BarcarolleTitle: Barcarolle Composer: Greg Smith Instrumentation: Piano Duet Level: Piano I – level 2 (several five finger positions, left and right hands) Product medium: PDF score & MP3 accompaniment track SAMPLE: (audio of accompaniment track only)
Glory and Praise For Ever – Dan 3Title: Glory and praise for ever Text: Dan 3:52-56. R. v.52 Composer: Greg Smith Instrumentation: Cantor, SATB refrain, and organ Product medium: PDF score and parts SAMPLE:
To burn with desire“To burn with desire and keep quiet about it is the greatest punishment we can bring on ourselves.” — Federico García Lorca, Blood Wedding and Yerma A. Flores (ed.), Great Spanish Plays in English Translation, New York, Dover, 1991, p.441.
Jan Lisiecki on interpretationMy approach is to sit with the score and make my decisions about what Andante means or what piano means in a certain context; often you go back to recordings and find that nobody’s ever really played it that way. You ask yourself ‘Why is that? Did I misread or misinterpret something? Or is this […]
Tchaikovsky on Don GiovanniTchaikovsky, later in his life, reflected on hearing Mozart's Don Giovanni as a boy: The music of Don Giovanni was the first to conquer me completely. It awoke an ecstasy in me of which the consequences are known. It gave me the key to the spheres of pure beauty in which the greatest geniuses soar. […]
Rachmaninoff’s concert routineReporters described Sergei Rachmaninoff on a concert tour (c. 1940): His punctuality is a legend. If a reporter asks for two minutes of his time, two minutes and no more are given. Consequently he arrives at a concert hall on the dot of 8 and goes on the stage precisely at 8:30. If the concert […]
Stokowski on contemporary musicLeopold Stokowski was a champion of contemporary music. He conducted music without judgement, believing judgement to be the public’s job. During the Philadelphia Symphony Orchestra’s 1915-16 season,he programmed orchestral suites from Stravinsky’s Firebird and Petrushka, Richard Strauss’ Alpine Symphony, Scriabin’s Poem of Ecstasy, and Schoenberg’s Kammersymphonie No. 1. “This last, very cerebral work, although not […]
Schnabel on recordingHaving spent five days recording five Beethoven sonatas and two concertos, Schnabel wrote to his wife: This week was an ordeal, a torture chamber. “What does not kill me makes me stronger,” says Nietzsche. Hopefully (probably) this is true. I had no idea of how outrageous a process the recording on discs could be. Like […]
Stokowski’s rehearsalRaoul Berger (who eventually had a fall out with the conductor Stokowski and left The Philahrmonic Orchestra) described Stokowski’s rehearsal process: In rehearsal Stoki was given to the methods of a marine drill-sergeant, brutal and insulting. In those days he was accustomed to make sweeping changes every season, so that those who were dependent on […]
A typical recital in England in 1897John E. Borland described in a paper of June 1897: It was customary to commence with a Bach prelude and fugue (usually perverted from one intended for the organ), a Beethoven sonata (choice limited to four or five), some Chopin pieces (there were about twelve orthodox ones to select from), and a Liszt rhapsody. These […]
