|
|
Books > Arts & Architecture > Music > Musical instruments & instrumental ensembles > Keyboard instruments
In The Pianist's Craft 2, pianist and scholar Richard P. Anderson
gathers together a new collection of essays by renowned performing
artists and teachers and discusses the preparation, pedagogy, and
performance of selected works by an entirely different set of
composers whose works are standard in the piano literature. In this
volume, readers will find an invaluable collection of contributions
on C.P.E. Bach, Antonio Soler, Felix Mendelssohn, Gabriel Faure,
Erno Dohnanyi, Francis Poulenc, Heitor Villa-Lobos, Dmitri
Kabalevsky, Alberto Ginastera, Aaron Copland, Samuel Barber,
Olivier Messiaen, and John Cage. The contributors-all nationally
and internationally recognized as performing artists, teachers,
recording artists, and clinicians-write thoughtfully about the
composers whose work they have studied and played for years. Each
author addresses issues unique to an individual composer, examining
questions of phrasing, tempo, articulation, dynamics, rhythm,
color, gesture, lyricism, instrumentation, and genre. Valuable
insight is provided into teaching, performing, and preparing these
great works-information otherwise available only in conferences,
master classes, and private lessons. This collection, with more
than 250 musical illustrations, is intended for teachers and
students of the intermediate and advanced levels of piano,
instructors and performers at the university level, and those who
love piano and piano music.
This book contains nine pieces from ABRSM's Grade 3 Piano syllabus
for 2021 & 2022, three pieces chosen from each of Lists A, B
and C. The pieces have been carefully selected to offer an
attractive and varied range of styles, creating a collection that
provides an excellent source of repertoire to suit every performer.
The book also contains helpful footnotes and, for those preparing
for exams, useful syllabus information. The enclosed CD features
inspiring recordings of all 30 pieces on the Grade 3 syllabus,
performed by Nikki Iles, Dinara Klinton, Robert Thompson and
Anthony Williams.
Original and brilliant study...Anyone interested in keyboard
instruments of any kind will find in it a great fund of information
and insight into matters of general musical interest, especially
the performance of Bach's music. EARLY MUSIC TODAY Friederich
Griepenkerl, in his 1844 introduction to Volume 1 of the first
complete edition of J. S. Bach's organ works, wrote: "Actually the
six Sonatas and the Passacaglia were written for a clavichord with
two manuals and pedal, an instrument that, in those days, every
beginning organist possessed, which they used beforehand, to
practice playing with hands and feet in order to make effective use
of them at the organ. It would be a good thing to let such
instruments be made again, because actually no one who wants to
study to be an organist can really do without one." What was the
role of the pedal clavichord in music history? Was it a cheap
practice instrument for organists or was Griepenkerl right? Was it
a teaching tool that helped contribute to the quality of organ
playing in its golden age? Most twentieth-century commentary on the
pedal clavichord as an historical phenomenon was written in a kind
of vacuum, since there were no playable historical models with
which to experiment and from which to make an informed judgment. At
the heart of Bach and the Pedal Clavichord: An Organist's Guide are
some extraordinary recent experiments from the GAteborg Organ Art
Center (GOArt) at GAteborg University. The Johan David Gerstenberg
pedal clavichord from 1766, now in the Leipzig University museum,
was documented and reconstructed; the new copy was then used for
several years as a living instrument for organ students and
teachers to experience. On thebasis of these experiments and
experiences, the book explores, in new and artful ways, Bach's
keyboard technique, a technique preserved by his first biographer,
J. N. Forkel (1802), and by Forkel's own student, Griepenkerl. It
also sifts and weighs the assumptions and claims made for and aga
A time-honored tradition just got better! The John W. Schaum Piano
Course has been newly revised with 100 percent new engravings and
typesetting, color highlighting for concept emphasis, updated song
titles and lyrics, and full-color illustrations.
Jazz, Rags & Blues, Books 1 through 5 contain original solos
for late elementary to early advanced-level pianists that reflect
the various styles of the jazz idiom. An excellent way to introduce
your students to this distinctive American contribution to 20th
century music. The CD includes dynamic recordings of each song in
the book.
