Piano - Grade 5 SKU: FA.MFCD017B By Nicolas Horvath. By Claude Debussy an...(+)
Piano - Grade 5
SKU:
FA.MFCD017B
By
Nicolas Horvath. By
Claude Debussy and Robert
Orledge. Rediscoverd
Debussy. Christmas.
Score. Musik Fabrik
#MFCD017B. Published by
Musik Fabrik
(FA.MFCD017B).
8.27 x
11.69
inches.
Contains Le
Roi Lear:
Prelude,Premiere Fanfare,
and La Mort de
Cordelia,Toomai des
elephants, Rodrigue et
Chimene: Prelude a l'acte
1p. Le Martyre de Saint
Sebastien: La Passion ,
and No-ja-li ou Le Palais
du Silence
From
Robert Orledge's
notes:
My interest
in the wonderful music of
Claude Debussy began in
the 1980s when I
researched and published
a book with Cambridge
University Press entitled
Debussy and the Theatre.
During the course of my
studies in Paris, I was
amazed to discover that
Debussy planned over 50
theatrical works but only
finished two of these
entirely by himself (the
opera Pelleas et
Melisande in 1893-1902
and the ballet Jeux for
Diaghilev's Ballets
Russes in 1912-13). Of
the rest, many were never
started musically (like
Siddartha and Orphee-roi
with the Oriental scholar
Victor Segalen, 1907);
some had a few
tantalising sketches
(like the Edgar Allan Poe
opera Le Diable dans le
beffroi, 1902-03); some
were half-finished (like
his other Poe opera La
Chute de la Maison Usher,
1908-17); while others
were musically complete
but had their
orchestrations completed
by other composers (like
Khamma, by Charles
Koechlin, 1912-13; or Le
Martyre de Saint
Sebastien and La Boite a
joujoux by his 'angel of
corrections' ['l'ange des
Corrections'] Andre
Caplet in 1911 and 1919
respectively).
For
it has to be admitted
that what some scholars
call Debussy's
'compulsive achievement'
could equally well be
viewed as laziness,
especially as far as the
minute detail required
for calligraphing his
orchestral scores was
concerned. It was as if
creating the music itself
was of greater importance
than controlling its
final sound, even if
Debussy was an
imaginative orchestrator
when he found the time
and energy to do it. It
also seems true that
Debussy also preferred
inventing ideas to
turning them into
complete pieces. However,
despite the lack of
detail in many of his
sketches (missing clefs,
key signatures, dynamics,
phrasing, etc.) the notes
themselves are
surprisingly accurate,
whether or not they can
be compared with a later
draft. Thus, a large
number of sketches exist
for his Chinese ballet
No-ja-li ou Le Palais du
Silence and it is not too
difficult to see which
parts of Georges de
Feure's 1913 scenario
(see below) inspired
which ideas. But Debussy
hardly made any attempt
to join them together
after the first few
bars.
It was
usually up to his
publisher, Jacques
Durand, to find solutions
when Debussy risked a
breach of contract.
Debussy was supposed to
supervise the
orchestrations completed
by others, but this
supervision was usually
very light and restricted
to quiet, sensitive
moments in which problems
were easier to spot. Far
from jealously guarding
every one of his created
notes, as Ravel did,
Debussy once even went as
far as to ask Koechlin to
'write a ballet for him
that he would sign' on 26
March 1914 when he was
hard-pressed to fulfil
his lucrative contract
for No-ja-li with Andre
Charlot at the Alhambra
Theatre in London. In the
end, Debussy (through
Durand) sent Charlot the
symphonic suite Printemps
instead, whose
orchestration had been
completed by Henri Busser
in the Spring of
1912.
