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The Sheet Music Library (PDF) is a non-profit, subscription library of piano, guitar and vocal scores. Sheet music. Partituras. Partitions. Spartiti. Noten. Partituur. Партиту́ра. 망할 음악 Partitur. 楽譜 Musical scores. 乐谱 Nuty. Bladmuziek. Noty. Free SHEET MUSIC PDF for educational purposes only.
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0:00 – Kiki’s Delivery Service 4:32 – One Summer’s Day 8:36 – My Neighbour TOTORO 12:46 – Symphonic Poem “NAUSICAÄ” 30:22 – MADNESS 34:38 – The Legend of Ashitaka 40:14 – Princess Mononoke 44:49 – TA･TA･RI･GAMI (The Demon God) 51:40 – Ashitaka and San 56:02 – Madness 1:00:36 – Symphonic Variation “Merry-go-round” 1:14:22 – The Wind Rises’ Suite No.2 – A Journey (Dream of Flight) – Nahoko (The Encounter) 1:18:03 – The Wind Rises’ Suite No.2 – Caproni (An Aeronautical Designers Dream)
1:19:31 – The Wind Rises’ Suite No.2 – The Falcon Project – The Falcon 1:22:25 – The Wind Rises’ Suite No.2 – A Journey (The Wedding) 1:23:36 – The Wind Rises’ Suite No.2 – The Refuge 1:26:15 – The Wind Rises’ Suite No.2 – Nahoko (I Miss You) – Castorp (The Magic Mountain) 1:30:06 – The Wind Rises’ Suite No.2 – Nahoko (An Unexpected Meeting)
0:00 – One Summer’s Day 4:32 – The Sixth Station 8:23 – Ashitaka and San 12:23 – Merry-Go-Round 17:36 – Fantasia (for NAUSICAÄ) 24:34 – Innocent 27:07 – il porco rosso 32:00 – The Wind Forest 36:55 – Merry-Go-Round 41:23 – Ponyo on the Cliff by the Sea 44:12 – Castle in the Sky 50:46 – Cave of Mind
1 Beethoven – Piano Sonata No. 8 “Pathétique”: II. Adagio cantabile 00:00 2 Bach/Marcello – Concerto No. 3 in D Minor, BWV 974: II. Adagio 05:13 3 Pärt – Spiegel im Spiegel 09:57 4 Saint-Saëns – The Carnival of the Animals: XIII, The Swan 18:26 5 Schumann – 5 Pieces in Folk Style, Op. 102: No. 2, Langsam 21:04
6 Rachmaninoff – Rhapsody on a Theme by Paganini: Var. XVIII 25:34 7 Bach – Goldberg Variations, BWV 998: Aria 28:30 8 Debussy – Deux arabesques, L. 66: No. 1, Andantino con moto 33:34 9 Debussy – Suite bergamasque, L. 75: No. 3, Clair de lune 38:15 10 Debussy – Rêverie, L. 68 42:59
11 Schumann – Kinderszenen, Op. 15: No. 7, Träumerei 47:03 12 Liszt – Liebesträume, S. 541: No. 3 in A-Flat Major 50:19 13 Chopin – Études, Op. 10: No. 3 in E Major, “Tristesse” 56:04 14 Beethoven – Piano Sonata No. 14 in C-Sharp Minor, “Moonlight Sonata”: I. Adagio sostenuto 1:00:17 15 Chopin – Preludes, Op. 28: No. 4 in E Minor 1:06:03
16 Mendelssohn – Songs Without Words, Book 1, Op. 19b: No. 1, Andante con moto 1:07:53 17 Rachmaninoff – Six Moments Musicaux, Op. 16: No. 3 in B Minor, Andante cantabile 1:11:40 18 Liszt – Consolations, S. 172: No. 3, Lento placido 1:17:01 19 Bach – Orchestral Suite No. 3, BWV 1068: II. Air on the G String 1:21:01
20 Sibelius – Duo for Violin and Viola in C Major 1:24:17 21 Vivaldi – The Four Seasons, Concerto No. 4 “Winter”: II. Largo 1:30:04 22 Vivaldi – The Four Seasons, Concerto No. 1 “Spring”: II. Largo e pianissimo sempre 1:32:03 23 Grieg – Holberg Suite, Op. 40: II. Sarabande 1:34:25 24 Tchaikovsky – Symphony No. 6 “Pathétique”: IV. Adagio lamentoso 1:38:05
25 Tchaikovsky – Swan Lake: Scene by a Lake 1:48:03 26 Rachmaninoff – Symphony No. 2 in E Minor, Op. 27: III. Adagio 1:50:36 27 Barber – Adagio for Strings 2:04:45
1, 3, 6, 7, 18: Luke Faulkner Violin on 3: Nadia Vasileva 2, 16, 17: Vadim Chaimovich 4: Sarah Joy, Kathy Hohstadt 5: Ignacy Gaydamovich, Janusz Grzelązka 8-10, 13-15: Rogerio Tutti 11, 12: Giovanni Umberto Battel 19, 20: Otri Trio 21-23, 25: Metamorphose String Orchestra, Pavel Lyubomudrov Violin on 21 & 22: Yuliya Lebedenko 24: Wroclaw Symphony Orchestra, Natalia Ponomarchuk 26: Kyiv State Symphony Orchestra, Yurii Nykonenko 27: Orchestra da Camera Fiorentina, Giuseppe Lanzetta
