Matériel : Textbook|Book
Voir toutes les partitions de Charles Wuorinen
SKU: UT.MAG-268
ISBN 9790215326798. 9 x 12 inches.
The study of Johann Sebastian Bach’s compositions on the harp has a long history. The first who understood its importance for educational purposes was Robert Nicolas Charles Bochsa, who inserted some fugues of Bach and Haendel in his monumental method for the harp op. 60, accompanied by detailed fingerings. However, it was from the beginning of the 20th Century that the great harp teachers began to work extensively on Bach’s repertoire. Among the most illustrious examples we can mention Henriette Renié, who published two volumes of transcriptions, one containing ten preludes and one ten short pieces, Alfred Kastner who worked on the Two–part Inventions, Marcel Grandjany with his famous studies based on partitas and sonatas for solo violin, or Annie Louis David, who published two important volumes of preludes and fugues taken from The Well-Tempered Clavier, not to mention all those who transcribed just a single piece for concert purpose.As is known, the Notebook for Anna Magdalena (Notenbüchlein für Anna Magdalena Bach), consists of two small manuscript volumes, the first compiled in Köthen in 1722 and the second in Leipzig three years later. The first contains only compositions by Johann Sebastian, while the second also includes pieces by other authors such as Couperin, Hasse and Carl Philipp Emanuel Bach.The idea of ​​collectin g in a volume some of the simplest compositions contained in the Notebook was born mainly from the desire to introduce even the youngest students to Bach’s music, in an easy and progressive way, so as to start as soon as possible at make them familiar with polyphonic writing and the use of embellishments, introduced here in a simplified version.
SKU: FL.FX072726
A simple composition in two movements (Fast / slow) allowing the player to become familiar with the repeated notes, while being attentive to piano accompaniment. - Alain LOPEZ ; A Piece for students from 2 years of instrument practice ; Instruments: 1 Soprano or Tenor Saxophone 1 Piano; Difficuly Level: Grade 2; Duration: 2 mn 05 s; Musical Style: Classical, Educational; Category: Original Composition; Composer: Alain LOPEZ;.
SKU: FL.FX072559
A simple composition in two movements (Fast / slow) allowing the player to become familiar with the repeated notes, while being attentive to piano accompaniment. - Alain LOPEZ ; A Piece for students from 2 years of instrument practice ; Instruments: 1 Alto Saxophone 1 Piano; Difficuly Level: Grade 2; Duration: 2 mn 05 s; Musical Style: Classical, Educational; Category: Original Composition; Composer: Alain LOPEZ;.
SKU: GI.G-005304
One of Proulx's last compositions. We are proud to publish this simple, elegant chant setting of the Gloria that is truly an exquisite pastoral work and one that assemblies will sing and pray with enthusiasm.
SKU: CL.RWS-2305-01
If your beginning band needs a piece to help give the bass players more confidence while having fun, then this is the piece for you! This clever work for young band is based on a groove featuring low brass and woodwinds. It also includes a bass drum solo, hence the name So Low. Your students will love rehearsing this one and will hurry to the band room every day to play it. It will also be a real treat for parents as they watch their students have a blast performing this infectious, yet simple composition.
SKU: FL.FX071531
A rhythmically simple composition that I wanted to be very melodic to encourage students to become familiar with repeated notes. - Alain LOPEZ.
SKU: FL.FX071530
SKU: AP.12-0571522920
ISBN 9780571522927. English.
A great opportunity to order multiple copies at a significantly reduced price!RecorderW orld is an exciting and creative way to learn the recorder! It is a step-by-step teaching method with over 40 pieces in this second book, following on from the notes learnt in Book 1.Concert pieces provide opportunities for performance straight away and there is plenty of opportunity for group work with duets, rounds and percussion boxes. Explore the world of improvisation and composition though imaginative starting points. 'Fact files' introduce new information about beats, musical markings and time signatures while 'Clapping Games' instil a strong sense of rhythm. 'Quick Quizzes' help revise and reinforce new concepts while lively cartoons and colourful stickers make it so much fun! This book introduces the notes low F sharp, low D, B flat, low F, C sharp, top E, top F, low C, top F sharp and top G.An accompaniment CD is also available.
