NEW The Seasons" and Other Works for Solo Piano - Tchai

RAVEL, M. - WORKS FOR SOLO PIANO-COMPLETE [CD NEW]Label: HYPERION (UK)Format: CD Release Date: 14 May 2002 Brand New, Sealed, ships usually within three business days, depending on availability.Album Tracks Disc 1.1. Menuet antique 2. Pavane pour une infante defunte 3. Sonatine: Modere 4. Sonatine: Mouvement de menuet 5. Sonatine: Anime 6. Valses nobles et sentimentales: Modere-tres franc 7. Valses nobles et sentimentales: Assez lent 8. Valses nobles et sentimentales: Modere 9. Valses nobles et

Ess.a.y Recordings

"A moving soundtrack for the vast array of struggles and celebrations that have infused our nation and the planet during the past two years." -- New Age Retailer "Grand, sweeping, dramatic ... exquisite classical compositions are intended to bring comfort--solace--in dark times, and surely this heavenly, sweet music could do just that. Highly recommended!" -- Aquarius: A Sign of the Times "A genuine breath of solace and comfort ... [a] heartfelt affirmation of beauty, the process that Rabindranath Tagore alludes to when he writes `Dark clouds become heaven's flowers when kissed by light.'" -- Spirit of Change "Enchanting and masterful, flowing with a sense of grace that is endearing to the soul." -- New Friends Review Over a much-lauded twenty-year career as a recording artist, English-born Michael Hoppé has recorded over a dozen albums of lush, romantic, classically-influenced music. Hoppé is the winner of numerous awards and accolades, including CD Review Editor's Choice CD of the Year, the AIM Indie Award for Best New Age Album, and a COVR Best Album Award for a previous Spring Hill Music release, The Lover.

Tavros Records ( December 01, 2004 ), Genre: Classical

Doming Lam was born in Macau, received his musical education in California and Toronto, and has been spending a large part of his career in Hong Kong. In this piece, Lam uses a popular ancient melody with the original name of The Flutes and Drums at Sunset, The Pipa of Shin-Yang, or Moonlight at Shin-Yang. He selected six out of the original ten sections of the melody and wrote them in the form of variations in 1971. Through this piece the composer expresses his hope that the younger Chinese generation would enjoy and perform Chinese music as well as disseminate the best of Chinese music overseas. This traditional sounding piece imitates on the piano the sound qualities of the Chinese chin (zither) and pipa. Japanese composer Somei Satoh enjoys a fine international reputation, especially in the United States, where several of his pieces have been premiered and performed. Satoh, who came from a musical family and attended Nihon University in Tokyo, was mostly self-taught, and is very interested in the prolongation of a single unit of sound through repetition. A very unconventional piece, Incarnation II is made up entirely of tremolos in the lower range of the piano. The music seems to come from nowhere, develops through a gradual and stepwise sliding motion of notes from one chord to the next, reaches two climaxes, and subsides back into nothingness. This piece shows the deep influence of Shintoism and Zen Buddhism, and seems to take the audience on a journey of meditation. Memories in an Ancient Garden and Warrior are two of three pieces in Chinese Canadian composer Alexina Louie s Scenes from a Jade Terrace, commissioned and premiered by Canadian pianist Jon Kimura Parker. The haunting Memories explores the coloristic possibilities of the piano by using glissandi and harmonics on the strings as well as palm clusters on the keys. The work is striking in its colors as well as its fusion of Eastern and Western philosophy and musical language. Varied temporal organization and Oriental-sounding scales, harmonies and textures result in a rich symphonic poem expressed through the piano. Prelude in B minor was transcribed by Alexander Siloti from a short E minor Prelude in Johann Sebastian Bach s Clavier-Büchlein für Wilhelm Friedemann Bach, written for the instruction of his oldest and possibly favorite son. Reminiscent of the Prelude No.1 in C major from The Well-Tempered Clavier I, the music progresses gradually in the form of broken chords. The hidden melody in the middle of the texture is brought out in the repeat. Sheep May Safely Graze was originally an aria for soprano in Cantata No. 208, entitled Hunting Cantata or Birthday Cantata, which Bach composed for the birthday of Duke Christian of Saxe-Weissenfels in 1713. The serene and pastoral character of the music is well preserved in Egon Petri s transcription and reflects the text of this aria: Sheep may safely graze where a caring shepherd guards them. Where rulers govern well, we may feel peace and tranquility, and the country will prosper. Jesu, Joy of Man s Desiring is the title of a chorale movement from Bach s Cantata No.147, entitled Heart and Mouth and Deed and Life, written in 1716. As in the original chorale, the passage with triplet figures and the choral passages are first presented in alternating fashion, after which they are interwoven in the texture and build steadily to a climax toward the end of the piece. In this transcription by Kempff, the melody is ingeniously stated in the tenor and alto ranges as the piece unfolds. Published in 1839, the set of Twenty-Four Preludes, Op.28, was mostly composed from 1837 to 1838, when Chopin and George Sand were staying in Majorca and were in the earlier stages of their tumultuous relationship.