So, when I
was offered early
retirement as Professor
of Music at Liverpool
University in 2004, I
seized the opportunity it
would give me to spend
time trying to
reconstruct some of
Debussy's lost potential
masterpieces from his
existing sketches and
drafts--then
orchestrating them in
Debussy's style when this
was appropriate. I had
begun this mission in
2001 with the most
promising project, the
missing parts of Scene 2
of La Chute de la Maison
Usher and the sheer joy
it gave me at every stage
persuaded me to tackle
other projects,
especially when Debussy
experts were unable to
identify exactly where I
took over from Debussy
(and vice versa) in
Usher.
By Nicolas Horvath. By Robert Orledge and Claude Debussy (1862-1918). Redi...(+)
By Nicolas Horvath. By
Robert Orledge and Claude
Debussy (1862-1918).
Rediscoverd Debussy.
Christmas. Score. Musik
Fabrik #MFCD017A.
Published
by Musik Fabrik
Piano SKU: HL.254190 [Pchli Targ: Utwory na fortepian solo - Zeszyt 2]...(+)
Piano
SKU:
HL.254190
[Pchli
Targ: Utwory na fortepian
solo - Zeszyt 2].
Composed by Zbigniew
Bargielski. PWM. Recital.
Softcover. 52 pages.
Polskie Wydawnictwo
Muzyczne #12042010.
Published by Polskie
Wydawnictwo Muzyczne
(HL.254190).
9.25x12
inches.
Composer
Note: I treat the piano
as an instrument in no
way different from others
in the rich music
collection. On the one
hand, I feel
excitedabout, for
instance, the possibility
to write something in a
style of a piano
concerto, on the other -
I have some doubts about
shedding new light or
sparking significant
impulses from that great
three-legged animal
without hitting the
obvious. But there does
exist something lighter -
a play, a game, a
distorting mirror,
reflecting a noble
appearance of a fatso.
Not refined games, but
volatile and smooth
treatment of the matter.
Not a game on wedges, but
in trainers. A wink of an
eye at an obese
instrument arousing
emotions in the listeners
and sufferings in young
music lovers practising
scales and passages. A
remedy for continuing to
compose for the piano may
be a conscious
“anti-activity&rdqu
o;, presenting current
artistic achievements for
this instrument as if in
a distorting mirror.
Piano - Grade 7-8 SKU: ST.C463 Composed by Federico Ruiz. Edited by Clara...(+)
Piano - Grade 7-8
SKU:
ST.C463
Composed by
Federico Ruiz. Edited by
Clara Rodriguez. Piano
and keyboard music.
Collection. Clifton
Edition #C463. Published
by Clifton Edition
(ST.C463).
ISBN
9790570814633.
This
volume contains
contrasting works by
Federico Ruiz spanning
quite a large and rich
period of his
compositional output that
goes from his early
Micro-Suite (1971), to
lilting, sweet and
rhythmic Venezuelan
waltzes passing by the
mysterious, intimate, and
intense Nocturno (1994)
plus pieces originally
composed for film, and
theatre. Real eclecticism
in styles, moods and
atmospheres that show
Ruizâ??s talents and
scope.
The
Nocturno is a deep,
intriguing, substantial
piece presenting a
satisfying length which
moves from different
paths of the mind and the
heart written in an
abstract, chromatic
idiom, that does not
dissociate itself from
the Venezuelan waltz and
the joropo. One could
perhaps say that there is
a deconstruction of the
latter. For the
interpretation, the
composer has suggested to
me that it is allowed to
have some flexibility in
the tempo. Ruiz kindly
dedicated it to me, and I
have had the pleasure of
performing it in many
concerts.
Although
all highly expressive,
the Three Venezuelan
Waltzes present in this
collection as well as the
piece titled Aliseo, are
works that are close to
the colourful Venezuelan
folk tradition. Federico
Ruiz had given me two of
them when we first met:
â??Tu Presenciaâ??
