Written by Robert Pace. For piano. Format: instructional book. With instructiona...(+)
Written by Robert Pace.
For piano. Format:
instructional book. With
instructional text,
illustrations, fingerings
and glossary of musical
terms. Learn to play. 48
pages. 9x12 inches.
Published by Lee Roberts
Music. adult
Piano SKU: M7.ART-42199 55 weltberühmte klassische Klavierstücke...(+)
Piano
SKU:
M7.ART-42199
55
weltberühmte
klassische
Klavierstücke &
moderne Lieder für
Anfänger. Arranged
by Tatjana Davidoff.
Sheet music with Online
material. Performance
book. 76 pages. MDS
(Music Distribution
Services) #ART 42199.
Published by MDS (Music
Distribution Services)
(M7.ART-42199).
ISBN
9783866421998.
Ein
unkompliziertes
Spielvergnügen auf dem
Piano! 'Meine
schönsten
Klaviernoten!' enthält
55 weltberühmte
klassische
Klavierstücke &
moderne Lieder passend
zum Einstieg ins
Klavierspielen. Die
Stücke sind einfach
arrangiert und zumeist in
Viertelnoten gehalten,
sodass sich der Start
leicht und mit Motivation
gestalten lässt.
Freudige
Erfolgserlebnisse am
Klavier sind schnell
möglich und der
Spaß am vielseitigen
Klavierspiel steht im
Vordergrund. Die
Audiodateien zum
Herunterladen helfen beim
Kennenlernen des
jeweiligen Stückes und
unterstützen dabei ein
gutes Spielgefühl zu
entwickeln. Zudem
enthält das Buch
Liedtexte, die zum
Mitsingen einladen.
Ohrwurmgarantie! Von
Kinder- über
Weihnachtslieder bis hin
zu Piano-Evergreens,
deutsche und englische
sowie weitere
internationale
Volkslieder
(Traditionals) und
klassische Meisterwerke -
für jeden Geschmack
und für
unterschiedliche
Anlässe ist etwas
Passendes dabei.
Weltbekannte Stücke
aus den Genres Pop, Rock,
Jazz und Klassik sind
vertreten. Lust auf
Amazing Grace, Bella
Ciao, Jingle Bells, The
Entertainer, Happy
Birthday oder
Schneewalzer? Alle
Klavier-Begeisterten -
Kinder, Erwachsene und
Wiedereinsteiger - werden
hier Stücke finden,
die ihnen gefallen! Die
Lieder sind nach
Themenbereich geordnet
und enthalten hilfreiche
Fingersätze und
Tempoangaben. Da es sich
um ein reines Notenbuch
handelt, sollten
Notenkenntnisse bereits
vorhanden sein. Wer sich
fürs Klavierspielen
interessiert und mit
Spaß berühmte
Klassiker erlernen
möchte, sollte sich
diese Klaviernoten
unbedingt zulegen!
Piano - Level 5 SKU: LM.P1811 Composed by Franz Liszt. Les Classiques fav...(+)
Piano - Level 5
SKU:
LM.P1811
Composed by
Franz Liszt. Les
Classiques favoris.
Classical. Score.
Editions Henry Lemoine
#P1811. Published by
Editions Henry Lemoine
(LM.P1811).
ISBN
9790230926782.
Pays
age (3e etude
transcendante, livre I) -
Mazeppa (4e etude
transcendante, livre I) -
Eroica (7e etude
transcendante, livre I) -
Melodie hongroise en Re b
(L'Album du voyageur) -
Impromptu en fa# majeur -
Lamento (n. 2 des Trois
Caprices poetiques) -
Ballade en Si mineur - Le
Lac de Wallenstadt (Annee
de pelerinage en Suisse)
- Vallee d'Obermann
(Annee de pelerinage en
Suisse) - Canzonetta del
Salvator Rosa (Annee de
pelerinage en Italie) -
Sposalizio (Annee de
pelerinage en Italie) -
10e etude transcendante
en Fa mineur (livre II) -
5e etude, Il Flauto
(d'apres Paganini) -
Evocation (n. 1 des
Consolations) - Chant
elegiaque (n. 4 des
Consolations) -
Funerailles (des
Harmonies poetiques et
religieuses) - Pensees
des Morts (des Harmonies
poetiques et religieuses)
- Fantaisie et Fugue sur
B.A.C.H. - La Mort
d'Iseult (Wagner) - 10e
Rhapsodie.
