SKU: YM.GTP01101937
ISBN 9784636115932. 12 x 9 inches.
The book perfectly matches the CD that was released at the end of April 2004. Usually, it has been a meeting of FF and classical piano, but this time we have a variety of performances featuring jazz pianists Masahiro Sayama and Hiroko Kokubu, Fabian Reza Pane, who is active across classical and popular genres, and, of course, Shinko Ogata performing the classical versions. Find your own piano's sound from this sheet music and expand your new inspirations.Number of Songs:12.
SKU: M7.ART-42166
ISBN 9783866421660.
Der Nachfolgeband 'Flowing Piano Songs' von Theresia Prelog bietet 18 leichte bis mittelleichte, romantische Klavierstücke für Herz und Sinne. Die gefühlvollen Kompositionen eignen sich hervorragend als Ergänzung und Auflockerung zu einer klassischen Klavierschule und wenden sich an Spielerinnen und Spieler ab dem 3. und 4. Unterrichtsjahr und jeder Altersstufe. Beim Spielen von 'Flowing Piano Songs' besteht die Möglichkeit für ein paar kostbare Augenblicke alles andere hinter sich zu lassen und sich dem Dahinfließen der Musik voll und ganz hinzugeben. Körper, Geist und Seele entspannen sich und tanken neue Energie. Hinter jedem Stück steht zugleich ein bestimmter technischer und musikalischer Aspekt, der beim Spielen ganz unbewusst und mühelos geübt wird, auch wenn das klangliche Erlebnis im Vordergrund steht. Trainiert werden unter anderem die Geläufigkeit in schnellen melodischen Figuren, die Differenzierung des Anschlages zwischen Melodie und Begleitung, erste Verzierungen, das Ablösen der Hände sowie die Entwicklung des Gefühls für eine musikalische Phrase. Die Tempobezeichnungen und Metronomangaben sind lediglich Richtwerte und können nach persönlichem Geschmack angepasst werden. Die Hörbeispiele dienen als Lernhilfe und sind auch als 'Soundtrack' für unterwegs ein wahrer Genuss. Wir wünschen viele entspannende Momente mit den 'Flowing Piano Songs'.
SKU: HL.48000673
UPC: 073999318524. 8.25x11.75x0.09 inches.
Contents: Berceuse (Hannikainen) * Iltarauha/Calme du soir (Hannikainen) * Kansanlaulu/Folk Song (Madetoja) * Tanssi/Dance (Madetoja) * Prelude (Madetoja) * Leikki/A Game (Madetoja) * Prelude (Palmgren) * Illusion (Palmgren) * Berceuse (Palmgren) * Romance (Palmgren) * Scherzo (Palmgren) * Akileija/Columbine (Sibelius) * Lied (Sibelius) * Impromptu (Sibelius) * Scene romantique (Sibelius) * Kylakirkko/The Village Church (Sibelius).
SKU: HL.1189843
ISBN 9781705192412. UPC: 196288131489. 9.0x12.0x0.236 inches.
Sometimes you just need some soothing piano music to relax, unwind, and let go. This collection gathers nearly 40 beautiful classical favorites for the intermediate-level player. Works include: Air (from Water Music) (Händel) â?¢ Arietta, Op. 12, No. 1 (Grieg) â?¢ Bagatelle in G Major, Op. 126, No. 5 (Beethoven) â?¢ Canon in D (Pachelbel) â?¢ Clair De Lune (Debussy) â?¢ Gymnopedie No. 1 (Satie) â?¢ Lullaby (Cradle Song) (Brahms) â?¢ La Pastorale (Burgmüller) â?¢ Piano Sonata No. 8 â??Pathetiqueâ? (Beethoven) â?¢ Prelude in A Major, Op. 28, No. 4 (Chopin) â?¢ Prelude in C Major (Bach)â?¢ Reverie (Debussy) â?¢ Slumber Song (Gurlitt) â?¢ The Swan (Le Cygne) (Saint-Säens) â?¢ Waltz in A-Flat Major, Op. 39, No. 15 (Brahms) â?¢ and more.
SKU: FG.55011-372-5
ISBN 9790550113725.
Imag es of the sea figure prominently throughout my life and memories: from holidays on the Atlantic coast during my Canadian childhood to my current Baltic home, and the imagined, only later experienced Mediterranean of my ancestral heritage. As an immigrant (son of an immigrant) bound to two northern countries, the sea is emblematic of my twin homelands, from the expanses of water surrounding them to those separating them. A Mari usque ad Mare. The sea is also an enduring image of the unknown, of expanses unexplored, of the raw power of nature and, for too many currently, of terror holding a hope of refuge - or the pain of loss. Such disparate ideas were captured for me in the seascapes of the New York painter MaryBeth Thielhelm, whom I met in 2008 during a residency on the Gulf of Mexico. Her vast, abstract, nearly monochromatic depictions of imaginary seas in wildly varying moods were the catalyst for a concerto where the piano is frequently far from a hero battling a collective, but rather acts as a channel for elemental forces surging up from the orchestra, floating - sometimes barely so - on its constantly shifting surface. There are few themes to speak of, beyond a handful of iconic ideas that periodically cycle upward. Rather, the piano's material is largely an ornamentation of the more primal rhythmic and harmonic impulses from the orchestra below - a poetic interpretation, if you will, of the more immediate experience of facing the vastness of some unknown body of water. The title Nameless Seas is borrowed from one of Thielhelm's exhibitions, as are those of the four movements, which are bridged together into two halves of roughly equal weight - one rhapsodic and free, the other more single-minded and direct, separated only by a short breath. The opening movement, Nocturne, is predominantly calm, if brooding, darkness and light alternating throughout. Lyrical arabesques sparkle over gently lapping cross-currents in the strings and mirrored timpani, the piano's full power only rarely deployed. The waves gradually build, drawing in the full orchestra for a meeting of forces in Land and Sea, a brighter, more warmly lyrical scene that unfolds in series of dreamlike, sometimes even nostalgic visions, which for me carry strong memories of sitting on rocks above surging Atlantic waves. The third movement, Wake, is a fast, perpetual-motion texture of glinting, darting rhythms and sudden shafts of light, with a prominent part for the steel drums, limning the piano's quicksilver figurations. An ecstatic climax crashes into a solo cadenza that grows progressively calmer and more introspective rather than virtuosic. Much of the tension finally releases into Unclaimed Waters, a drifting, meditative seascape in which the piano is progressively engulfed by a series of ever-taller waves, ultimately dissolving into a tolling, rippling continuum of sound. It has been a great privilege to realize such a long-held dream as this piece, and to write it for not one, but two great pianists. Risto-Matti Marin and Angela Hewitt, both of whose friendship and support have been unfailing and humbling, share the dedication. Nameless Seas was commissioned by the PianoEspoo festival and Canada's National Arts Centre, with the premieres in Ottawa and Helsinki led by Hannu Lintu and Olari Elts. Thanks are due also to the Jenny and Antti Wihuri fund, whose generous grant provided me with much-needed time, and Escape to Create in Seaside, Florida, the source to which I returned to do a large part of the work.