(1981) and
â??EloÃsaâ?? (1989)
and then I attended a
performance of the play
â??Office Number Oneâ??
by Miguel Otero Silva
with a fantastic actor,
Elba Escobar in the role
of Carmen Rosa and, I
just fell in love and was
very moved by the
incidental music that I
later discovered, by
reading the programme,
had been written by
Federico Ruiz. Later that
evening, I called him and
asked to please make a
piano score of the
composition, so I could
have the desired piece in
my hands. That is how
â??Carmen Rosaâ?
waltz (1987) came to
exist in a piano
version.
â??Elois
aâ?? is another
Venezuelan waltz with
more jazzy harmonies
where precision in the
rhythm and elegant
playing is also
essential, as it is in
most of his
pieces.
â??Tu
Presenciaâ?? was
dedicated to his mother,
Margarita. It is written
with the structure of the
Venezuelan waltz, which
consists of a nostalgic
subject that leads to a
faster, happier middle
section where the typical
graceful rhythm is given
by the left-hand
accompaniment figure of a
dotted crotchet followed
by a quaver and a
crotchet.
The
craft and magic found in
the five movements of the
Micro-Suite is based on a
dodecaphonic row by Ernst
Krenek. They remind us of
the idiom of the Second
Viennese School. These
real miniatures seem to
tell short stories. The
â??Preludioâ?? is full
of humour. I imagine
dancing figures given by
the jumps all over the
keyboard and extreme
dynamics; the phrases
give the impression of a
conversation with many
questions and answers.
The â??Invenciónâ??
is a kaleidoscopic piece
where the hands mirror
each other. The
â??Passacagliaâ?? is
the longest movement, at
just over a minute where
the prime motif is
repeated three times on
the bass line. For its
construction Federico
Ruiz uses as well the
retrograde and the
retrograde inversion of
the twelve-tone series.
It must be played
expressively with dynamic
contrasts between
pianissimo and louder
events. The
â??Scherzoâ?? has
repetitive motifs of a
minor third in both hands
and the â??Finalâ??
displays virtuosic
passages for the
pianist.
Piano SKU: HL.254189 [Pchli Targ: Utwory na fortepian solo - Zeszyt 1]...(+)
Piano
SKU:
HL.254189
[Pchli
Targ: Utwory na fortepian
solo - Zeszyt 1].
Composed by Zbigniew
Bargielski. PWM. Recital.
Softcover. 32 pages.
Polskie Wydawnictwo
Muzyczne #12028010.
Published by Polskie
Wydawnictwo Muzyczne
(HL.254189).
9.25x12
inches.
Composer
Note: I treat the piano
as an instrument in no
way different from others
in the rich music
collection. On the one
hand, I feel
excitedabout, for
instance, the possibility
to write something in a
style of a piano
concerto, on the other -
I have some doubts about
shedding new light or
sparking significant
impulses from that great
three-legged animal
without hitting the
obvious. But there does
exist something lighter -
a play, a game, a
distorting mirror,
reflecting a noble
appearance of a fatso.
Not refined games, but
volatile and smooth
treatment of the matter.
Not a game on wedges, but
in trainers. A wink of an
eye at an obese
instrument arousing
emotions in the listeners
and sufferings in young
music lovers practising
scales and passages. A
remedy for continuing to
compose for the piano may
be a conscious
“anti-activity&rdqu
o;, presenting current
artistic achievements for
this instrument as if in
a distorting mirror.
Piano (Piano Solo) SKU: HL.1115736 8 Pieces Inspired by Classic Cinema...(+)
Piano (Piano Solo)
SKU: HL.1115736
8 Pieces Inspired by
Classic Cinema for Solo
Piano. Composed by
Simons Hester. Piano.
Movies, Tv. Softcover. 20
pages. Musica Ferrum
Editions
#FERR9790708147701.
Published by Musica
Ferrum Editions
(HL.1115736).
ISBN
9781705179970. UPC:
196288105879.