We admit it: Sessions' music is not for the casual listener or someone just getting into modern music. If you start cold with one of the later symphonies, it's like jumping into the middle of a book on advanced physics. But if you start at the beginning and work your way through, you will enjoy some of the most profound music written by an American. The early works might bear a passing resemblance to Copland, but by the later works it is obvious that Sessions has absorbed the complex sound world explored by Schoenberg and refined it. In all of his music, you are struck by the realization that these intense works are truly music, and not mere exercises in sonority. That is why this reissue is so important: spanning his creative lifetime, this collection of the complete solo piano works will give you a remarkable insight into this most significant of modern composers. Barry David Salwen has been the Executive Director of the Roger Sessions Society since 1988. Besides specializing in new music, he has performed widely the music on this disc as part of his original lecture-recital, "The Piano Sonatas of Roger Sessions, " first presented in 1986. This and his contact with the composer during his doctoral work at Juilliard make him the authoritative performer. This CD is a major contribution to the recorded Sessions canon.

When F. E. Kirby published A Short History of Keyboard Music in 1966, scholars and keyboard players welcomed it as the first detailed historical interpretation of music for organ, harpsichord, clavichord, and piano. In this book, which is comparable in length but substantially different in content, Kirby focuses on music for the piano in the fine-art or classical tradition , providing an in-depth survey of music for piano solo, and including discussions of important compositions for piano duet and two pianos. Beginning with early types of keyboard music that influenced the first music for the instrument in the seventeenth century, and ending with the bold, iconoclastic works of the late twentieth century, Kirby provides a scholarly yet readable overview of the literature, drawing on the results of the most recent research. Concerned with the historical context of the works, the author traces the development of the composers styles in light of the times in which they lived. With an emphasis on principal composers and important compositions, the book is an excellent introduction for anyone interested in the development of the great repertoire of piano music. Incorporating an extensive topical bibliography of more than 1100 sources for further reading - likely the largest ever compiled - and illustrated throughout with music examples, this volume is indispensable to students and teachers at both the graduate and advanced undergraduate levels, music historians, and anyone interested in music literature.

"A moving soundtrack for the vast array of struggles and celebrations that have infused our nation and the planet during the past two years." -- New Age Retailer "Grand, sweeping, dramatic ... exquisite classical compositions are intended to bring comfort--solace--in dark times, and surely this heavenly, sweet music could do just that. Highly recommended!" -- Aquarius: A Sign of the Times "A genuine breath of solace and comfort ... [a] heartfelt affirmation of beauty, the process that Rabindranath Tagore alludes to when he writes `Dark clouds become heaven's flowers when kissed by light.'" -- Spirit of Change "Enchanting and masterful, flowing with a sense of grace that is endearing to the soul." -- New Friends Review Over a much-lauded twenty-year career as a recording artist, English-born Michael Hoppé has recorded over a dozen albums of lush, romantic, classically-influenced music. Hoppé is the winner of numerous awards and accolades, including CD Review Editor's Choice CD of the Year, the AIM Indie Award for Best New Age Album, and a COVR Best Album Award for a previous Spring Hill Music release, The Lover.