SKU: FL.FX071529
SKU: FL.FX071535
SKU: FL.FX071532
SKU: FL.FX071534
SKU: FL.FX071536
SKU: FL.FX071533
SKU: AP.98-RWS230500
SKU: MB.20870M
ISBN 9780786694525. 8.75 x 11.75 inches.
The sitar has been popular since the 1960s. Since that time it has always had a considerable mystique among musicians. It also has an undeserved reputation for being difficult to play. This book/audio set cuts though the mystique and misapprehensions and presents the material in a simple fashion that is easily understood both by Indians and non-Indian musicians alike.Learning the Sitar begins with basic background information, including a discussion of Indian music, the history of the instrument, the parts and other important terms It then moves on to basic exercises and finally finishes with some simple compositions in Bilawal, Kalyan and Kafi. This is covered in a mix of staff notation as well as raditional Indian Sargam notation. Includes access to online audio.
SKU: FL.FX073776
A piece to be played from 1 year of double bass practice ; Instruments: 1 Double Bass 1 Piano; Difficuly Level: Grade 1.
SKU: HL.49046544
ISBN 9781705122655. UPC: 842819108726. 9.0x12.0x0.224 inches.
I composed the Piano Concerto in two stages: the first three movements during the years 1985-86, the next two in 1987, the final autograph of the last movement was ready by January, 1988. The concerto is dedicated to the American conductor Mario di Bonaventura. The markings of the movements are the following: 1. Vivace molto ritmico e preciso 2. Lento e deserto 3. Vivace cantabile 4. Allegro risoluto 5. Presto luminoso.The first performance of the three-movement Concerto was on October 23rd, 1986 in Graz. Mario di Bonaventura conducted while his brother, Anthony di Bonaventura, was the soloist. Two days later the performance was repeated in the Vienna Konzerthaus. After hearing the work twice, I came to the conclusion that the third movement is not an adequate finale; my feeling of form demanded continuation, a supplement. That led to the composing of the next two movements. The premiere of the whole cycle took place on February 29th, 1988, in the Vienna Konzerthaus with the same conductor and the same pianist. The orchestra consisted of the following: flute, oboe, clarinet, bassoon, horn, trumpet, tenor trombone, percussion and strings. The flautist also plays the piccoIo, the clarinetist, the alto ocarina. The percussion is made up of diverse instruments, which one musician-virtuoso can play. It is more practical, however, if two or three musicians share the instruments. Besides traditional instruments the percussion part calls also for two simple wind instruments: the swanee whistle and the harmonica. The string instrument parts (two violins, viola, cello and doubles bass) can be performed soloistic since they do not contain divisi. For balance, however, the ensemble playing is recommended, for example 6-8 first violins, 6-8 second, 4-6 violas, 4-6 cellos, 3-4 double basses. In the Piano Concerto I realized new concepts of harmony and rhythm. The first movement is entirely written in bimetry: simultaneously 12/8 and 4/4 (8/8). This relates to the known triplet on a doule relation and in itself is nothing new. Because, however, I articulate 12 triola and 8 duola pulses, an entangled, up till now unheard kind of polymetry is created. The rhythm is additionally complicated because of asymmetric groupings inside two speed layers, which means accents are asymmetrically distributed. These groups, as in the talea technique, have a fixed, continuously repeating rhythmic structures of varying lengths in speed layers of 12/8 and 4/4. This means that the repeating pattern in the 12/8 level and the pattern in the 4/4 level do not coincide and continuously give a kaleidoscope of renewing combinations. In our perception we quickly resign from following particular rhythmical successions and that what is going on in time appears for us as something static, resting. This music, if it is played properly, in the right tempo and with the right accents inside particular layers, after a certain time 'rises, as it were, as a plane after taking off: the rhythmic action, too complex to be able to follow in detail, begins flying. This diffusion of individual structures into a different global structure is one of my basic compositional concepts: from the end of the fifties, from the orchestral works Apparitions and Atmospheres I continuously have been looking for new ways of resolving this basic question. The harmony of the first movement is based on mixtures, hence on the parallel leading of voices. This technique is used here in a rather simple form; later in the fourth movement it will be considerably developed. The second movement (the only slow one amongst five movements) also