Enter
a Hollywood movie from
the golden era. Enjoy the
music of Simon Hester and
play the soundtrack
supposedly composed for a
moviethat doesn't exist,
but could very well be
real. For grades 4-6.
Piano SKU: BR.EB-8937 Urtext. Composed by Christoph Graupner. Solo...(+)
Piano
SKU:
BR.EB-8937
Urtext. Composed
by Christoph Graupner.
Solo instruments. Edition
Breitkopf. Suite;
Baroque. Score. Breitkopf
and Haertel #EB 8937.
Published by Breitkopf
and Haertel (BR.EB-8937).
ISBN 9790004186046. 0
x 0 inches.
Given
that hardly any printed
collections of new
keyboard music were
offered in Germany in the
first decades of the 18th
century, Christoph
Graupner's eight Partien
auf das Clavier ,
published in 1718, marked
a new beginning. The
suites are arranged
according to an ascending
sequence of notes and
generally follow the
scheme Allemande -
Courante - Sarabande -
Gigue, but this order is
repeatedly broken, also
by movements that are
rather unusual for a
suite. The focus is on
the characteristics of
the individual movements
and the joy of playing
with figures typical for
the movement or
instrument, as well as on
challenging playing
techniques, such as hand
changes in runs
(passaggi), wide-ranging
chord breaks and the use
of the thumb, which was
not very common at the
time. In this respect,
Graupner's suites offer
not so much a formal
advancement, but rather
an expansion of the
demands of playing
technique. Although
several CD recordings of
these suites already
exist, this volume
constitutes the first
modern Urtext edition.
Complementing her
scholarly activities, the
editor Genevieve Soly
provides important
impulses on performance
practice in the preface,
especially on the
execution of the passaggi
and the ornamentation,
thus opening up the view
on her activity as a
harpsichordist.
Piano SKU: HL.49044148 (with diligent guidance from Dr. Peter Hanser-S...(+)
Piano
SKU:
HL.49044148
(with
diligent guidance from
Dr. Peter
Hanser-Strecker); climbs
to the summit, dances
(joyfully), reflects upon
(musical) existence,
dances (vigorously) again
... and descends (for
another day at the
fair).. Composed by
Richard Ayres. E-Noten
PDF. Piano Method.
Softcover. Composed 2012.
Duration 2'. Schott Music
#ED13533. Published by
Schott Music
(HL.49044148).
ISBN
9790001191371.
Petr
ushka (with diligent
guidance from Dr. Peter
Hanser-Strecker); climbs
to the summit, dances
(joyfully), reflects upon
(musical) existence,
dances (vigorously) again
... and descends (for
another day at the
fair).
Piano SKU: HL.14030676 Ten Short Pieces for Piano. Composed by Rue...(+)
Piano
SKU:
HL.14030676
Ten
Short Pieces for
Piano. Composed by
Rued Langgaard. Music
Sales America. Classical.
Score. Composed 2020.
Duration 1200 seconds.
Edition Wilhelm Hansen
#KP00666. Published by
Edition Wilhelm Hansen
(HL.14030676).
ISBN
9788759863879.
Danish.
The 'Ten
short piano pieces' with
the title Sommerferie i
Blekinge (Summer Holiday
in Blekinge) (1916) have
not been preserved in
their complete form. The
only existing source is a
manuscript in Rued
Langgaard's hand that
lacks the first and last
pages with sections of
the music. This means
that the entire first
piano piece with the
title Paa rejse
(Travelling) is missing
as well as most of Piece
II, Mode (Meeting) (only
the conclusion of this
piece has been
preserved). A large
fragment exists of Piece
X, Aften med Dans
(Evening with Dancing),
but the conclusion is
missing. The manuscript
is to be found at the
Royal Danish Library in
Copenhagen (RLS 83,2). On
the first page,Langgaard
has merely written 'Piano
Pieces 1916': the real
title and titles of the
movements in the first
two pieces derives from
other sources. In 2008,
the Rued Langgaard
Society asked the Danish
composer Niels Marthinsen
(b. 1963) to add to the
work, the aim being to
create a 'performance
version'. Marthinsen
composed a complete new
first piece - Paa rejse
(Travelling) - and
allowed it to merge with
the preserved concluding
fragment of Langgaard's
second piece, Mode
(Meeting). Niels
Marthinsen further
composed a conclusion to
the incomplete Piece X,
Aften med Dans (Evening
with Dancing), and in it
incorporated a reference
to the first piece, so
that his additions came
to form a frame round
what hasbeen preserved of
Langgaard's work. This
supplemented version was
given its first
performance by Berit
Johansen Tange in 2008.
