SKU: ST.C463
ISBN 9790570814633.
This volume contains contrasting works by Federico Ruiz spanning quite a large and rich period of his compositional output that goes from his early Micro-Suite (1971), to lilting, sweet and rhythmic Venezuelan waltzes passing by the mysterious, intimate, and intense Nocturno (1994) plus pieces originally composed for film, and theatre. Real eclecticism in styles, moods and atmospheres that show Ruizâ??s talents and scope.The Nocturno is a deep, intriguing, substantial piece presenting a satisfying length which moves from different paths of the mind and the heart written in an abstract, chromatic idiom, that does not dissociate itself from the Venezuelan waltz and the joropo. One could perhaps say that there is a deconstruction of the latter. For the interpretation, the composer has suggested to me that it is allowed to have some flexibility in the tempo. Ruiz kindly dedicated it to me, and I have had the pleasure of performing it in many concerts.Although all highly expressive, the Three Venezuelan Waltzes present in this collection as well as the piece titled Aliseo, are works that are close to the colourful Venezuelan folk tradition. Federico Ruiz had given me two of them when we first met: â??Tu Presenciaâ?? (1981) and â??EloÃsaâ?? (1989) and then I attended a performance of the play â??Office Number Oneâ?? by Miguel Otero Silva with a fantastic actor, Elba Escobar in the role of Carmen Rosa and, I just fell in love and was very moved by the incidental music that I later discovered, by reading the programme, had been written by Federico Ruiz. Later that evening, I called him and asked to please make a piano score of the composition, so I could have the desired piece in my hands. That is how â??Carmen Rosaâ? waltz (1987) came to exist in a piano version.â??Elois aâ?? is another Venezuelan waltz with more jazzy harmonies where precision in the rhythm and elegant playing is also essential, as it is in most of his pieces.â??Tu Presenciaâ?? was dedicated to his mother, Margarita. It is written with the structure of the Venezuelan waltz, which consists of a nostalgic subject that leads to a faster, happier middle section where the typical graceful rhythm is given by the left-hand accompaniment figure of a dotted crotchet followed by a quaver and a crotchet.The craft and magic found in the five movements of the Micro-Suite is based on a dodecaphonic row by Ernst Krenek. They remind us of the idiom of the Second Viennese School. These real miniatures seem to tell short stories. The â??Preludioâ?? is full of humour. I imagine dancing figures given by the jumps all over the keyboard and extreme dynamics; the phrases give the impression of a conversation with many questions and answers. The â??Invenciónâ?? is a kaleidoscopic piece where the hands mirror each other. The â??Passacagliaâ?? is the longest movement, at just over a minute where the prime motif is repeated three times on the bass line. For its construction Federico Ruiz uses as well the retrograde and the retrograde inversion of the twelve-tone series. It must be played expressively with dynamic contrasts between pianissimo and louder events. The â??Scherzoâ?? has repetitive motifs of a minor third in both hands and the â??Finalâ?? displays virtuosic passages for the pianist.Aliseo was originally written for the film â??Aire libreâ? (1995), by Luis Armando Roche. It contains elements of diverse types of Venezuelan joropo. In the film, the character of Aliseo Carvallo is played by the composer himself who performs this piece on a harpsichord to welcome scientists Alexander von Humboldt and Aimé Bonpland one day at the turn of the 1800â??s, as a sample of the new music from the South American land. It presents the refinement of the late European classical era in fusion with Venezuelan folk music.
SKU: FP.FBS03
ISBN 9790570500192.