This is the companion CD to STANDARDS: SOLO PIANO PART TWO (9028).Solo performer: Chick Corea (piano).Recorded live from November 14 to 30, 1999. Includes liner notes by Chick Corea.Personnel: Chick Corea (grand piano).Recording information: Club Fasching, Stockholm, Sweden (11/14/1999-11/30/1999); Culture & Congress Center, Lucerne, Switzerland (11/14/1999-11/30/1999); Plektrum, Lund, Sweden (11/14/1999-11/30/1999); Sardinen Club, Bergen, Norway (11/14/1999-11/30/1999); Symphony Hall, Osaka, Japan (11/14/1999-11/30/1999); Yokohama Minato Mirai Hall, Yokohama, Japan (11/14/1999-11/30/1999).Photographer: Lourdes Delgado.Since the mid '60s, Chick Corea has been known as a master pianist and one of music's most creative composers. On this disc, the first of two volumes of solo piano performances from 1999, Corea displays his well-known talents to the fullest.Save for two Scriabin preludes, Corea offers masterful interpretations of some of his most cherished compositions and a few that may be unfamiliar to fans.

The works contained within this CD have been recorded from the well-known book entitled Solos for the Horn Player with Piano Accompaniment; Selected and Edited by Mason Jones. Although originally published in 1962, these works have never been recorded in their entirety until now. Internationally known by soloists, teachers and students alike, this publication has long been considered one of the staples of the horn repertoire. I was first introduced to them while a student at Oberlin Conservatory. My teacher was Robert Fries, who studied under Mason Jones and who, in fact, went on to become Co-Principal Horn with Mason Jones in the Philadelphia Orchestra. Although a majority of the works are arrangements by Mason Jones, a few of the selections are original works for Horn and Piano. Mr. Jones has tastefully arranged these works in keys most adaptable to the comfort range of the horn. It is also of interest to note that they represent repertoire from chamber, symphonic, operatic and solo literature. My main purpose for recording these works was to provide young players the opportunity to hear these works at a professional performance level. I thought it appropriate to offer a recording of this book which is almost universally used by teachers and students. These works were recorded on an Elkhart Conn 8D 398205, the very horn used by my teacher while a student and colleague of Mason Jones. Equally at home as a soloist, teacher, chamber musician, and symphonic horn player, GREGORY MILLER is one of the most accomplished horn players of his generation. After five seasons with the internationally acclaimed Empire Brass, Mr. Miller has performed in nearly every major concert hall in the world, including Carnegie Hall, the John F. Kennedy Center for the Performing Arts, Tokyo Opera City, the Mozarteum, Petronas Towers, the Barbican, and Suntory Hall. His solo career includes appearances with the Orquesta Sinfonia Nacional, San Jose, Costa Rica; the Daegu City Symphony Orchestra, Daegu, South Korea; and the U.S. Navy Band of Washington, D.C. Mr. Miller has been Professor of Horn at the University of Maryland School of Music since 2000 and was appointed Chairman of the Wind and Percussion Division in 2005. He has served on the faculties of Florida International University, the Conservatory of Music at Lynn University, and the University of Hawaii. His orchestral experience includes principal positions with the New World Symphony under Michael Tilson Thomas and the Honolulu Symphony Orchestra. He has also performed with the Pittsburgh, Jacksonville, National, Baltimore Symphony Orchestras, and the Florida Philharmonic. Mr. Miller, a founding member of the New World Brass Quintet, recorded the Ingolf Dahl Music for Brass Instruments on the Argo Decca Label. His recordings with Empire Brass, which include Class Brass: Firedance and The Glory of Gabrieli, can be heard exclusively on the Telarc Label. In 2003, Mr. Miller released his debut solo album, From Bach to Bernstein: Romantic Music for Horn and Piano on the MSR Label. He is a clinician for Conn-Selmer Musical Instruments and performs exclusively on the CONN 8D. Active as a recitalist and clinician, Mr. Miller currently serves on the faculties of the National Orchestral Institute and the Las Vegas Music Festival. He has served on the faculties of the Bowdoin Summer Festival and the Trombones de Costa Rica International Brass Festival. In 1999, he was appointed an International Principal at the Pacific Music Festival of Sapporo, Japan. Mr. Miller also performed annually at the Monadnock Music Festival of New Hampshire, the Festival de Musique de St. Barthelemy, and continues to perform with the Palm Beach Opera Orchestra. A native of Youngstown, Ohio, Mr. Miller received his BM in Performance from the Oberlin College Conservatory of Music where he studied with Robert Fries, former co-principal horn of the Philadelphia Orchestra.