SKU: BO.BC0006
Despite a strong vocation for the cello, which he studied and began to play with a distinctive character, Pau Casals, like most ambitious, creative musicians, wrote at the piano and for the piano, as it is the ultimate teaching instrument, summarising the full vision of the creative process. Any creative musician habitually worked at the piano, whether for this instrument alone or for piano accompanied by other solo instruments. To date, it has not been possible to document whether Casals had systematic training on this instrument, although at that time it was more common than it is today because, considering its qualities of timbre and combination, it was particularly attractive for creating test pieces and different kinds of compositions.The piano works contained in this second volume include part of the salon repertoire, a continuation of the first volume, and four sardanas for piano of diverse origin: some are reductions of more complex forms and others sketches for instrumental groups. In the first group, some works intended for children are published, a demonstration of the tenderness the â??cellist felt for the children of his closest friends. In the second case, the sardanas are works from his first exile in Prada and show the nostalgia of the composer, away from his country against his will.In general, the works are not especially complex; their purpose and nature are diverse. They come in the context of salon music, with the appearance of creative entertainments characterised by a basically tonal, transparent language with a widespread tendency to modulate to nearby keys more as a momentary expressive resource than as a structural evolutionary procedure. They show a lack of systematic work on the instrument as well as the commonplaces of piano composition of their time. In some of these works, the piano thread breaks, the works do not have the thrust of finished products; the occasional appearance of chords that are difficult or impossible to finger leads us to think of intentions closer to test pieces than to products intended for normal performance. But not all these piano works are circumstantial. There is also a prelude and a minuet of a certain piano writing complexity.
SKU: BT.VOLMB433
ISBN 9788863884272. Italian.
Cinema Classics for the Piano Volume 2, includes: Calling You (Bagdad Café) - Cam Caminì (Mary Poppins) - Feelings (I Favolosi Baker) - Giù La Testa (Giù La Testa) - Goldfinger (Agente 007 Missione Goldfinger) - I Sogni SonDesideri (Cenerentola) - La Passerella Di Addio (Otto E Mezzo) - Le Danze Polinesiane (Il Principe Igor) - Moonlight Serenade (Serenata A Vallechiara) - Otchi-Tchor-Ni-Ya (La Storia Di Glenn Miller) - People (Funny Girl) - PeterGunn Theme (The Blues Brothers) - Que Sera Sera (L'Uomo Che Sapeva Troppo) - Shadow Of Your Smile (Castelli Di Sabbia) - La Strada (La Strada) - The Pink Panther (La Pantera Rosa) - Theme From New York New York) - Three CoinsInThe Fountain (Tre Soldi Nella Fontana).
SKU: BT.VOLMB432
ISBN 9788863884265. Italian.
Cinema Classics for the Piano Volume 1, includes: Amado Mio (Gilda) - An American In Paris (Un Americano A Parigi) - As Time Goes By (Casablanca) - Chattanooga Choo-Choo (Serenata A Vallechiara) - Delilah Jones (L'uomo DalBraccio D'oro) - Dizzy Fingers (Incantesimo) - Ebb Tide (L'isola Delle Perle) - Exodus (Exodus) - Lara's Theme (Il Dottor Zivago) - Laura (Bird) - Love Is A Many Splendored Thing (L'amore È Una Cosa Meravigliosa) - Ne Me QuittePas (Jacques Brel Is Alive And Well And Living In Paris) - Never On Sunday (Mai Di Domenica) - Put The Blame On Mame (Gilda) - Tara Theme (Via Col Vento) - The Entertainer (La Stangata) - The Harry Lime Theme (Il Terzo Uomo) -TheLast Time I Saw Paris (L'ultima Volta Che Vidi Parigi).
SKU: BT.EMBZ14967
Hungarian-English-Germ an-French.
Sonatina s form a vital part of the teaching material for beginner and intermediate piano students. Compared to the great classical piano sonatas, they are technically and musically simpler and typically shorter. However, they still convey the basic elements of Classical style: the relation of melody to accompaniment, articulation, stylistically authentic playing, and correct interpretation. For the two volumes of Giraffe Piano, the most favoured and instructive of the sonatinas have been chosen. Volume 1 contains simpler pieces and Volume 2 is compromised of moderately difficult ones. Correct interpretation of the pieces is facilitated by added performance and fingeringmarks. Learning is helped along by clear presentation of the score, carefully placed page turns, and by inspiration from colour images showing the keyboard instruments of the 1720-1820 period for which the pieces were written. The most notable of them is the giraffe piano, after which the collection is named. Im Lehrstoff für Anfänger und fortgeschrittene Klavierschüler auf Mittelstufenniveau sind Sonatinen unverzichtbar. Sie sind technisch und musikalisch einfacher und vor allem kürzer als die großen klassischen Klaviersonaten, zugleich kann man an ihnengut die Grundelemente des klassischen Stils, das Verhältnis von Melodie und Begleitung, eine klare, stilgetreue Vortragsweise und die richtige Formgebung üben.
In den zwei Bänden des Giraffenklaviers haben wir die beliebtesten und auch für den Unterricht am meisten geeigneten Sonatinen zusammengestellt. Im 1. Band befinden sich leichte, im 2. mittelschwere Stücke. Den richtigen Vortrag der Stücke unterstützt der Herausgeber mit HIlfe von Artikulations- und Vortragszeichen sowie Fingersätzen. Über das klare Notenbild und die sorgsam gewählten Stellen zum Umblättern hinaus machen farbige Bilder von zeitgenössischen, zwischen 1720 und1820 gebauten Tasteninstrumenten, für die auch Stücke des Bandes geschrieben wurden, ihre Aneignung zu einem besonderen Erlebnis. Das eigentümlichste unter ihnen war das auf dem Umschlag abgebildete Giraffenklavier, das dem Album auch seinen Namen gab.
