Nora’s Dance was
first published. I think
the piece captures
beautifully, in a little
under 2 minutes, the
energy and excitement of
those heady years.In
1926, Nora left New York
to travel the world,
performing in nightclubs
throughout Europe and
Asia. She put her
belongings in storage
before she left, and when
she came back she
discovered that many of
her things had been
stolen, including more
than 200 of her musical
compositions. She never
composed again.When the
Depression hit, she moved
out to Los Angeles, where
she studied music
education at USC, taught
music in the LA public
schools, and opened her
own beauty salon. She
returned to New York in
the ’40s and
worked as a music critic
for several major
newspapers, then launched
yet another career, this
time in broadcasting. Her
popular radio concert
series “Nora
Holt’s Concert
Showcase†broadcast
to New York’s
classical music audience,
with a focus on Black
composers and
performers.Ahead of her
time, larger than life,
full of ideas…. I
am so pleased to
introduce you to the
feisty and free spirited
Nora Douglas Holt!
Edited by Amy Appleby. Collection and examples CD for easy solo piano. Over 200 ...(+)
Edited by Amy Appleby.
Collection and examples
CD for easy solo piano.
Over 200 great
masterpieces from the
baroque, classical,
romantic and modern eras.
Series: Piano Treasury
Series. 399 pages.
Published by Music Sales.
The Piano Bench of Easy Classical Music arranged by Amy Appleby. For Piano Solo....(+)
The Piano Bench of Easy
Classical Music arranged
by Amy Appleby. For Piano
Solo. Music Sales
America. Classical.
Softcover. 400 pages.
Music Sales #AM967549.
Published by Music Sales
Level 3A-3B. Arranged by Nancy Faber and Randall Faber. Faber Piano Adventure...(+)
Level 3A-3B. Arranged by
Nancy Faber and Randall
Faber. Faber Piano
Adventures. Chinese.
Softcover. 32 pages.
Faber
Piano Adventures #FF3048.
Published by Faber Piano
Adventures
Piano SKU: HL.50601528 A collection of Literature for Piano Players(+)
Piano
SKU:
HL.50601528
A
collection of Literature
for Piano Players.
Composed by Gü and
nter Kaluza. Piano Solo.
Classical. Softcover. 40
pages. Ricordi #SY2628.
Published by Ricordi
(HL.50601528).
On the one
hand, arrangements of
classical works for piano
may not be too difficult
to play, but on the other
hand they should remain
close enough to the
original to be easily
recognizable. The goal of
Faszination Klassik was
to combine these two
requirementsin the best
possible way. The
renowned author and piano
pedagogue Gunter Kaluza,
together with co-author
Susann Kobus, presents a
collection of 16
well-known pieces in
arrangements for piano,
suitable for use parallel
to issue 3 of the piano
school Rico learns piano.
The selection covers a
wide music history span
from Henry Purcell to
Edvard Elgar. For
example, piano students
can expand their
repertoire with classics
not otherwise accessible
to the piano, thus
deepening their
fascination with
classical music.
A Progressive Collection Celebrating 29 Female Composers. Composed by compile...(+)
A Progressive Collection
Celebrating 29 Female
Composers. Composed by
compiled, edited by Karen
Marshall, and Written.
Graded
Standard Repertoire;
Masterworks; Piano
Collection;
Piano Resources.
Classical;
Masterwork. Book. Faber
Music
#12-0571542379. Published
by
Faber Music
Edited by Amy Appleby. For piano. Format: piano solo book (spiral bound). With f...(+)
Edited by Amy Appleby.
For piano. Format: piano
solo book (spiral bound).
With fingerings. Baroque,
classical period,
romantic period and
americana. 240 pages.
9x12 inches. Published by
Music Sales.
Arranged by Dan Coates. For Piano. Book; Piano Collection; Piano Supplemental. D...(+)
Arranged by Dan Coates.
For Piano. Book; Piano
Collection; Piano
Supplemental. Dan Coates
Popular Piano Library.
Pop. Advanced. 208 pages.
Published by Alfred Music
Piano - Intermediate SKU: PE.EP11707 Composed by Edvard Grieg. Masterwork...(+)
Piano - Intermediate
SKU: PE.EP11707
Composed by Edvard Grieg.
Masterworks; Piano
Collection; Piano
Resources; Piano
Supplemental. Classical;
Masterwork; Masterwork
Arrangement; Romantic.
Book. Edition Peters
#98-EP11707. Published by
Edition Peters
(PE.EP11707).
ISBN
9790577023939.
Grie
g: A Piano Treasury is
the perfect introduction
to Edvard Grieg's piano
repertoire. This
beautiful collection
features easy to
intermediate level
original piano pieces as
well as arrangements of
some of Grieg's
best-known melodies. The
preface contains detailed
commentary on all the
works and is accompanied
by photographs, providing
a fascinating overview of
Grieg's life and musical
work. This collector's
edition was produced in
association with Kode, an
association of four art
museums and three
composers' homes in and
around Bergen, including
Grieg's home,
Troldhaugen. The book
includes an introduction
by Christian Grøvlen,
Director of Music and of
the Grieg House,
Kode.
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.
13 Well-Known Original Pieces in Progressive Order. Composed by Felix Bartho...(+)
13 Well-Known Original
Pieces in Progressive
Order.
Composed by Felix
Bartholdy
Mendelssohn (1809-1847).
Edited by Sylvia Hewig-
Tröscher. At
the Piano.
Softcover. 54 pages. G.
Henle #HN1813. Published
by
G. Henle
Piano SKU: YM.GTP01101464 Intermediate. Composed by Various. Class...(+)
Piano
SKU:
YM.GTP01101464
Intermediate.
Composed by Various.
Classical. Piano
Classical. Book. Yamaha
Music Media #GTP01101464.
Published by Yamaha Music
Media (YM.GTP01101464).
ISBN 9784636880472.
8.75 x 12
inches.
The Yamaha
Piano Library, which
began in the 1980s, is a
series designed to
provide students with new
teaching materials and
repertoire essential to
music education. Today,
pianists all over the
world are required to
play pieces from
different eras with
technique and sensitivity
that reflect the
characteristics of the
music of that period. To
meet these demands, this
series offers a wide
range of piano
compositions from
different periods,
regions, and styles. Many
of these pieces are not
included in other
collections and are
selected as required
pieces for competitions
each year. This
fascinating collection
includes compositions
from Germany, one of the
leading countries of the
Romantic period, as well
as from all over Europe,
Russia, the United States
and other regions,
ranging from the less
frequently played to the
standard pieces in a
well-balanced manner.
Arranged in order of
difficulty so that they
can be played according
to the student's skill
level, the 31 pieces
composed for the piano by
Romantic composers are
selected for students
studying at Bayer's later
levels.