The Syncopated Piano Music-This collection showcases the syncopated piano music of Latin American during the nineteenth and early twentieth centuries. It features Latin rhythms which are really African rhythms brought to the Americas by slaves and appliedto the music of the European colonists. These rhythms are varied and complex and so is their history. They've had a widespread and profound influence on the evolution of popular music not only in Latin America but also in theUnited States. The most obvious offshoots are the tango in Argentine and Uruguay and most of the other popular dances of South and Central America as well as ragtime and jazz in the United States. Jelly Roll Morton claimed this'Latin tinge' is the essential element that distinguishes jazz from ragtime. These rhythms are the musical roots of groups like 'The Buena Vista Social Club.' Includes historic tangos written by Ignacio Cervantes - Cuba Manuel Saumell - Cuba Juan Morel Campos - Puerto Rico Jose Quinton - Puerto Rico Ernesto Nazareth -Brazil Tomas Leon - Mexico Sebastian Yradier - Spain Eduardo Sanchez du Fuentas - Cuba Will Tyers - USA Vincente Greco -Argentina Anselmo Rosendo (Mendizabal) - Argentina Angel Villoldo - Argentina Eduardo Arolas - Argentina Juan Maglio - Argentina

This collection showcases the syncopated piano music of Latin American during the nineteenth and early twentieth centuries. It features Latin rhythms, which are really African rhythms brought to the Americas by slaves and applied to the music of the European colonists. These rhythms are varied and complex and so is their history. They've had a widespread and profound influence on the evolution of popular music not only in Latin America, but also in the United States. The most obvious offshoots are the tango in Argentine and Uruguay and most of the other popular dances of South and Central America, as well as ragtime and jazz in the United States. Jelly Roll Morton claimed this Latin tinge is the essential element that distinguishes jazz from ragtime. These rhythms are the musical roots of groups like The Buena Vista Social Club.Adios a Cuba (I.Cervantes) - Almendares (I.Cervantes) - Carioca (Ernesto Nazareth) - Coquetona (Danza) (Jose I.Quinton) - Cruz, Perigo!! (Ernesto Nazareth) - El Entreriano (Tango) (A.Rosendo) - El Esquinazo (Tango Criollo) (A.G.Villoldo) - El Panuelo de Pepa (Contradanza) (manuel Saumell) - El Zurdo (Tango) (Juan Maglio) - Esta Chumbado (Ernesto Nazareth) - Garoto (Ernesto Nazareth) - Ilusiones Perdidas (I.Cervantes) - l Chicotazo (Tango No.2) (Vincente Greco) - La Encantadora (I.Cervantes) - La Isabelita (J.Morel Campos) - La Luz Electrica (Tomas Leon) - La Matilde (Contradanza) (Manuel Saumell) - La Paloma (Sebastian Yradier) - La Quejosita (Manuel Saumell) - La Reina de las Flores (Tomas Leon) - Lamentos de Amor (Manuel Saumell) - Laura y Georgina (J.Morel Camppos) - No Me Toques! (J.Morel Campos) - O Que Ha? (Tango) (Ernesto Nazareth) - Por Que, Eh? (Why, Eh?) (I.Cervantes) - Que Le Importa a Usted? (Tomas Leon) - Quien Sabe (Tomas Leon) - Recuerdos de Gottschalk (Contradanza) (Manuel Saumell) - Remando (Tango) (Ernesto Nazareth) - Suipacha (Tango Milonga) (Eduardo Arolas) - Tiene Que Ser (It Must Be) (I.Cervantes) - Trocha (A Cuban Dance) (Wm.H.Tyres) - Tu (Habanera) (E.Sanchez Fuentes) - Vaya Una Pregunta (Tomas Leon) - Vitorioso (Tango) (Ernesto Nazareth) - Vuelta al Hogar (I.Cervantes) - Yo Se Lo Dire a Ustted (Tomas Leon)

Arrangeur: Hans Bauernfeind. Par ZUCCALMAGLIO ANTON WILHELM VON. SATB / Niveau : Facile / Répertoire / Choeur

Born into a family that had lived in Florence since the expulsion of the Jews from Spain in 1492 Mario Castelnuovo-Tedesco (1895-1968) entertained only a distant relationship with the music he heard at synagogue: a Renaissance church held more appeal for the Florentine artist than the Oriental décor of his forefathers’ place of worship. It was only when he discovered Schelemo a rhapsody for cello and orchestra written in 1916 by Ernest Bloch that he began to understand what “Jewish music” could be. It would take until the death of his maternal grandfather and the discovery of a collection of prayers set to music among his papers for the youngCastelnuovo-Tedesco to begin to explore Jewish music. In 1928 two years after publishing the Dances of King David he wrote this Vocalise-Étude for medium voice and piano at the request of vocal teacher Amédée-Landély Hettich who wanted to include it in the Répertoire moderne de Vocalises-Études published by Leduc. The piece became so popular that it led to several adaptations and the composer asked his close friend Gioacchino Maglioni (1891-1966) to transcribe it for violin and piano. Divided into three sections the work opens with a poignant lamento that grieves the tragic fate of the Jewish people. Countering what he felt to be a tendency of Jewish music to transform into a “Wailing Wall” Castelnuovo-Tedesco follows the lamento with a folk dance whose brisk “lively and stubborn” movement has great panache. The third section returns to the initial poignant theme before briefly reiterating the dance motif allowing the piece to conclude on a hopeful note.

Par ARDITI LUIGI. Langue: English(UK)/Deutsch / Date parution : 1905-06-06/ Feuillet / Piano

Per Pianoforte - Facilitata - Con Parole. Par SCHUBERT FRANZ. / Répertoire / Piano