The overall title and
titles of the individual
pieces refer to a summer
stay in 1913, i.e. three
years before the work was
composed, when the then
20-year-old composed was
on holiday in Kyrkhult in
Blekinge (Sweden).
Composed by Bela Bartok (1881-1945) and Sándor Reschofsky. EMB. Softcover. ...(+)
Composed by Bela Bartok
(1881-1945) and Sándor
Reschofsky. EMB.
Softcover.
136 pages. Editio Musica
Budapest #Z15072.
Published
by Editio Musica Budapest
Scott Joplin Reconsidered. Composed by Scott Joplin (1868-1917). Edited by L...(+)
Scott Joplin
Reconsidered.
Composed by Scott Joplin
(1868-1917). Edited by
Lara
Downes. Collection.
Theodore
Presser Company
#440-40028.
Published by Theodore
Presser
Company
Piano (Piano Solo) SKU: HL.49046935 Solo Piano. Composed by Gregor...(+)
Piano (Piano Solo)
SKU: HL.49046935
Solo Piano.
Composed by Gregory
Spears. Piano Solo.
Classical. Softcover. 98
pages. Duration 6180
seconds. Schott Music
#ED30418. Published by
Schott Music
(HL.49046935).
ISBN
9781705169353. UPC:
842819116837.
9.25x12.0x0.5
inches.
SEVEN DAYS
is a cycle for solo piano
in 21 movements, most
lasting between three and
seven minutes,
distributed in the form
of a custom app produced
by the 92Y and released
during their Fall 2021
season. Using the app on
their phones, listeners
are asked to listen to
three movements a day
according to an
approximate schedule -
one movement in the
morning, one in the
afternoon, and another
sometime in the evening -
for seven days. The music
is performed by Pedja
Muzijevic and presented
alongside paintings by
Gloria Maximo. (Please
visit 92Y.org for
information on how to
download the Seven Days
app.) The work is
designed as a listening
experience that tunes us
into the passing of time,
connecting us both to the
present moment as well as
the cycle of the week.
The experience invites
music to inhabit and
structure our everyday -
to find us where we are
in the world. The
morning-afternoonevening
schedule is meant to
focus participants on the
dawn-to-dusk cycle as
well as to create a
communal listening
ritual. It is also an
experiment in large-scale
form, designed to draw
attention to musical
material developing
across a week-long
expanse, interspersed
with vast silences. SEVEN
DAYS was shaped by a year
spent in relative
isolation due to the
pandemic. While it is a
work composed during a
time of quarantine, it
will be experienced first
by an audience in the
process of returning to a
more normal world. In
that sense, it is an
artwork born out of a
year of relatively
cloistered existence that
seeks to preserve aspects
of that experience as we
move forward. The piece
was also inspired by the
work of Morton Feldman
and Chantal Akerman,
whose large-scale works
consider time, process,
and stillness. Their art
struck me with a fresh
relevance during the
silent stretches of the
pandemic year 2020. It
was also a year in which
writings about time,
penned by contemplatives
like Henry David Thoreau
and Thomas Merton, held
new weight. All of this
in turnresonated with
Gloria Maximo's profound
paintings, which I've
long admired. SEVEN DAYS
is an artwork we are
invited to do - using
music to point our
attention to the present
moment, the everyday, and
the seemingly mundane. It
is a piece listeners are
also asked to live within
as it unfolds over a week
rather than to witness it
live. The key players
here are time and the
listener's own
surroundings, starring
together alongside music
and art in a wordless
drama. -Gregory
Spears.