has a talea type of structure, it is however much simpler rhythmically, because it contains only one speed layer. The melody is consisted in the development of a rigorous interval mode in which two minor seconds and one major second alternate therefore nine notes inside an octave. This mode is transposed into different degrees and it also determines the harmony of the movement; however, in closing episode in the piano part there is a combination of diatonics (white keys) and pentatonics (black keys) led in brilliant, sparkling quasimixtures, while the orchestra continues to play in the nine tone mode. In this movement I used isolated sounds and extreme registers (piccolo in a very low register, bassoon in a very high register, canons played by the swanee whistle, the alto ocarina and brass with a harmon-mute' damper, cutting sound combinations of the piccolo, clarinet and oboe in an extremely high register, also alternating of a whistle-siren and xylophone). The third movement also has one speed layer and because of this it appears as simpler than the first, but actually the rhythm is very complicated in a different way here. Above the uninterrupted, fast and regular basic pulse, thanks to the asymmetric distribution of accents, different types of hemiolas and inherent melodical patterns appear (the term was coined by Gerhard Kubik in relation to central African music). If this movement is played with the adequate speed and with very clear accentuation, illusory rhythmic-melodical figures appear. These figures are not played directly; they do not appear in the score, but exist only in our perception as a result of co-operation of different voices. Already earlier I had experimented with illusory rhythmics, namely in Poeme symphonique for 100 metronomes (1962), in Continuum for harpsichord (1968), in Monument for two pianos (1976), and especially in the first and sixth piano etude Desordre and Automne a Varsovie (1985). The third movement of the Piano Concerto is up to now the clearest example of illusory rhythmics and illusory melody. In intervallic and chordal structure this movement is based on alternation, and also inter-relation of various modal and quasi-equidistant harmony spaces. The tempered twelve-part division of the octave allows for diatonical and other modal interval successions, which are not equidistant, but are based on the alternation of major and minor seconds in different groups. The tempered system also allows for the use of the anhemitonic pentatonic scale (the black keys of the piano). From equidistant scales, therefore interval formations which are based on the division of an octave in equal distances, the twelve-tone tempered system allows only chromatics (only minor seconds) and the six-tone scale (the whole-tone: only major seconds). Moreover, the division of the octave into four parts only minor thirds) and three parts (three major thirds) is possible. In several music cultures different equidistant divisions of an octave are accepted, for example, in the Javanese slendro into five parts, in Melanesia into seven parts, popular also in southeastern Asia, and apart from this, in southern Africa. This does not mean an exact equidistance: there is a certain tolerance for the inaccurateness of the interval tuning. These exotic for us, Europeans, harmony and melody have attracted me for several years. However I did not want to re-tune the piano (microtone deviations appear in the concerto only in a few places in the horn and trombone parts led in natural tones). After the period of experimenting, I got to pseudo- or quasiequidistant intervals, which is neither whole-tone nor chromatic: in the twelve-tone system, two whole-tone scales are possible, shifted a minor second apart from each other. Therefore, I connect these two scales (or sound resources), and for example, places occur where the melodies and figurations in the piano part are created from both whole tone scales; in one band one six-tone sound resource is utilized, and in the other hand, the complementary. In this way whole-tonality and chromaticism mutually reduce themselves: a type of deformed equidistancism is formed, strangely brilliant and at the same time slanting; illusory harmony, indeed being created inside the tempered twelve-tone system, but in sound quality not belonging to it anymore. The appearance of such slantedequidistant harmony fields alternating with modal fields and based on chords built on fifths (mainly in the piano part), complemented with mixtures built on fifths in the orchestra, gives this movement an individual, soft-metallic colour (a metallic sound resulting from harmonics). The fourth movement was meant to be the central movement of the Concerto. Its melodc-rhythmic elements (embryos or fragments of