Sidney Bechet (May 14, 1897 – May 14, 1959) was an American jazz clarinetist, saxophonist, and composer. He was one of the first important soloists in jazz, beating trumpeter Louis Armstrong to the recording studio by several months. His erratic temperament hampered his career, and not until the late 1940s did he earn wide acclaim.
Sidney Bechet was the first important jazz soloist on records in history (beating Louis Armstrong by a few months). A brilliant soprano saxophonist and clarinetist with a wide vibrato that listeners either loved or hated, Bechet’s style did not evolve much through the years but he never lost his enthusiasm or creativity. A master at both individual and collective improvisation within the genre of New Orleans jazz, Bechet was such a dominant player that trumpeters found it very difficult to play with him. Bechet wanted to play lead and it was up to the other horns to stay out of his way.
Sidney Bechet studied clarinet in New Orleans with Lorenzo Tio, Big Eye Louis Nelson, and George Baquet and he developed so quickly that as a child he was playing with some of the top bands in the city. He even taught clarinet, and one of his students (Jimmie Noone) was actually two years older than him. In 1917, he traveled to Chicago, and in 1919 he joined Will Marion Cook’s orchestra, touring Europe with Cook and receiving a remarkably perceptive review from Ernst Ansermet.
While overseas he found a soprano sax in a store and from then on it was his main instrument. Back in the U.S., Bechet made his recording debut in 1923 with Clarence Williams and during the next two years he appeared on records backing blues singers, interacting with Louis Armstrong and playing some stunning solos. He was with Duke Ellington’s early orchestra for a period and at one point hired a young Johnny Hodges for his own band. However, from 1925-1929 Bechet was overseas, traveling as far as Russia but getting in trouble (and spending jail time) in France before being deported.
Most of the 1930s were comparatively lean times for Bechet. He worked with Noble Sissle on and off and had a brilliant session with his New Orleans Feetwarmers in 1932 (featuring trumpeter Tommy Ladnier). But he also ran a tailor’s shop which was more notable for its jam sessions than for any money it might make. However, in 1938 he had a hit recording of “Summertime,” Hugues Panassie featured Bechet on some records and soon he was signed to Bluebird where he recorded quite a few classics during the next three years.
Bechet worked regularly in New York, appeared on some of Eddie Condon’s Town Hall concerts, and in 1945 he tried unsuccessfully to have a band with the veteran trumpeter Bunk Johnson (whose constant drinking killed the project). Jobs began to dry up about this time, and Bechet opened up what he hoped would be a music school. He only had one main pupil, but Bob Wilber became his protégé.
Sidney Bechet’s fortunes changed drastically in 1949. He was invited to the Salle Pleyel Jazz Festival in Paris, caused a sensation, and decided to move permanently overseas. Within a couple years he was a major celebrity and a national hero in France, even though the general public in the U.S. never did know who he was. Bechet’s last decade was filled with exciting concerts, many recordings, and infrequent visits back to the U.S. before his death from cancer. His colorful (if sometimes fanciful) memoirs Treat It Gentle and John Chilton’s magnificent Bechet biography The Wizard of Jazz (which traces his life nearly week-by-week) are both highly recommended. Many of Sidney Bechet’s recordings are currently available on CD.
