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Philip Glass Metamorphosis One (1989)

Philip Glass – Metamorphosis One (with sheet music)

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Philip Glass

Philip Glass is an Oscar-nominated avant-garde composer whose notable works include ‘Einstein on the Beach,’ ‘The Hours’ and ‘Notes on a Scandal.’

Musician Philip Glass, born on January 31, 1937, in Baltimore, went on to study with Nadia Boulanger and Ravi Shankar, later forming the Philip Glass Ensemble. He received accolades for his debut opera, Einstein on the Beach, and eventually earned Oscar nominations for scoring the films Kundun, The Hours and Notes on a Scandal. Known for his distinctive contemporary minimalism, Glass has worked with artists from a variety of disciplines.  

Background and Education

Philip Glass was born on January 31, 1937, in Baltimore. He took up the violin and flute and began performing before reaching his teens. Glass took classes at the Peabody Institute’s conservatory and later studied at the University of Chicago and The Juilliard School.

Studies With Ravi Shankar

Glass eventually decided to travel to Europe, studying under conductor Nadia Boulanger and sitar musician Ravi Shankar, whom Glass cited as a major influence on his craft. 

Glass adopted an approach to musical composition that relied on repetitive, sometimes subtly nuanced musical structures that would be seen as a cornerstone of contemporary minimalism. (The composer later saw the term “minimalism” as an outdated way of describing his work and the varying sounds of up-and-coming artists.) He formed the electric Philip Glass Ensemble in 1967, an avant-garde group that would continue to earn buzz over the years, if not universal acclaim.

Acclaim for ‘Einstein’

Playwright Robert Wilson worked with the composer to bring Glass’ first opera, Einstein on the Beach, to the stage in 1976. Based on the life of the famed physicist and relying upon an unorthodox, repeating sonic framework, Einstein earned major acclaim. Many more operas were to come from Glass, including 1980’s Satyagraha, which followed a portion of the life of Mahatma Gandhi.

The prolific Glass has composed several symphonies and concertos as well, performing his work internationally as part of his ensemble and having works staged in venues like the London Coliseum, Lincoln Center and Carnegie Hall. His albums include Glassworks (1982), Songs From Liquid Days (1986)—with contributions from David Byrne, Paul Simon, Linda Ronstadt and the Kronos Quartet—and Hydrogen Jukebox (1993), among many others. Glass has received an array of honors and has worked with visionaries from various art forms, including singer-songwriter Patti Smith, dancer-choreographer Twyla Tharp and writer Doris Lessing.

Array of Film Scores

Glass has provided scores for a litany of movies that include the acclaimed Koyaanisqatsi (1982), a project directed byGodfrey Reggio that uses visuals and music to create a story about humanity’s relationship with nature. Other big-screen scores from Glass have included Hamburger Hill (1987), Candyman (1992), The Truman Show (1998), Secret Window (2002), The Illusionist (2006), Leviathan (2014) and Fantastic Four (2015), as well as documentaries like Pandemic: Facing AIDS (2002) and A Sea Change (2009). Glass received Academy Award nominations for the musical scores of Kundun (1997), The Hours (2002) and Notes on a Scandal (2006).

In September 2016, President Barack Obama presented Glass with a National Medal of Arts. At the ceremony, President Obama said Glass was being honored “for his groundbreaking contributions to music and composition,” and described him as “one of the most prolific, inventive, and influential artists of our time, he has expanded musical possibility with his operas, symphonies, film scores, and wide-ranging collaborations.” 

Metamorphosis and his Solo Piano album

Solo Piano (1989) is an album of piano music composed and performed by Philip Glass. It was produced by Kurt Munkacsi.

The title of five of the seven tracks, “Metamorphosis”, refers to and was inspired by the 1915 novella The Metamorphosis by Franz Kafka. While all pieces were written in 1988, some were written for a staging of Metamorphosis, while others were for the 1988 documentary film The Thin Blue Line directed by Errol Morris. “Mad Rush” was written in 1979 and is based on an earlier organ piece; it has been used by choreographers Lucinda Childs and Benjamin Millepied. The title of the last composition is a reference to Allen Ginsberg‘s 1966 poem “Wichita Vortex Sutra“, and was composed, in collaboration with Ginsberg, for both a reading and recording of the poem.