motives) in themselves are simple. The movement also begins simply, with a succession of overlapping of these elements in the mixture type structures. Also here a kaleidoscope is created, due to a limited number of these elements - of these pebbles in the kaleidoscope - which continuously return in augmentations and diminutions. Step by step, however, so that in the beginning we cannot hear it, a compiled rhythmic organization of the talea type gradually comes into daylight, based on the simultaneity of two mutually shifted to each other speed layers (also triplet and duoles, however, with different asymmetric structures than in the first movement). While longer rests are gradually filled in with motive fragments, we slowly come to the conclusion that we have found ourselves inside a rhythmic-melodical whirl: without change in tempo, only through increasing the density of the musical events, a rotation is created in the stream of successive and compiled, augmented and diminished motive fragments, and increasing the density suggests acceleration. Thanks to the periodical structure of the composition, always new but however of the same (all the motivic cells are similar to earlier ones but none of them are exactly repeated; the general structure is therefore self-similar), an impression is created of a gigantic, indissoluble network. Also, rhythmic structures at first hidden gradually begin to emerge, two independent speed layers with their various internal accentuations. This great, self-similar whirl in a very indirect way relates to musical associations, which came to my mind while watching the graphic projection of the mathematical sets of Julia and of Mandelbrot made with the help of a computer. I saw these wonderful pictures of fractal creations, made by scientists from Brema, Peitgen and Richter, for the first time in 1984. From that time they have played a great role in my musical concepts. This does not mean, however, that composing the fourth movement I used mathematical methods or iterative calculus; indeed, I did use constructions which, however, are not based on mathematical thinking, but are rather craftman's constructions (in this respect, my attitude towards mathematics is similar to that of the graphic artist Maurits Escher). I am concerned rather with intuitional, poetic, synesthetic correspondence, not on the scientific, but on the poetic level of thinking. The fifth, very short Presto movement is harmonically very simple, but all the more complicated in its rhythmic structure: it is based on the further development of ''inherent patterns of the third movement. The quasi-equidistance system dominates harmonically and melodically in this movement, as in the third, alternating with harmonic fields, which are based on the division of the chromatic whole into diatonics and anhemitonic pentatonics. Polyrhythms and harmonic mixtures reach their greatest density, and at the same time this movement is strikingly light, enlightened with very bright colours: at first it seems chaotic, but after listening to it for a few times it is easy to grasp its content: many autonomous but self-similar figures which crossing themselves. I present my artistic credo in the Piano Concerto: I demonstrate my independence from criteria of the traditional avantgarde, as well as the fashionable postmodernism. Musical illusions which I consider to be also so important are not a goal in itself for me, but a foundation for my aesthetical attitude. I prefer musical forms which have a more object-like than processual character. Music as frozen time, as an object in imaginary space evoked by music in our imagination, as a creation which really develops in time, but in imagination it exists simultaneously in all its moments. The spell of time, the enduring its passing by, closing it in a moment of the present is my main intention as a composer. (Gyorgy Ligeti).
SKU: BP.1112
Patricia Hurlbutt's Christmas anthem, while in 2-parts, can work well with any ensemble from beginning children's choir through adult choir. The conservative ranges and simple compositional techniques are well-suited for any age and level of experience.
SKU: HL.132352
UPC: 884088971861.
Volum e 29 B V (Various Compositions) contains works of greatly varying difficulty: from the simplest of miniatures, belonging to the pedagogic repertory, to pearls of pianistic lyricism, including masterpieces readily played by the most outstanding pianists: Lento con gran espressione, Nocturne E minor, Impromptu C sharp minor and Funeral March in C minor, Ecossaises in D, G, D flat major, Contredanse, [Allegretto], Cantabile in B flat major, Presto con leggierezza, Spring, Sostenuto, Moderato, Galop Marquis.
SKU: CF.BAS78F
ISBN 9781491151600. UPC: 680160909100. 9 x 12 inches.