Des musiques de soie. Composed by Francis Poulenc (1899-1963). Classical. Bo...(+)
Des musiques de soie.
Composed by Francis
Poulenc
(1899-1963). Classical.
Book
Only. Composed 2021. 8
pages.
Editions Salabert #SLB
02048200. Published by
Editions Salabert
Piano Solo SKU: HL.51481158 Piano Solo. Composed by Sergei Prokovi...(+)
Piano Solo
SKU:
HL.51481158
Piano
Solo. Composed by
Sergei Prokoviev. Edited
by Norbert Gertsch. Henle
Music Folios. Classical.
Softcover. 48 pages. G.
Henle #HN1158. Published
by G. Henle
(HL.51481158).
UPC:
196288209164.
9.0x12.0x0.172
inches.
Prokofiev
did not compose his
Visions fugitives â?? 20
â??fleeting visionsâ?
â?? in one go, but in
clusters between 1915 and
1917, immediately before
the Russian Revolution
that compelled him to
leave his native country
in 1918. We know from his
diaries that at least
some of them owe their
existence to
extra-musical impulses.
Thus several pieces were
inspired by people close
to him. Others impart his
emotional reaction to the
political situation with
its menacing brutality.
According to his own
statement, for example,
no. 19 â??was inspired
by the events of February
1917 in Petrogradâ?,
during the Revolution's
first phase. Technically
the pieces are not too
demanding, and are also
often used in teaching.
They now appear for the
first time in an Urtext
edition that considers
all the musical sources
created during the
composer's lifetime. In
his preface, Prokofiev
specialist Simon Morrison
provides biographical
context for the genesis
of this fantastic piano
cycle.
About Henle
Urtext
What I can expect from
Henle Urtext
editions:
error-free, reliable
musical texts based on
meticulous musicological
research - fingerings and
bowings by famous artists
and pedagogues
preface in 3
languages with
information on the
genesis and history of
the work
Critical Commentary
in 1 ? 3 languages with a
description and
evaluation of the sources
and explaining all source
discrepancies and
editorial
decisions
most
beautiful music
engraving
page-turns, fold-out
pages, and cues where you
need them
excellent print
quality and
binding
largest Urtext
catalogue
world-wide
longest Urtext
experience (founded 1948
exclusively for Urtext
editions)
A Collection of Never-before Published Works, Edited from the Composeras Own...(+)
A Collection of
Never-before
Published Works, Edited
from
the Composeras Own
Manuscripts. Composed by
Camille Saint-SaA<
Item Number: CF.PL1062
ISBN 9781491158807.
Camille
Saint-SaA<Preface My
first glimpse of the six
solo piano works in this
volume came via several
visits I made to the
music
archives of the
BibliothAque
Nationale de France (BnF)
in
Paris in June of 2013. I
had
known of the existence of
unpublished manuscripts
of
these pieces through
Sabine
Teller Ratneras
comprehensive
bibliographic
volume focusing on
Saint-
SaA<
Piano SKU: HL.14036975 Piano Solo. Composed by Pelle Gudmundsen-ho...(+)
Piano
SKU:
HL.14036975
Piano
Solo. Composed by
Pelle
Gudmundsen-holmgreen.
Music Sales America.
Classical. Book
[Softcover]. 8 pages.
Music Sales #KP00638.
Published by Music Sales
(HL.14036975).
ISBN
9788759868010.
Danish.