“Petite Fleur” is an instrumental written by Sidney Bechet and recorded by him in January 1952, first with the Sidney Bechet All Stars and later with Claude Luter and his Orchestra.
In 1959, it was an international hit as a clarinet solo by Monty Sunshine with Chris Barber’s Jazz Band. This recording, which was made on October 10, 1956, peaked at No. 5 on the US Hot 100 and No. 4 in the UK charts.Outside UK Chris Barber’s version was extremely big in Sweden topping the Swedish best selling chart for no less than 12 weeks according to the branch paper Show Business. Their version was in A♭ minor, in contrast to Bechet’s, which was in G minor.
There was also another recording by Bob Crosby and the Bobcats. Following the Chris Barber instrumental recording, lyrics were added by Fernand Bonifay and Mario Bua in the same year. A different set of lyrics was written by Paddy Roberts and the song was recorded by Teddy Johnson and Pearl Carr in 1959.
Petula Clark recorded the song in French and it was included in her album Hello Paris (1962).
Louis Armstrong “Hotter Than That” – The Top 10 pearls in Jazz history
To understand jazz, everything starts with Louis Armstrong. The first great soloist in jazz, born in New Orleans, he brought wonderful rhythmic freedom and melodic invention to what had been a rather stilted ragtimey style of music. His great recordings with his Hot Five and Hot Seven from 1920s Chicago form a magnificent body of work and this track has everything – Louis’ virtuoso cornet, his wordless “Scat” singing and a fabulous improvised duet with guitarist Lonnie Johnson.
Born in abject poverty in New Orleans, Armstrong became the first great soloist in jazz, and the musician who was the single most powerful influence on the music during its first half century. Abandoned by his father, he was brought up by his mother and grandmother in some of the poorest areas of his home town, and he apparently never know his real birth date, preferring to adopt Independence Day 1900 as his birthday. As a boy, he worked on a coal cart for the Jewish Karnofsky family, working in the Red Light District of New Orleans and developing a musical talent that grew further during his time in the Colored Waifs home, where he spent some of his teenage years. he played cornet in the Waifs’ band, and by his late teens had acquired a reputation as a fine brass player with plenty of ideas and natural stamina.
His big break came when he was summoned to Chicago in 1922 to join King Oliver’s band, with whom he made his first records. His reputation grew when he travelled to New York in 1924 to become a star soloist with Fletcher Henderson.
Back in Chicago, he made a remarkable series of discs with a studio band known as his Hot Five and Hot Seven, in which he developed his bravura solo style, and launched the concept of the improvising jazz soloist. His brilliant, inventive playing became a symbol of the energy and freedom of the ‘jazz age’ – the riotous pre-Depression America of the Roaring Twenties. By the end of the 1920s, having moved to New York in 1929 to perform in the revue Hot Chocolates, Armstrong became a major star. As a singer, trumpeter and entertainer, he fronted his own big band throughout the 1930s and well into the 1940s, making a string of influential discs that featured his high, powerful trumpeting and his gravelly singing.
He toured to Europe in 1933-4 , leading a big band of local musicians. In 1947 he scaled down to a small group – the All Stars – which he led for the rest of his life, playing an up-to-date brand of the Dixieland jazz of his home town. He also appeared in numerous films, and made several popular vocal records, including Hello Dolly and What a Wonderful World, which introduced him to a vast audience unaware of his musical innovations in the 1920s. When he died he was universally regarded as the father figure of jazz, and loved by the people he had met and encouraged all over the world as ‘Ambassador Satch’, playing a relentless series of tours and concerts well into his old age.
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The influence of Armstrong on the development of jazz is virtually immeasurable. His irrepressible personality both as a performer and as a public figure was so strong that to some it sometimes overshadowed his contributions as a musician and singer.