Duet for 2 pianos This arrangement has been made from a Soprano
recitative and Aria from the Birthday Cantata by Bach. The piece
has a fresh and pastoral character and the arrangement for two
pianos stays true to Bach's balance between the beautiful melody
and tone-painting in the harmonies.
Written late in his life, J. S. Bach's The Art of Fugue has long
been admired-in some quarters revered-as one of his masterworks.
Its last movement, Contrapunctus 14, went unfinished, and the
enigma of its incompleteness still preoccupies scholars and musical
conductors alike. In 1881, Gustav Nottebohm discovered that the
three subjects of the movement could be supplemented by a fourth.
In 1993, Zoltan Goencz revealed that Bach had planned the passage
that would join the four subjects in an entirely unique way. This
section has not survived, but, as Goencz notes, it must have been
ready in the earliest phase of composition since Bach had created
the expositions of the first three subjects from its "disjointed"
parts. Goencz then boldly took on the task of reconstructing the
original "template" by putting together the once separate pieces.
In Bach's Testament: On the Philosophical and Theological
Background of The Art of Fugue, Goencz probes the
philosophic-theological background of The Art of Fugue, revealing
the special structures that supported the 1993 reconstruction.
Bach's Testament investigates the reconstruction's metaphysical
dimensions, focusing on the quadruple fugue. As a summary of Zoltan
Goencz's extensive research over many years, which resulted in the
completion of the fugue, this work explores the complex
combinatorial, philosophical and theological considerations that
inform its structure. Bach's Testament is ideally suited not only
to Bach scholars and musicologists but also intellectual historians
with particular interests in 18th-century religious and
philosophical ideas.
A new, deeply researched biography of the great French organist,
who composed some of the best-loved works in the organ repertory --
and the masterful Requiem. Maurice Durufle: The Man and His Music
is a new biography of the great French organist and composer
(1902-86), and the most comprehensive in any language. James E.
Frazier traces Durufle's musical training, his studies
withTournemire and Vierne, and his career as an organist, church
musician, composer, recitalist, Conservatoire professor, and
orchestral musician. Frazier also examines the career and
contributions of Durufle's wife, the formidable organist
Marie-Madeleine Durufle-Chevalier. Durufle brought the church's
unique language of plainsong into a compelling liaison with the
secular harmonies of the modern French school (as typified by
Debussy, Ravel, and Dukas)in works for his own instrument and in
his widely loved masterpiece, the Requiem Op. 9 for soloists,
chorus, organ, and orchestra. Drawing on the accounts of those who
knew Durufle personally as well as on Frazier's own detailed
research, Maurice Durufle offers a broad sketch of this modest and
elusive man, widely recognized today for having created some of the
greatest works in the organ repertory -- and the masterful Requiem.
James E. Frazier holds advanced degrees in philosophy, organ,
theology, and sacred music from St. Alphonsus College, Mt. St.
Alphonsus Seminary, Hartt School of Music, the Yale University
Divinity School, and the Yale Institute of Sacred Music. He served
Episcopal churches in Hartford, Connecticut, and St. Paul,
Minnesota, as organist and director of music. For ten years he was
director of music for the Archdiocese of St. Paul and Minneapolis.
English keyboard music reached an unsurpassed level of
sophistication in the late sixteenth and early seventeenth
centuries as organists such as William Byrd and his students took a
genre associated with domestic, amateur performance and treated it
as seriously as vocal music. This book draws together important
research on the music, its sources and the instruments on which it
was played. There are two chapters on instruments: John Koster on
the use of harpsichord during the period, and Dominic Gwynn on the
construction of Tudor-style organs based on the surviving evidence
we have for them. This leads to a section devoted to organ
performance practice in a liturgical context, in which John Harper
discusses what the use of organs pitched in F may imply about their
use in alternation with vocal polyphony, and Magnus Williamson
explores improvisational practice in the Tudor period. The next
section is on sources and repertoire, beginning with Frauke
Jurgensen and Rachelle Taylor's chapter on Clarifica me Pater
settings, which grows naturally out of the consideration of
improvisation in the previous chapter. The next two contributions
focus on two of the most important individual manuscript sources:
Tihomir Popovic challenges assumptions about My Ladye Nevells Booke
by reflecting on what the manuscript can tell us about aristocratic
culture, and David J. Smith provides a detailed study of the famous
Fitzwilliam Virginal Book. The discussion then broadens out into
Pieter Dirksen's consideration of a wider selection of sources
relating to John Bull, which in turn connects closely to David
Leadbetter's work on Gibbons, lute sources and questions of style.