The imagery of a lush, green meadow helps set the stage for Verdant Meadows. This simple, yet harmonically adventurous composition alternates between legato melodies and staccato harmonies. Following a climactic moment, a peaceful resolution hearkens back to earlier material and ends the piece with a Maestoso section.Imagine taking a gentle stroll through a lush, green meadow, filled with wildlife and vegetation. This imagery helps set the stage for the melodic content of Verdant Meadows. In the key of G major (and sometimes E minor), this simple, yet harmonically adventurous composition alternates between soaring legato melodies and staccato harmonies. Following the broadly climactic moment, a peaceful resolution hearkens back to earlier material and ends the piece with a wonderful Maestoso section. .Imagine taking a gentle stroll through a lush, green meadow, filled with wildlife and vegetation. A This imagery helps set the stage for the melodic content of Verdant Meadows. In the key of G major (and sometimes E minor), this simple, yet harmonically adventurous composition alternates between soaring legato melodies and staccato harmonies. A Following the broadly climactic moment, a peaceful resolution hearkens back to earlier material and ends the piece with a wonderful Maestoso section. A .Imagine taking a gentle stroll through a lush, green meadow, filled with wildlife and vegetation. A This imagery helps set the stage for the melodic content of Verdant Meadows. In the key of G major (and sometimes E minor), this simple, yet harmonically adventurous composition alternates between soaring legato melodies and staccato harmonies. A Following the broadly climactic moment, a peaceful resolution hearkens back to earlier material and ends the piece with a wonderful Maestoso section. A .Imagine taking a gentle stroll through a lush, green meadow, filled with wildlife and vegetation. This imagery helps set the stage for the melodic content of Verdant Meadows. In the key of G major (and sometimes E minor), this simple, yet harmonically adventurous composition alternates between soaring legato melodies and staccato harmonies. Following the broadly climactic moment, a peaceful resolution hearkens back to earlier material and ends the piece with a wonderful Maestoso section. .Imagine taking a gentle stroll through a lush, green meadow, filled with wildlife and vegetation. This imagery helps set the stage for the melodic content of Verdant Meadows. In the key of G major (and sometimes E minor), this simple, yet harmonically adventurous composition alternates between soaring legato melodies and staccato harmonies. Following the broadly climactic moment, a peaceful resolution hearkens back to earlier material and ends the piece with a wonderful Maestoso section.Imagine taking a gentle stroll through a lush, green meadow, filled with wildlife and vegetation. Â This imagery helps set the stage for the melodic content of Verdant Meadows. In the key of G major (and sometimes E minor), this simple, yet harmonically adventurous composition alternates between soaring legato melodies and staccato harmonies. Â Following the broadly climactic moment, a peaceful resolution hearkens back to earlier material and ends the piece with a wonderful Maestoso section. Â .
About Carl Fischer Beginning String Orchestra Series
Thi s series of Grade 1 pieces is designed for first year string groups. The pieces in this series are characterized by:
SKU: CF.BAS78
ISBN 9781491151235. UPC: 680160908738. 9 x 12 inches. Key: G major.
SKU: BT.BMP8095417