As a virtuoso trumpet player, Armstrong had a unique tone and an extraordinary talent for melodic improvisation. Through his playing, the trumpet emerged as a solo instrument in jazz and is used widely today. Additionally, jazz itself was transformed from a collectively improvised folk music to a soloist’s serious art form largely through his influence. He was a masterful accompanist and ensemble player in addition to his extraordinary skills as a soloist. With his innovations, he raised the bar musically for all who came after him.
Though Armstrong is widely recognized as a pioneer of scat singing, Ethel Waters precedes his scatting on record in the 1930s according to Gary Giddins and others. Billie Holiday and Frank Sinatra are just two singers who were greatly indebted to him. Holiday said that she always wanted Bessie Smith’s ‘big’ sound and Armstrong’s feeling in her singing. Even special musicians like Duke Ellington have praised Armstrong through strong testimonials. Duke Ellington, DownBeat magazine in 1971, said, “If anybody was a master, it was Louis Armstrong. He was and will continue to be the embodiment of jazz.” In 1950, Bing Crosby, the most successful vocalist of the first half of the 20th century, said, “He is the beginning and the end of music in America.”
Frédéric Chopin, French in full Frédéric François Chopin, Polish Fryderyk Franciszek Szopen, (born March 1, 1810, Żelazowa Wola, near Warsaw, Duchy of Warsaw [now in Poland] [seeResearcher’s Note: Chopin’s birth date]—died October 17, 1849, Paris, France), Polish French composer and pianist of the Romantic period, best known for his solo pieces for piano and his piano concerti. Although he wrote little but piano works, many of them brief, Chopin ranks as one of music’s greatest tone poets by reason of his superfine imagination and fastidious craftsmanship.
Artists: Paolo Giacometti, Rotterdam Young Philharmonic & Arie van Beek 0:00:00 Piano Concerto No. 1 in E Minor, Op. 11: II. Romance. Larghetto
Artists: Paolo Giacometti, Rotterdam Young Philharmonic & Arie van Beek 0:35:22 Piano Concerto No. 2 in F Minor, Op. 21: II. Larghetto
Artist: Alessandro Deljavan 0:45:31 Études, Op. 25: I. Etude in A-Flat Major “Aeolian Harp”. Allegro sostenuto 0:48:04 3 Nouvelles études, B. 130: III. Allegretto in A-Flat Major
Artist: Wolfram Schmitt-Leonardy 0:50:15 Piano Sonata No. 3 in B Minor, Op. 58: III. Largo Artist: Alessandro Deljavan 0:59:41 Études, Op. 25: VII. Etude in C-Sharp Minor. Lento
Artist: Alwin Bär 1:05:44 Berceuse in D-Flat Major, Op. 57
Artist: Rem Urasin 1:10:51 Mazurkas, Op. 17: IV. Lento, ma non troppo in A Minor
Artist: Yoram Ish-Hurwitz 1:16:17 Nocturne in C-Sharp Minor Op. Posth.
Artist: Wolfram Schmitt-Leonardy 1:20:20 Preludes, Op. 28: I. Prelude in F-Sharp. Lento 1:23:52 Preludes, Op. 28: I. Prelude in D-Flat Major “Raindrop”. Sostenuto 1:29:37 Preludes, Op. 28: I. Prelude in A-Flat Major. Allegretto
Erroll Louis Garner (June 15, 1921 – January 2, 1977) was an American jazz pianist and composer known for his swing playing and ballads. His best-known composition, the ballad “Misty”, has become a jazz standard. Scott Yanow of Allmusic calls him “one of the most distinctive of all pianists” and a “brilliant virtuoso.” He received a star on the Hollywood Walk of Fame at 6363 Hollywood Blvd. His live album, Concert by the Sea, first released in 1955, sold over a million copies by 1958 and Scott Yanow’s opinion is: “this is the album that made such a strong impression that Garner was considered immortal from then on.”
Garner was born with his twin brother Ernest in Pittsburgh, Pennsylvania on June 15, 1921, the youngest of six children in an African-American family. He attended George Westinghouse High School (as did fellow pianists Billy Strayhorn and Ahmad Jamal). Interviews with his family and music teachers (and with other musicians), plus a detailed family tree are given in Erroll Garner: The Most Happy Piano by James M Doran.