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 seul [Partition] - Débutant Alfred Publishing
(52 Titles to Play and Sing). Arranged by Willard A. Palmer, Morton Manus, and D...(+)
(52 Titles to Play and
Sing). Arranged by
Willard A. Palmer, Morton
Manus, and Dennis
Alexander. For easy piano
and voice. Piano -
Alfred's Basic Adult
Piano Course. Alfred's
Basic Adult Piano Course.
Classical and Folk.
Difficulty: easy-medium.
Collection. Easy piano
notation, fingerings and
lyrics (on some songs).
96 pages. Published by
Alfred Music Publishing
Piano seul [Livre + CD] - Débutant Alfred Publishing
Written by Amanda Vick Lethco, Morton Manus, Willard A. Palmer. Instructional bo...(+)
Written by Amanda Vick
Lethco, Morton Manus,
Willard A. Palmer.
Instructional book
(spiral bound) and
accompaniment CD for
piano. With introductory
text, instructional text,
easy piano notation,
fingerings, illustrations
and lyrics (on some
songs). Series: Alfred's
Basic Adult Piano Course.
144 pages. Published by
Alfred Publishing.
Piano seul [Partition] - Débutant Alfred Publishing
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 and
performance notes.
Instructional. Series:
Alfred's Basic Piano
Library. 9x12 inches.
Published by Alfred
Publishing.
Easy Ragtime Piano seul - Facile Schaum Publications
Piano - Early Intermediate SKU: HL.645036 Level 3 Early Intermediate(+)
Piano - Early
Intermediate
SKU:
HL.645036
Level 3
Early Intermediate.
Composed by Herman Meima.
Arranged by Jeff Schaum
and Wesley Schaum.
Educational Piano.
Ragtime. Softcover. 24
pages. Duration 7200
seconds. Schaum
Publications, Inc. #1020.
Published by Schaum
Publications, Inc.
(HL.645036).
ISBN
9781495080937. UPC:
008148010202.
9.0x12.0x0.081 inches.
Arr. Jeff Schaum/Wesley
Schaum Level 3 Early
Intermediate.
Eleve
n themes by six authentic
ragtime composers: Big
City Rag (Johnson) * Easy
Winners (Joplin) *
Entertainer (Joplin) *
Honeysuckle Rag (Lamb) *
Maple Leaf Rag (Joplin) *
Nappy Lee (Jordan) *
Peacherine Rag (Joplin) *
Riverfront Rag (Johnson)
* Swipsey Rag (Joplin) *
Tennessee Tantalizer
(Hunter) * Tickle Monster
Rag (Hunter).
Piano SKU: M7.GRG-106126102 Die Klavierschule mit der ABC-Methode....(+)
Piano
SKU:
M7.GRG-106126102
Die Klavierschule mit
der ABC-Methode.
Edited by Margret Feils.
Arranged by Peter Wondra.
This edition:
Klebebindung. Sheet music
with 2 CDs and Online
material. 196 pages.
Edition Melodia #GRG
106126102. Published by
Edition Melodia
(M7.GRG-106126102).
ISBN 9783872523556.
German. Susanne
Thienel.
Die
Klavierschule mit der
ABC-Methode Fu?r
Jugendliche und
Erwachsene, die das
Klavierspiel erst lernen
möchten oder wieder
einsteigen wollen. Durch
ihre aus der Praxis
entwickelte ABC-Methode
kommt man auch ohne
Vorkenntnisse schnell zum
Klavierspiel und zu
ersten Erfolgen. Mit
langsam im
Schwierigkeitsgrad
ansteigenden
Originalkompositionen
sowie Titeln aus Rock,
Blues und Klassik. Alle
107 Titel auf 2 CDs
eingespielt und als
Slow-Down-Vorlage zum
langsamen Mitspielen. Mit
QR-Codes, um schnell und
gezielt zu der passenden
Slow-Version und den
Tutorials zu
gelangen.
Piano SKU: HL.14046098 Composed by Felix Sierra. CARISCH - MUSIC SALES. T...(+)
Piano
SKU:
HL.14046098
Composed
by Felix Sierra. CARISCH
- MUSIC SALES. Tuition.
General Merchandise. Real
Musical #REALMK19075.
Published by Real Musical
(HL.14046098).
ISBN
9788438712528.
Spanish.
