Par GASIENIEC MIROSLAW. The first version of the Sonata for violin and piano was written in the autumn of 2008, when I had the opportunity to work with the violinist Robert Bachara, who was pursuing his doctoral studies at Wroclaw Music Academy. A few years later, around the turn of 2016, I revised the musical material, made some changes and shortened the work. It was then that Dr Jacek Ropski, a …

für leicht fortgeschrittene Spieler, mit Online-Videos. Par GIORDANI DANIEL. / Date parution : 2022-11-08/ Méthode / Handpan

Par . Play along with the pros in this exciting collection of 10 hit tunes for piano, meticulously arranged by Ned Bennett and George Double for Grade 3 (Late Elementary) players. Take centre stage as you play with live backings recorded by professional musicians plus live demo tracks to check your progress, all available to download. With this fresh selection of tunes from pop to musicals, jazz a…

for Harp. Par VAJDA GERGELY. 'Come un meccanismo di precisione' (like a precision machine) - as György Ligeti wrote above one of his works. The two harp pieces by Gergely Vajda (*1973) also approach the instrument as a machine, moreover, as a machine that can produce several sounds and noises and create a specific polyphony from them. The two movements, composed in 2020 and 2022, are dedicated to …

Par KRZANOWSKI ANDRZEJ. Composed in Czechowice-Dziedzice, in 1984, Relief I for accordion opens a cycle of nine works for solo or chamber forces. This work is of a sarcastic character, and its multi-segmented form consists of the alternating of dissonant ?quick? segments, dominated by sevenths, with two-part dolce segments led in contrary motion, as well as series of chords repeated with a surpris…

Par KRZANOWSKI ANDRZEJ. Relief VII (1988) is a composition in which we can hear echoes of phrases contained in Programme no. 6 and Relief IV. This time they are evoked by tubular bells in secundal-tritonal motifs and, in general, by other percussion instruments. The accordion part is dominated by the narrative of unrestrained repetition, often based on broken ninth structures, ending with four sil…

49 easy-to-play pieces, in standard musical notation and tabulature. Par . Ce volume fait plaisir: 49 morceaux faciles à jouer, provenant de cinq siècles différents, avec notes et tablatures, ne demandent qu'à être découverts. Il comprend aussi bien des morceaux folkloriques simples que des classiques standard de Carulli, Paganini, Sor et Tarrega. Mais les mélodies des maîtres célèbres tels que Ba…

Par YEAGER JEANINE. A full range of keyboard sounds is utilized by this respected composer in her arrangements. She includes a rich use of the pedal in melding harmonies and creating magical new interpretations of familiar hymns. Includes one original work (?Rejoice!?) along with seven touching hymn arrangements appropriate for worship services as preludes, offertories, or postludes. / Date paruti…

Par CAVALLI FRANCESCO. In 1662, Cavalli’s career was at its zenith. The two dozen operas he had written for Venice had helped establish Venice as the world’s first operatic superpower. “Scipione Affricano” (Venice 1664), Cavalli’s first opera after returning from France, was one of his most successful compositions. In a period that valued new works over familiar ones, “Scipione” was one of a handf…

Par KRZANOWSKI ANDRZEJ. In his commentary in the programme book of the 16th Festival of Contemporary Music in Wroclaw, in 1988, Andrzej Krzanowski pointed to his experimentation in the areas of timbre and architecture throughout the cycle of Reliefs. In the case of Relief IV, that experimentation concerned primarily the choice of forces: soprano, a voice with an extensive compass (b – d flat3), an…