Garner began playing piano at the age of three. His elder siblings were taught piano by Miss Bowman. From an early age, Erroll would sit down and play anything she had demonstrated, just like Miss Bowman, his eldest sister Martha said.[ Garner was self-taught and remained an “ear player” all his life, never learning to read music. At age seven, he began appearing on the radio station KDKA in Pittsburgh with a group called the Candy Kids. By age 11, he was playing on the Allegheny riverboats. In 1937 he joined local saxophonist Leroy Brown.
He played locally in the shadow of his older pianist brother Linton Garner.
Garner moved to New York City in 1944. He briefly worked with the bassist Slam Stewart, and though not a bebop musician per se, in 1947 played with Charlie Parker on the “Cool Blues” session. Although his admission to the Pittsburgh music union was initially refused because of his inability to read music, it relented in 1956 and made him an honorary member. Garner is credited with a superb musical memory. After attending a concert by the Russian classical pianist Emil Gilels, Garner returned to his apartment and was able to play a large portion of the performed music by recall.
Garner made many tours both at home and abroad, and regularly recorded. He was, reportedly, The Tonight Show host Johnny Carson’s favorite jazz musician, appearing on Carson’s show many times over the years.
Garner died of cardiac arrest related to emphysema on January 2, 1977. He is buried in Pittsburgh’s Homewood Cemetery
Short in stature (5 feet 2 inches [157 cm]), Garner performed sitting on multiple telephone directories. He was also known for his vocalizations while playing, which can be heard on many of his recordings. He helped to bridge the gap for jazz musicians between nightclubs and the concert hall.
Called “one of the most distinctive of all pianists” by Scott Yanow, Garner showed that a “creative jazz musician can be very popular without watering down his music” or changing his personal style. He has been described as a “brilliant virtuoso who sounded unlike anyone else”, using an “orchestral approach straight from the swing era but … open to the innovations of bop.” His distinctive style could swing like no other, but some of his best recordings are ballads, such as his best-known composition, “Misty”, which rapidly became a jazz standard – and was featured in Clint Eastwood’s film Play Misty for Me (1971).
Garner may have been inspired by the example of Earl Hines, a fellow Pittsburgh resident but 18 years his senior, and there were resemblances in their elastic approach to timing and use of right-hand octaves. Garner’s early recordings also display the influence of the stride piano style of James P. Johnson and Fats Waller. He developed a signature style that involved his right hand playing behind the beat while his left strummed a steady rhythm and punctuation, creating insouciance and tension. The independence of his hands also was evidenced by his masterful use of three-against-four and more complicated cross-rhythms between the hands. Garner would also improvise whimsical introductions—often in stark contrast to the rest of the tune—that left listeners in suspense as to what the piece would be. His melodic improvisations generally stayed close to the theme while employing novel chord voicings.
Pianist Ross Tompkins described Garner’s distinctiveness as due to ‘happiness’.
Garner’s first recordings were made in late 1944 at the apartment of Timme Rosenkrantz; these were subsequently issued as the five-volume Overture to Dawn series on Blue Note Records. His recording career advanced in the late 1940s when several sides such as “Fine and Dandy”, “Skylark” and “Summertime” were cut. His 1955 live album Concert by the Sea was a best-selling jazz album in its day and features Eddie Calhoun on bass and Denzil Best on drums. This recording of a performance at the Sunset Center, a former school in Carmel-by-the-Sea, California, was made using relatively primitive sound equipment, but for George Avakian the decision to release the recording was easy.
In 1954 Garner composed “Misty”, first recording it in 1955 for the album Contrasts. Lyrics were later added by Johnny Burke. “Misty” rapidly became popular, both as a jazz standard and as the signature song of Johnny Mathis. It was also recorded by Ella Fitzgerald, Frank Sinatra, Sarah Vaughan, Ray Stevens and Aretha Franklin. Clint Eastwood used it as the basis for his thriller Play Misty For Me.