A lot is known about the American composer Leroy Anderson. This son of Swedish immigrants played the piano, organ, accordion, trombone, tuba and double bass. He spoke several languages fluently and graduated from Harvard with first-class honours.While on military service, the army also commissioned him to write a manual on Icelandic grammar.He already started writing musical arrangements as a student, and from his 30th year arranged and composed for the Boston Pops Orchestra. Such melodiesas Serenata, The Typewriter, Sleigh Ride and Bugler�s Holiday made him world famous. His best-known work, Blue Tango, reached number one in the US charts in 1952, and it sold more than a million copies. In 1975, a year after hisdeath, he was given a star at the Walk of Fame in Hollywood.Most of his works last no longer than three minutes, about the maximum length of a single at that time. One work that lasts longer is his 1953 Piano Concerto in C for piano and orchestra.The first performance was in Chicago, conducted by the composer and with Eugene List at the piano. However, after three performances he was no longer happy with the work and withdrew it. He always intended to revise it, but never got round to it. Itwas only in 1989 that the Anderson family decided to republish the work.This three-part composition is on the one hand characterised by a careless elegance, but on the other one can hear the influence of Rachmaninoff, Copland, Gershwin, and evenBeethoven and Mozart, as well as the Viennese classics.Anderson used the sonata form for the first movement. It ends with a cadenza that carries us on into the second part (in e minor). The third part is a typically cheerful American folk dance in2/4 time, a so-called Hoe Down, with a lilting, lyrical passage as its middle section. At the end comes a solo passage followed by a rapid close.In this piano concerto, Anderson combines a rigidly classical form of composition with simple andappealing themes and elements from light music. So this work is a perfect synthesis of light music and what is called serious music, in the same way as Gershwin�s Rhapsody in Blue. A work that can be played equally well in a concerthall, at an open-air concert or even a pop concert.Over de Amerikaanse componist Leroy Anderson is veel bekend. Deze zoon van Zweedse immigranten speelde piano, orgel, accordeon, trombone, tuba en contrabas. Hij sprak vloeiend verschillende talen en studeerde met grote onderscheidingaf aan Harvard en schreef tijdens zijn legerdienst in opdracht van het leger een handboek grammatica Ijslands.Al in zijn studententijd begon hij met het maken van arrangementen, en vanaf zijn 30ste arrangeerde en componeerde hijvoor het Boston Pops Orchestra. Melodieën zoals Serenata, The Typewriter, Sleigh Ride en Bugler's Holiday maakte hem wereldberoemd. Zijn bekendste werk Blue Tango stond in 1952 op nummer één in de VS Charts, ener werden meer dan een miljoen exemplaren van verkocht. Een jaar na zijn dood in 1975 kreeg hij een ster op de Walk of Fame in Hollywood.Zijn meeste werken duren niet langer dan drie minuten, ongeveer de maximumduur van een singletoen. Een werk dat wel langer duurt, is het pianoconcerto in C voor piano en orkest uit 1953. Het werd in Chicago gecreëerd onder zijn leiding met Eugene List aan de piano. Na drie uitvoeringen echter, was hij niet meer tevredenover zijn werk en trok dit terug. Hij had zijn leven lang de intentie het te herwerken doch kwam er niet meer toe. Pas in 1989 besliste de Anderson Familie zijn pianoconcerto toch opnieuw uit te geven.Dit driedelige werk wordtenerzijds getypeerd door een zorgeloze elegantie, maar anderzijds zijn invloeden van Rachmaninoff, Copland, Gerschwin en zelfs Beethoven en Mozart alsook de Weense klassiekers te horen.Voor de eerste beweging, past Anderson de sonatevormtoe. Op het einde volgt een cadenza die ons in het tweede deel (in mi klein) voert. Het derde deel is een typische Amerikaanse, vrolijke volksdans in 2/4, een zogenaamde Hoe Down met als middengedeelte een zangerige, lyrischeÜber den amerikanischen Komponisten Leroy Anderson lässt sich vieles berichten: Der Sohn schwedischer Immigranten spielte Klavier, Orgel, Akkordeon, Posaune, Tuba und Kontrabass, sprach neun Sprachen fließend, absolvierte mit einemMagna-cum-laude-Absc hluss die Harvard Universität und verfasste während seiner Militärzeit im Zweiten Weltkrieg für die amerikanische Armee eine Grammatik des Isländischen. Schon während seiner Studentenzeit begann er zu arrangieren, ab Mitte der30er Jahre des letzten Jahrhunderts arrangierte und komponierte er für das Boston Pops Orchestra. Aus seiner Feder stammen so bekannte Werke der leichten Muse wie Serenata, The Typewriter, Sleigh Ride oder Bugler�s Holiday. Sein wohlbekanntestes Stück, Blue Tango, wurde