Classics Meet Jazz Vol 1 Piano Book/CD Arr Korn

SKU: HL.49045960

'Classic meets Jazz' is a welcome theme for many choirs, especially if the choir wants to rehearse a varied repertoire representing many styles. In these arrangements based on works by Bach (Minuet), Brahms (Wiegenlied), Schumann (Traumerei) and Susato (Rondo), different jazz styles such as Medium Swing, Ballad or Latin are used.

SKU: HL.49045961

For many choirs, 'Classic meets Jazz' is a welcome theme, especially if a choir wants to learn and rehearse a stylistically wide-ranging repertoire. These arrangements which are based on works by Schubert (serenade 'Leise flehen meine Lieder'), Brahms (Intermezzo Op. 118/6) and Chopin (Nocturne Op. 9/2) use several jazz styles such as swing, bossa nova and jazz waltz. Content text: Serenade (F. Schubert: Leise flehen meine Lieder) I'm free (J. Brahms: Intermezzo op. 118/6) Amelie's Lullaby (F. Chopin, Nocturne op. 9/2).

SKU: DB.01-00681

ISBN 9790012200284.

Cont emporary Classical meets Jazz Grooves.

Theremin' s Journey is quite different. True, there is a piano - which plays bluesy, filmic, generally quite unmemorable music - but add in the theremin and pre-recorded electronics and the listener is off on a bizarre jazz meets sci-fi meets film-pop journey. The high-pitched spooky whine of the theremin is unmistakable, and unforgettable in small doses, as here; the work was in fact commissioned by Joanne Pearce Martin, who plays both theremin and piano. This track actually carries a 'health' warning on the cover: Crackles are part of the electronic track and are intentional: the CD is not defective! As it happens, the crackling is not particularly noticeable, and in general the electronics are atmospheric and additive in combination with the theremin. Especially the first and last two or three minutes of the 'journey' are really quite fascinating musically. (musicweb-international.c om, May 2011) // Theremin's Journey places that curiously otherworldly instrument and piano in cheeky avant-garde tandem with electronic sonorities...(GRAMOPHONE, August 2011).

SKU: BT.MUSM570365913

English.

Sadie Harrison wrote these jazzy miniatures especially for Helen Burford as a thank you for her performance of ..around and a round.. in 2014. Helen is renowned for her innovative programmes which combine jazz classics with new commissions and works by little known contemporary composers and these pieces celebrate this joyful approach to repertoire. The pieces are titled: I - Pavillion Ferris Stride (Fats Waller) II - Just air and water (Bill Evans) III - Erroneous Monkish (Thelonius Monk) IV - Boogie Woogie Barcarolle (Albert Ammons) Duration: c. 6 minutes Four Jazz Portraits was premiered by Helen at the Brighton Fringe Festival on 10th May 2015 at the Friend s Meeting House,Brighton.

SKU: DY.DO-1522

ISBN 9782897963026.