In From Bach's Goldberg to Beethoven's Diabelli: Influence and
Independence, music scholar and noted pianist Alfred Kanwischer
gives readers an extended exploration in which each of Beethoven's
33 pieces that comprise the Diabelli Variations (Op. 120) is
caringly examined and assessed for its ingredients, actions,
personality, and influence on the whole. Counterpoint abounds, not
only in the fugal variations, which are closely parsed, but
throughout the Diabelli, revealing the noticeably Baroque character
of the technical compositional devices Beethoven employs.
Throughout his study, Kanwischer integrates comparisons with Bach's
immortal Goldberg Variations. Both sets stand alone as among the
greatest keyboard variations in the Western canon. During their
creation, both composers were nearly the same age, at the zenith of
their art, and in similarly felicitous frames of mind.Kanwischer
underscores twenty essential similarities, from the use of melody
and melodic outline and the comparability among variations in size,
parallel design, ebullient outlook, increasing contrasts, daring
virtuosic flights, Shakespearean blend of comic and tragic, and
their respective cumulative rises to spiritual transcendence. From
Bach's Goldberg to Beethoven's Diabelli takes readers on a journey
of discovery that is lively and stimulating. It considers not only
questions of influence but those of insight and understanding,
offering a work useful not only as a reference but as a guide to
performers, music instructors and devotees. This work also includes
70 visually annotated interpretive musical examples as aids to
understanding.
These two volumes each contain six captivating duets in a variety
of styles including blues, jazz, ragtime and more! Both the primo
and secondo parts are written at the same level of difficulty.
(Piano Solo Songbook). 12 piano pieces from the 2006
Oscar-nominated film, including: Another Dance * Darcy's Letter *
Dawn * Georgiana * Leaving Netherfield * Liz on Top of the World *
Meryton Townhall * The Secret Life of Daydreams * Stars and
Butterflies * and more.
"Everything But Bach, Beethoven and Brahms," comprises this
multicultural repertoire guide for pianists, composers, music
teachers and students, world music enthusiasts and scholars. It
identifies pieces in the contemporary solo piano literature which
show world music influences not traditionally associated with the
standard repertoire of Western European art music. The resulting
annotated bibliography therefore includes pieces which use or
attempt to emulate non-Western scales, modes, folk tunes, rhythmic,
percussive or harmonic devices and timbres. Axford highlights the
music cultures of the Middle East and North Africa, Sub-Saharan
Africa, India, the Far East, Indonesia, Oceania, ethnic North
America, Latin America and Spain, and Eastern Europe, Russia, and
Scandinavia. Separate bibliographies for each world music region
show examples of contemporary solo piano pieces that demonstrate
some of the traditional musical influences associated with the
region.
This book contains valuable material to help players strengthen
their sight-reading skills in preparation for the ABRSM Grade 1
exam. Featuring preparatory exercises that gradually introduce key
new elements encountered at Grade 1, along with a comprehensive
selection of sample sight-reading pieces, More Piano Sight-Reading
supports students with the transition between grades, and
encourages them to integrate sight-reading into their daily
practice. More Piano Sight-Reading is available for ABRSM Grades 1
to 8, offering additional support for the sight-reading
requirements of the current syllabus.