als erste Instrumentalkomposition über eine Million Mal verkauft und belegte im Jahr 1952 Platz 1 der US-Charts. Für seine Verdienste um die Schallplattenindustrie erhielt er ein Jahr nach seinem Tod einenStern auf dem Walk of Fame in Hollywood.Charakteristisc h für seine Werke ist die Dauer: die meisten sind rund drei Minuten lang � mehr passte nicht auf den damals gebräuchlichen Tonträger, eine Singleschallplatte. Nur wenige seinerKompositionen sprengen diesen Zeitrahmen. Dazu gehört sein Konzert C-Dur für Klavier und Orchester. Er komponierte es 1953, die Uraufführung fand unter seiner Leitung und mit Eugene List am Klavier im selben Jahr in Chicago statt. Da Anderson mit demWerk aber nicht zufrieden war, zog er es im Sommer 1954, nach nur drei Aufführungen, wieder ein. Er hatte zeitlebens die Absicht, es zu überarbeiten, allein, es kam nicht mehr dazu. Erst 1989 entschied sich die Anderson-Familie dazu, dasKlavierkonzert wieder zu veröffentlichen.Das dreisätzige Werk zeigt die Unbeschwertheit und Eleganz, die Andersons sämtliche Kompositionen auszeichnen. Dennoch findet man darin auch Anklänge an Komponisten wie Rachmaninoff, Copland, Gershwin, undeben Beethoven und Mozart, sowie die Wiener Klassiker. Der erste Satz folgt der Sonatenhauptsatzform. An seinem Ende steht eine Klavierkadenz, die direkt in den langsamen zweiten Satz (in e-Moll) überleitet. Der dritte Satz schließlich ist einwaschechter Hoe Down, ein fröhlicher amerikanischer Volkstanz im 2/4-Takt, in dessen Zentrum aber eine lyrisch-gesangliche Passage steht. Eine weitere Solo-Kadenz führt das Werk in einen spritzigen Schlussabschnitt.In seinem Klavierkonzertvereinigt Anderson einen klassisch-traditionellen Form- und Kompositionsstil mit Elementen der Unterhaltungsmusik und eingängigen Melodien, die schon immer sein Markenzeichen waren. Daher bildet dieses Werk eine perfekte Synthese von ernster undleichter Musik. Es passt � wie beispielsweise auch George Gershwins Rhapsody in Blue � gleichermaßen in einen vornehmen Konzertsaal, wie auch zur zwanglos-lockeren Atmosphäre einer sommerlichen Open-Air-Veranstaltung oder einesPops-Konzertes.< br>Nous savons beaucoup de choses sur le compositeur américain Leroy Anderson. Ce fils dimmigrants suédois jouait du piano, de lorgue, de laccordéon, du trombone, du tuba et de la contrebasse. Il parlait couramment plusieurs langues et était diplômé avec grande distinction de Harvard. Pendant son service militaire, il écrivit un manuel de grammaire islandaise commandé par larmée.Étudiant, il avait déj commencé faire des arrangements et dès l ge de 30 ans, il arrangeait et composait pour le Boston Pops Orchestra. Des mélodies telles que Serenata, The Typewriter, Sleigh Ride et Buglers Holiday lui valurent une renommée mondiale. Son uvre phare, Blue Tango, fut numéro un descharts américains en 1952 et se vendit plus dun million dexemplaires. Un an après sa mort en 1975, il eut droit son étoile sur le Walk of Fame Hollywood.La plupart de ses uvres nexcèdent pas trois minutes, soit peu près la durée maximale dun single lépoque. Son concerto en ut pour piano et orchestre de 1953 est quant lui plus long. Il fut créé Chicago sous sa direction avec Eugene List au piano. Après trois exécutions, Anderson nétait toutefois plus satisfait de son travail et le retira. Toute sa vie, il eut lintention de le remanier mais ne le fit pas. Ce nest quen 1989 que la famille Anderson décida de tout de m?me rééditer son concerto pour piano.Cette uvre en trois parties se caractérise par son élégance nonchalante mais aussi par linfluence de Rachmaninoff, Copland, Gershwin et m?me de Beethoven et Mozart, ainsi que des classiques viennois.Pour le premier mouvement, Anderson opte pour une sonate. la fin, une cadence nous conduit la deuxième partie (en mi mineur). La troisième partie est une danse populaire joyeuse et typiquement américaine en 2/4, une Hoe Down avec un passage lyrique et mélodieux en son milieu. la fin, un solo est suivi par une clôture rapide.Dans son concerto pour piano, Anderson unit une composition pure et classique des thèmes beaux et simples, sans oublier des éléments de la musique légère. Cette uvre.
SKU: BT.BMP8091417