Nueva
edicion de la coleccion
Lenguaje Musical de Felix
Sierra que abarca los 4
cursos de Grado Elemental
y 2 de Grado Medio. Cada
curso consta de dos
volumenes: A y B. En esta
nueva edicion se han
ampliado el numero de
ejercicios dedicados,
tanto ala formacion
ritmica y de lectura de
notas - escasa en la
edicion original-, como a
la entonacion de
melodias. Los ejercicios
de entonacion incluyen un
sencillo acompanamiento
pianistico, con el que se
pretende un triple
objetivo: facilitar
suestudio estabilizando
la afinacion, ayudar a la
interiorizacion de las
funciones armonicas y
aproximarlos a esa musica
que, como se ha dicho con
fina ironia, tambien
existe fuera de los
conservatorios. No se
trata, con ellos, de
descifrar unapartitura. A
pesar de lo limitado de
los medios empleados, se
puede -y se debe-
realizar con estas piezas
en miniatura una labor
artistica. El CD que se
incluye con el libro,
aunque nunca puede suplir
al profesor, si que, al
menos en parte,
cumpleesta funcion. Otra
novedad la constituye la
inclusion del arreglo
para instrumentos
escolares de una de las
canciones con que se
inicia cada unidad
didactica, canciones que
siguen siendo la materia
principal que se
desarrolla en el resto de
launidad. Canciones y
melodias a una y dos
voces con acompanamiento
de piano, ejercicios de
ritmo y lectura de notas,
percusion corporal,
pequenas obras escritas
para instrumentos de
laminas, nociones de
teoria, juegos musicales,
practica de
laimprovisacion y la
creacion musical... y
todo ello con un riguroso
planteamiento didactico
en el que la armonia es
el eje vertebrador de
todas las actividades que
se proponen. Ayudar a
descubrir el apasionante
mundo musical debe de
ser, a juicio delautor,
la tarea principal del
maestro de musica.
Esperamos con estos
libros, favorecer esta
dificil labor. Lenguaje
Musical , Lecciones De
Entonacion y Educacion
Auditiva son las
colecciones de Felix
Sierra que contemplan la
ensenanza del
lenguajemusical. Se
trabaja en este cuaderno
la tonalidad de DO mayor
-sin alteraciones
accidentales y sin
incluir la nota SI-, las
figuras blanca, negra,
corchea, sus silencios y
el puntillo aplicado a la
blanca y a la negra, los
compases de dos y tres
porcuatro, la anacrusa,
la ligadura de union y
las funciones armonicas
basicas: tonica,
dominante y
subdominante.
Piano SKU: AP.1-ADV12018 Volume 2. For Piano. Composed by C...(+)
Piano
SKU:
AP.1-ADV12018
Volume 2. For
Piano. Composed by
Clare Fischer. Piano
Collection; Piano
Supplemental; Solo; Solo
Small Ensembles. Advance
Music. Jazz; Latin. Book.
Advance Music
#01-ADV12018. Published
by Advance Music
(AP.1-ADV12018).
UPC:
805095120189.
English.
Includes
42 additional jazz and
Latin originals from 20
of his
critically-acclaimed
recordings (discography
included).
Titles:
3/2 Rock * African Flutes
* Alto-Tenor Duets *
Aniversario * Bachi *
Blues for Home *
Brazilian Waltz * C. P. *
Carnaval * Children's
Pieces * Coco B. * Coming
Home * Donna, My Love *
Don't Ever Leave *
Elizete * Gentle Breeze *
I Remember Spring * Ice
Crystals * In The
Beginning * Leavin' *
Legacy * Machaca * Malibu
Glide * Melino do Rio *
Millbrae Walk * Novelho *
Once Again * Ontem á
Noite * Piece For Scotty
* Quiet Reflections *
Samba Claro * Samba Da
Borboleta * September
Afternoon * Sleep Sweet
Child * Solar Patrol *
Sonho * Suerte * The
Blues * The Duke * The
Strut * Tom Cat * Western
Airlines.
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.
Composed by Various. Arranged by Carol Klose, Christopher Norton, and Hywel Davi...(+)
Composed by Various.
Arranged by Carol Klose,
Christopher Norton, and
Hywel Davies. BH Piano.
Ballet, Classical.
Softcover. 96 pages.
Boosey and Hawkes
#M060123917. Published by
Boosey and Hawkes
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..