One World Concert was recorded at the 1962 Seattle World Fair (and in 1959 stretching out in the studios) and features Eddie Calhoun on bass and Kelly Martin on drums. Other works include 1951’s Long Ago and Far Away, 1953’s Erroll Garner at the Piano with Wyatt Ruther and Fats Heard, 1957’s The Most Happy Piano, 1970’s Feeling Is Believing and 1974’s Magician, on which Garner performs a number of classic standards. Often the trio was expanded to add Latin percussion, usually a conga.
In 1964, Garner appeared in the UK on the music series Jazz 625 broadcast on the BBC’s new second channel. The programme was hosted by Steve Race, who introduced Garner’s trio with Eddie Calhoun on bass and Kelly Martin on drums.
Because Garner could not write down his musical ideas, he used to record them on tape, to be later transcribed by others.
Lang Lang, (born June 14, 1982, Shenyang, China), Chinese virtuoso pianist. He won international acclaim while a teenager, and his expressiveness and charisma made him one of the most sought-after performers in the early 21st century.
Lang began taking piano lessons at age three and gave his first public recital two years later. In 1991 he entered the Central Music Conservatory in Beijing. He soon began to attract wide attention as a musical prodigy. At age 13 he won first prize at the Tchaikovsky International Competition for Young Musicians in Japan and also appeared at the Beijing Concert Hall, where he performed the complete Chopin Études. The following year, in 1996, he was featured as a soloist at the China National Symphony Orchestra’s inaugural concert, with Pres. Jiang Zemin in attendance.
Leaving China for the United States in 1997, Lang enrolled at the Curtis Institute of Music in Philadelphia, where he had been offered a scholarship. For the next five years he studied under noted pianist Gary Graffman, president of the Curtis Institute. Lang’s pace of development was astonishing, and in 1998 he made his American debut with the Baltimore (Md.) Symphony Orchestra. In 1999, at the Ravinia Festival in Highland Park, Ill., Lang stepped in at the last moment for an ailing André Watts and earned rave reviews for his performance of Tchaikovsky’s Piano Concerto No. 1 in B-flat Minor with the Chicago Symphony Orchestra—and became famous virtually overnight.
In 2001 he went on to sell out New York City’sCarnegie Hall in a concert with the Baltimore Symphony Orchestra. Also that year Lang made a triumphant return tour to China, where, with the Philadelphia Orchestra, he played for an audience of several thousand. In 2002 he won the Schleswig-Holstein Musik Festival’s first-ever Leonard Bernstein Award for distinguished musical talent. Lang again toured China in August 2003, and in 2004 he became the first Chinese pianist to perform with the Berlin Philharmonic.
By the time he was in his early 20s, Lang had firmly established himself as one of the most prominent young talents on the international classical music scene.
He had already performed with many of the leading American orchestras and conductors and had played in major concert halls across Europe, North America, and Asia. His eponymous debut CD, recorded live in recital at the Tanglewood Music Center in Lenox, Mass., was released in 2001 and quickly leaped to the upper ranks of Billboard magazine’s classical music charts. Subsequent CDs that enjoyed similar success include Lang Lang Live at the Proms (2002), Lang Lang Live at Carnegie Hall (2004). Lang Lang: Dragon Songs (2007), a collection of 20th-century works by Chinese composers, and Chopin: The Piano Concertos (2009). Lang’s memoir, Journey of a Thousand Miles (cowritten with David Ritz), was published in 2008.
Does Lang Lang think he would have succeeded without his father? “Yes, absolutely,” he says emphatically. “Over the years I have seen so many different cultures and different ways of bringing up kids. I believe that no matter how you train your kid, you need to give them love. Sometimes my father pushed me too much, but he loved me.”
Lang Lang says: “When we came to America, my father could see that the American system was much more relaxed. At that time he said he still believed in the Chinese way. But as we met different musicians from different countries, his opinion changed. He is 58 now and his personality has totally changed, he doesn’t push me any more. When I turned 22, he let go.”
Asked whether his father feels bad about the way he hot-housed his only son, Lang Lang replies: “I think he does. When journalists ask him about it, he starts to cry.”
Nowadays, Lang Lang’s father stays at home, managing his son’s affairs in China, and the pianist’s mother travels with him.
He explains: “When I was a boy, I didn’t spend so much time with her, so now I really like her with me. My mum stayed at home for years, working, so now it’s time for her to see the world.”