Fran cis Bebey est né à Douala en juillet 1929, dans une grande famille où son père, pasteur, luttait pour nourrir ses enfants. Mais Francis a eu l'opportunité d'aller à l'école. Admirant son frère aîné, Marcel Eyidi Bebey, il s'est éduqué, s'est distingué, et a finalement reçu une bourse pour passer son baccalauréat en France.
Nous approchions de la fin des années 1950 lorsqu'il est arrivé à La Rochelle. Plus que jamais, dans cette France où les Africains étaient regardés avec curiosité, condescendance ou dédain, Francis s'appuyait sur ses ressources intellectuelles. Travailleur assidu, il a obtenu son baccalauréat, puis s'est installé à Paris où il a commencé des études d'anglais à la Sorbonne. Un jour, il a su ce qui l'attirait vraiment : il voulait faire de la radio. Francis a appris son métier en France et aux �tats-Unis.
Après avoir travaillé quelques années comme reporter, il a été embauché en 1961 en tant que fonctionnaire international au Département de l'information de l'UNESCO.
Parallèle ment, Francis a toujours été attiré par la création musicale. Son activité diurne très sérieuse ne l'empêchait pas de fréquenter les clubs de jazz le soir. � Paris, le jazz, la musique à la mode à cette époque, mais aussi la rumba et la salsa l'attiraient. Il collectionnait les disques et assistait à de nombreux concerts. Avec son complice Manu Dibango, Francis montait sur scène et jouait de la musique.
Francis aimait la musique classique depuis son enfance. Il avait grandi en écoutant les cantates et les oratorios de Bach ou Handel que son père chantait au temple. Il s'est passionné pour la guitare, impressionné par les maîtres espagnols et sud-américains, et a décidé d'apprendre à jouer de l'instrument lui-même.
Il a commencé à composer des pièces pour guitare, mêlant les diverses influences qui le traversaient avec la musique traditionnelle africaine qu'il portait en lui depuis son enfance. Son approche a captivé le directeur du Centre culturel américain (alors situé dans le quartier de Saint-Germain à Paris), qui lui a offert l'opportunité de se produire devant un public. Francis y a donné son premier récital de guitare (1963) devant un public hypnotisé. Son premier album solo est sorti peu de temps après.
Progressivem ent, Francis est devenu reconnu comme musicien et compositeur. Plusieurs albums de l'ambassadeur africain de la guitare, comme le décrivait la presse, sont sortis. Il a également écrit des livres, au point que sa carrière artistique est devenue difficile à concilier avec sa carrière de fonctionnaire. En 1974, même s'il était devenu le directeur général chargé de la musique à l'UNESCO, il a fait le saut audacieux et a démissionné de cette prestigieuse institution pour se consacrer aux trois activités qui l'intéressaient : la musique, la littérature et le journalisme.
Il a exploré le patrimoine musical traditionnel du continent africain, notamment à travers le piano à pouce sanza et la musique polyphonique des pygmées d'Afrique centrale, ou en chantant dans sa langue maternelle et en composant des chansons humoristiques en français !
Le succès a suivi. Francis Bebey a parcouru le monde : de la France au Brésil, du Cameroun à la Suède, de l'Allemagne aux Caraïbes, ou du Maroc au Japon... la liste des pays où il a été invité à se produire, à donner des conférences ou à rencontrer des lecteurs est très longue. En plus de la reconnaissance publique, il bénéficiait de la reconnaissance de ses collègues musiciens, tels que le guitariste John Williams ou le Vénézuélien Antonio Lauro, qui l'ont invité à faire partie du jury d'un concours de guitare classique à Caracas.
Sa vie était le voyage d'un pionnier africain, un homme enraciné dans son patrimoine culturel et portant un message de partage et d'espoir pour le monde. Son originalité continue de résonner dans le monde entier depuis son décès à la fin du mois de mai 2001.

Francis Bebey was born in Douala in July 1929, into a large family where his father, a pastor, struggled to feed his children. But Francis had the opportunity to go to school. Admiring his elder brother, Marcel Eyidi Bebey, he educated himself, distinguished himself, and eventually received a scholarship to go and take his baccalaureate in France.
We approached the end of the 1950s when he arrived in La Rochelle. More than ever, in this France where Africans were looked at with curiosity, condescension, or disdain, Francis relied on his intellectual resources. A diligent worker, he obtained his Baccalaureate, then moved to Paris where he started English studies at the Sorbonne. One day, he knew what truly attracted him: he wanted to do radio. Francis learned his craft in France and in the USA.
After working for a few years as a reporter, he was hired in 1961 as an international civil servant in the UNESCO Information Department.
In parallel, Francis had always been drawn to musical creation. His very serious daytime activity didnâ??t prevent him from frequenting jazz clubs in the evenings. In Paris, the Jazz, the trendy music of that time, but also rumba and salsa attracted him. He collected records and attended numerous concerts. With his accomplice Manu Dibango, Francis took the stage and played music.
Francis liked classical music since his childhood. He grew up listening to the cantatas and oratorios of Bach or Handel that his father had sung in the temple. He became passionate about the guitar, impressed by the Spanish and South American masters, and decided to learn to strum the instrument himself.
He started composing guitar pieces, blending the various influences that flow through him with the traditional African music he had carried within since childhood. His approach captivated the director of the American Cultural Center (then located in the Saint-Germain neighborhood of Paris), who offered him the opportunity to perform in front of an audience. Francis gave his first guitar recital there (1963) in front of a mesmerized audience. His first solo album was released shortly thereafter.
Gradually, Francis became recognized as a musician and composer. Several albums of the African guitar ambassador, as described by the press, were released. He also wrote books, to the point that his artistic career became challenging to reconcile with his career as a civil servant. In 1974, even though he had become the General Manager in charge of music at UNESCO, he took the bold leap and resigned from this prestigious institution to dedicated himself to the three activities that interested him: music, literature, and journalism.
He explored the traditional musical heritage of the African continent, notably through the thumb piano sanza, and the polyphonic music of the Central African pygmies, or singing in his native language and composing humoristic songs in French!
Success followed. Francis Bebey traveled the world: from France to Brazil, Cameroon to Sweden, Germany to the Carribean, or Morocco to Japan... the list of countries where he was invited to perform, gives lectures, or meets readers is very long. In addition to public recognition, he enjoyed the recognition of his fellow musicians, such as guitarist John Williams or Venezuelan Antonio Lauro, who invited him to be a part of the jury for a classical guitar competition in Caracas.
His life was the journey of an African pioneer, a man rooted in his cultural heritage and carrying a message of sharing and hope for the world. His originality continues to vibrate around the world since his passing at the end of May 2001.