Pelle
Gudmundsen-Holmgreen 3
EPIGRAMS'3 Epigrams'
(1963) came into
existence following my
piece for chamber
orchestra 'Chronos'
(1962). My purpose with
these pieces (and others
of the same period) was
to explore the sound
experiences of serialism
in space and time but
without using the
original and fundamental
substance of serialism -
the tone row. The
chromatic space was
constituted by four
identical and
complementary tone
columns (established by
transposition). The time
was divided into 25
different sizes,
plasticly conceived and
graphically notated.
These distances were then
divided in 25 new
distances in the same
proportions etc ... into
smaller and smaller
durations completely
hierarchally carried
through. This time
division, 'rhythm',
de-termines the gradual
or sudden shifts from one
tone column to
another.The 3 Epigrams
became a little play of
my own with this material
and the work is,
therefore, quite clear to
read and easy to play - a
kind of bagatelle,
really.I am now afraid
that a classic situation
is emerging: If this
programme note is any
longer it will take more
time to read this than it
will take to play the
three pieces.Pelle
Gudmundsen-Holmgreen.
Piano SKU: BT.BOE7935 Songbook. Composed by Hauschka. Contemporary...(+)
Piano
SKU:
BT.BOE7935
Songbook. Composed
by Hauschka. Contemporary
Music. Book Only.
Composed 2019. 80 pages.
Bosworth & Co. #BOE7935.
Published by Bosworth &
Co. (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'.
Volker
Bertelmann aka Hauschka
lanceerde zichzelf naar
top van de instrumeantele
componisten, niet in het
minste door zijn
oscar-nominatie die hij
ontving voor zijn
soundtrack bij de film
Lion. In zijn laatste
album A Different Forest
- uitgebracht op 8
februari 2019 - gebruikt
hij het bos als een
contrast met het
stadsleven.
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 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.
Piano - Grade 4 SKU: FA.MFRO001P Composed by Claude Debussy and Robert Or...(+)
Piano - Grade 4
SKU:
FA.MFRO001P
Composed
by Claude Debussy and
Robert Orledge.
Rediscoverd Debussy.
Classical :
Impressionistic. Score.
Musik Fabrik #MFRO001P.
Published by Musik Fabrik
(FA.MFRO001P).
8.27 x
11.69 inches.
Over
the years 1908-16,
Debussy had produced a
viable scenario for Usher
on his third attempt.
Butwhen he came to making
a complete draft of the
music, he seems to have
lost interest during
Roderick Usher's long
monologue, even though he
was setting his own text.
As in No-ja-li he jumped
to the next passage that
interested him, in this
case the exciting final
melodrama and the
collapse of the Usher
house itself. In the
process of completing the
missing half of the
score, I discovered that
by reusing Debussy's
material for similar
psychological situations
across the opera, and by
metamorphosing existing
ideas (as Debussy does
with Melisande's theme in
his opera Pelleas et
Melisande), the only
things I really needed to
add were linking material
and any passages where
fast music was required.
So the 'nightmare
scherzo', and Lady
Madeline's escape from
her coffin and her final
bloody revenge on her
brother are all mine, but
most of the rest is
existing Debussy in
changing contexts (in
which the Russian
technique of 'changing
backgrounds', both
harmonic and textural,
proved extremely useful,
as it did to Debussy in
his Prelude a
l'apres-midi d'un faune).
Eventually, both my
completed ballet No-ja-li
and the House of Usher
were successfully
premiered in 2006 and the
latter soon began to find
its way into the
established repertoire in
Europe and the US. To
further support this, I
transcribed some of the
highlights of Debussy's
score as A Night in the
House of Usher for organ,
and subsequently
piano--with a focus on
Scene 2 and the final,
horrific and maca-bre
melodrama. This climaxes
in the double deaths of
Roderick Usher and his
Sister Madeline, together
with the disintegration
of the ill-fated House of
Usher into the stagnant
lake-all beneath a
blood-red moon.In this
form it was first
performed by Ian Buckle
in the Howard Assembly
Rooms, Leeds in 2010.