Piano Makers in Russia in the Nineteenth Century is a richly
detailed thematic study of the history of the piano in Russian
society from its beginnings with the European artisans who settled
in St. Petersburg in the early decades of the century through the
transition to Russian-owned family firms. The piano played a
defining role in the shaping of Russia's musical culture in the
nineteenth century, as artisans and entrepreneurs provided the
foundation for the great tradition of the Russian virtuoso in the
performance and the composition of piano music. It also helped
bring about a transformative change in the material culture, as the
piano expanded its reach from the court and the nobility to include
music enthusiasts from all social classes and Russian families in
their homes. This historical study brings to light the impact of
neglected piano artisans in nineteenth-century Russia, and presents
a fresh view of the social and economic ties between the state and
the piano-manufacturing artisans in an era largely defined by
handcrafting and entrepreneurship.It contributes significantly to
current issues surrounding the role of the piano and the
entrepreneur-artisans in the urban centers of imperial Russia and
represents an expansion of what is currently known about the piano
builders who established workshops in Russia beginning in the late
1830s and 1840s, well before the heyday of the virtuoso in that
country. Rare documents, including letters, memoirs, gazettes,
exhibition catalogues, music journals, and administrative reports,
form the nucleus of this book and provide fascinating insights
about state and private patronage and the class/economic issues
related to the affordability and prestige of the piano in Russia.
Issues surrounding the transformation of the music industry in
Russia, the role of women as patrons and performers, the
exportation of instruments to the Russian Far East, and the complex
system of tariffs and trade protection that benefited domestic
piano manufacturers provide this book's thematic links.Conclusions
indicate that while favorable tariff laws and state-imposed
economic policies benefited the family-owned firms in the
nineiteenth century, they remained in effect in the decades after
the nationalization of the piano industry in 1917.
The Repertoire Books contain attractive compositions from the 17th
century to the present. The pieces have been organized in
progressive order and meet the requirements of many piano
festivals, auditions and competitions. The books may also be used
as sight reading material or a supplement to other method books.
Recent scholarship has vanquished the traditional perception of
nineteenth-century Britain as a musical wasteland. In addition to
attempting more balanced assessments of the achievements of British
composers of this period, scholars have begun to explore the web of
reciprocal relationships between the societal, economic and
cultural dynamics arising from the industrial revolution, the
Napoleonic wars, and the ever-changing contours of British music
publishing, music consumption, concert life, instrument design,
performance practice, pedagogy and composition. Muzio Clementi
(1752-1832) provides an ideal case-study for continued exploration
of this web of relationships. Based in London for much of his life,
whilst still maintaining contact with continental developments,
Clementi achieved notable success in a diversity of activities that
centred mainly on the piano. The present book explores Clementi's
multivalent contribution to piano performance, pedagogy,
composition and manufacture in relation to British musical life and
its international dimensions. An overriding purpose is to
interrogate when, how and to what extent a distinctive British
musical culture emerged in the early nineteenth century. Much
recent work on Clementi has centred on the Italian National Edition
of his complete works (MiBACT); several chapters report on this
project, whilst continuing to pursue the book's broader themes.
A group of resourceful kids start "solution-seekers.com," a website
where "cybervisitors" can get answers to questions that trouble
them. But when one questioner asks the true meaning of Christmas,
the kids seek to unravel the mystery by journeying back through the
prophecies of the Old Testament. What they find is a series of "S"
words that reveal a "spectacular story!" With creative characters,
humorous dialogue and great music, The "S" Files is a children's
Christmas musical your kids will love performing.
This book contains valuable practice material for ABRSM's Initial
Grade Piano exam. * Specimen tests for the exam sight-reading
requirements * Representative of the technical level expected in
the exam
Alfred's Greatest Hits series has overwhelmingly been accepted by
students and teachers. This series combines just the right
combination of hits from Broadway, Hollywood, television and
recordings! As you might expect from Alfred, this series offers a
rare combination of great music arranged with care and creativity.
Your adult students can savor the excitement of playing pop music
and reap the benefits from making practicing more fun and
rewarding.
|
You may like...
The Dance Tree
Kiran Millwood Hargrave
Paperback
R340
R269
Discovery Miles 2 690
The Nightingale
Kristin Hannah
Paperback
(1)
R285
R258
Discovery Miles 2 580
Sanctuary
Marina Pacheco
Paperback
R461
Discovery Miles 4 610
|