SKU: FG.55011-828-7

Iiro Rantala's Veneziana for chamber ensemble and piano (2021-2022) is a 50 minute long program about all things Venice; how famous composers were affected by the city, how they affected the city and became part of the Venetian Story – told with an Iiro twist. The meeting of Prokofiev and Diaghilev turns into a real nutcracker ballet Romeo and Steve, whilst Mozart loses his mojo when visiting Venice. Monteverdi starts and Verdi completes the waltz boom - and Sibelius finds his national romantic melancholy again.

Veneziana is scored for wind and string quintets and a pianist. This product is a study score (A4 sized, spiral bounding). The performance material is available for hire from the publisher.

Content s:
1. Gondol Ride to St. Mark’s Square
2. Romeo and Steve
3. Monteverdi and His Ideas
4. Vivaldi’s ADHD
5. Sibelius in Venice
6. Mozart Loses His Mojo
7. Casanova and Lorenzo
8. Morte a Venezia

Iiro Rantala (b. 1970) is a pianist, a composer, and most likely Finland's best known jazz musician internationally. Rantala is also known for his compositions for musicals and the tv-shows he has hosted. In addition Rantala has composed music for films, television and more recently, for the stage. Rantala’s second opera, Die Zaubermelodika was a commission by the Komische Oper Berlin. His double concerto Joy of Life has been programmed by numerous orchestras. The fast-and-furious Seven o’clock Overture has been dubbed as Finnish Candide Overture.

SKU: HL.49002726

ISBN 9781495076602. UPC: 073999930863. 8.75x11.5x1.128 inches. English - German.

Splintered and rich in reference as Tippett's operas are in their music and in their text, they carry at their heart a glowing confidence in the power ofhuman beings to find a centre and, from that centre, to sing. In The Ice Break that confidence has a global reach. The settings are anonymous: an airportlounge, a hospital, the street. For the first time since The Midsummer Marriage, Tippett uses a chorus, here to represent the mass of humanity, whose divisions are pointed in the central cast: divisions between generations, between sexes, between races, between exile and native. Lev arrives in a new world to join his wife Nadia, who had emigrated with their baby son, Yuri. Also at the airport are Yuri's girlfriend Gayle and her friend Hannah, there to meet the black 'champion', Olympion together with his fans. Out of a series of violent tensions, individual and collective, there develops a riot in which Olympion and Gayle are killed and Yuri is near-fatally wounded. Nadia dies peacefully. During an interlude in which a group attempts a psychadelic 'trip', the messenger, Astron, is mistaken for God - a claim he dismisses ironically. Yuri is operated on by Luke, a young doctor, and, released from the cracking plaster, he finds reconciliation with his father.(Paul Griffiths)

2 (2pic).2.ca.2 (Ebcl)*bcl.2.cbn-4.2.3.1- timp.7perc (s.d., t.d., b.d., slit dr., 5 tuned dr., jazz kit, timbales, bng., cym., sus.cym., w.bl., t.bl., cast., wh., tri., large tri., sleigh bells, flexatone, tam-tam, xyl., vib., glock., tub.bells, claves, guiro, glass chimes, bamboo wind chimes, metal bar, wind machine)-hrp.pno.cel.elec tric organ.egtr.bgtr-str.