Sara h Baker is Vocal Composer in Residence at Education Music Services, an ABRSM examiner and a well known composer of songs and musicals for primary schools and massed-choral events.All this experience has come together in the creation of this album of piano pieces, inspired by growing up in the Chiltern Hills. Suitable for players of around grade 4-5 standard, her evocative sound pieces describe a crash-landing hot air balloon, garden invading cows and a even a snake in a pond!Air Balloon!: One vivid memory I have as a child is of the day that a hot air balloon passed over our house and made an emergency landing on the road in front! The sound of the gas being blown into the balloon to try to keep it high enough to pass the house sounded so loud and intimidating, and then there was the bustle of the neighbours as we all went out into the street to watch. It was both terrifying and exhilarating to watch the balloon float past and then land so near by.Buzzards Circling: There is something so calming and restful about watching birds of prey circling in the thermal currents of a summer sky. Growing up in the Chilterns gave me plenty of opportunity to watch buzzards and red kites. This piano solo captures the beauty of their flight as they glide so effortlessly through the air.There’ s A Cow In The Garden Eating The Flowers: Inspired by the memory of seeing an unexpected cow in the garden! This surreal image is captured in a quirky waltz, as I portray both the absurdity of the moment and the sense of wonder I felt as a child, looking out of the window and seeing the cow walking round and eating the flowers. The final phrase articulates my longing: ‘I wish it would come again’.Wat ching The World Go By: A short, reflective piece, remembering what it was like to have time to just sit and watch the world go by from my bedroom window.Autumn Skies: A miniature about the beauty of Autumn skies and the poignant sense of loss for a summer gone. Friends I was fortunate to have several children of my own age living close by. We seemed to be forever making dens, playing out in the street and generally enjoying each other’s company. This piece reflects that sense of well-being.Snake In The Pond: One hot summer I was astonished and scared to see a grass snake cooling off in our garden pond! I watched, both horrified and fascinated, as it rose up from the depths and then disappeared again. Here I portray the sense of the hazy summer afternoon as I peacefully watched the tiny movements of fish in the pond, contrasted with the fear and excitement of seeing the snake appear.Morning Commute: I recollect many mornings stuck in traffic as my Dad took me to school on his way to work. There is one main road out of the village where I grew up, and that got more and more congested the closer we got to the town. We may not have chatted a lot, but it was always good to be together with my Dad, lost in our own thoughts.The Witch’s Cottage: My siblings and I had a fascination with a small cottage nearby. It was set back from the road in a dark part of the woods and we called it 'the witch's cottage’. Every time we passed, I imagined I heard the distant cackle of the witch and wished I could catch a glimpse of her.These pieces are written to complement my other collection, Night Time Impressions, which also draw on childhood recollections, particularly of the woods behind the house where I grew up. - Sarah Baker 2023.
SKU: 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.
SKU: BT.MUSAM982861
ISBN 9781846090561.
The French superstar with a recording career that stretches from the mid-seventies to the present day. Clayderman's romantic Piano solos and irresistible melodies have enchanted audiences and Piano fans for many years, andthisbook of Piano solos features his best-loved melodies, as well as transcriptions of of his own reworkings of popular classics. Includes Don't Cry For Me Argentina and All By Myself.
This book is speciallyproducedwith Lay-Flat pages that are designed to sit easily at the Piano.
SKU: PR.110418160
ISBN 9781491114049. UPC: 680160640393. 9 x 12 inches.
Stacy Garrop began hiking in northern Colorado’s Rocky Mountain National Park in her early 20s. From the start, she was drawn to a jagged stretch of rock formations linking Longs Peak to Pagoda Mountain, at over 13,000 feet. These formations are called the “Keyboard of the Winds,†as their thin, spindly peaks suggest splintered keys of an old, broken piano. Inspired by one particular journey the composer took through the Keyboard of the Winds en route to Pagoda’s summit, this work is a tribute to the Keyboard of the Winds. Its fast, whirling gestures depict swirling clouds above, and the musical high points represent a hiker reaching the peak of Pagoda Mountain. These sections are set in contrast with quiet, introspective material embodying the hiker quietly surveying the grandeur and beauty of the valley below, as well as the soaring pinnacle of Longs Peak overhead.I began hiking in the Rocky Mountain National Park in northern Colorado when I was in my early twenties. RMNP is home to some of the most gorgeous mountains in North America, encompassing 265,000 acres of wilderness, flora, and fauna. Among the park’s numerous summits is Longs Peak, a mountain that is 14,259 feet high (the highest in the region). From my earliest days of hiking, I was drawn to Longs Peak, as well as to a jagged stretch of rock formations that link Longs Peak to Pagoda Mountain (which stands at 13,497 feet). These formations are called the Keyboard of the Winds, as their thin, spindly peaks loosely suggest the splintered keys of an old, broken piano.One summer, I made the ascent to Pagoda Mountain using a route that took me along the right side of the Keyboard of the Winds. My hiking partner and I started up the trail in the pre-dawn hours, and the weather was stormy. Dawn had broken by the time we reached the base of the Keyboard, but its peaks were still surrounded by clouds. As we climbed higher and higher, the Keyboard’s thin spires became visible, along with the top of Pagoda Mountain. We reached the summit of Pagoda, admired the view (what we could see through the clouds), and made our descent.My piece is a tribute to the Keyboard of the Winds. The fast, whirling gestures depict swirling clouds, and the musical high points represent a hiker reaching the peaks of the Keyboard. I have contrasted these sections with quiet, introspective material; these embody the hiker quietly surveying the grandeur and beauty of the valley below (on a cloudless day), as well as the soaring pinnacles of Longs Peak and Pagoda Mountain overhead.