“Metamorphosis One” is played in an episode of Battlestar Galactica by Kara “Starbuck” Thrace. Within the narrative, her father composed and performed the piece. It is also played in the series finale of Person of Interest, Return 0. “Metamorphosis Two” formed the basis of one of the main musical themes in the film The Hours. It is also the song that the American rock band Pearl Jam uses as their introduction music to concerts. Many pianists have recorded this music subsequently, notably Bruce Brubaker, Sally Whitwell, Lisa Moore, and Valentina Lisitsa.

Inspired by the unprecedented reaction to Einstein, Glass spent the next decade focusing on stage music. There were two follow-up operas – Satyagraha (1980) and Akhnaten (1983) – as well as a series of sparklingly original adaptations of the works of Irish writer and poet Samuel Beckett, which showcased the talents of Mabou Mines, a virtuoso group Glass had helped set up in the early 1970s.

By now he had achieved the kind of cult following normally associated with pop stars. His new-found celebrity status was confirmed when he was signed exclusively by record label CBS Masterworks (later Sony Classical), an accolade only previously awarded to two other giants of 20th-century music: Igor Stravinsky and Aaron Copland.

Glass’s first album for CBS, Glassworks, shifted 250,000 copies in its first year – something almost unheard of for a contemporary “classical” composer. Yet despite all the acclaim and material rewards, Glass kept his feet firmly on the ground, determined to remain true to his creative vision rather than composing music for the masses.

“I’m very pleased with it,” he quietly enthused. “The pieces seem to have an emotional quality that everyone responds to, and they also work very well as performance pieces.”

Never one to rest on his laurels, Glass felt ready, by the late 1980s, to tackle the kind of mainstream instrumental genres that had felt so unnatural during his student years.

Widely celebrated for the supreme concentration of his musical thought, he began expanding into the expressive opulence of the concerto and symphony. In 1987, he produced a Violin Concerto that at times appears to hark back to the 18th- and 19th-century traditions that Glass had so studiously avoided earlier in life.

“The search for the unique can lead to strange places,” Glass reasoned at the time. “Taboos – the things we’re not supposed to do – are often the more interesting.”

Glass’s terms of stylistic reference were broadened further still when he turned “crossover” with a pair of symphonies that synthesised classical and rock as though it was the most natural thing in the world. Inspired by the music of David Bowie and Brian Eno, Glass hit the headlines with his Low Symphony No.1 (1992) and “Heroes” Symphony No.4 (1996).

He later explained: “My approach was to treat the themes very much as if they were my own and allow their transformations to follow my own compositional bent when possible.”

Bowie gave the results his seal of approval with the immortal expression, emblazoned on countless T-shirts ever since: “Philip Glass rocks my ass”.

Glass continued his revitalisation of traditional classical genres with a series of five string quartets composed for the Kronos Quartet and a Third Symphony (1995) in which the terms of stylistic reference range from Haydn to Ravel.

Another feature of this period was a new interest in solo piano music, which expressed itself most notably, perhaps, in Metamorphosis (1988), an unusually melodious work that takes its name from a play based on a short story by Kafka.

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Wave – Vou Te Contar Jobim (guitar) with sheet music

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Wave – Vou Te Contar Jobim (guitar) with sheet music

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Brazilian songwriter and vocalist Antonio Carlos Jobim (1927–1994) was one of the creators of the subtle, whispery, jazz-influenced popular song style known as bossa nova. He has been widely acclaimed as one of Brazil’s greatest and most innovative musicians of the twentieth century.

Jobim’s place in the annals of popular music was secured by a single hit song, “The Girl from Ipanema” (1964), which he co-wrote with lyricist Vinícius de Moraes. His creative contributions to jazz, however, went much deeper; many of his songs became jazz standards, and, in the words of Richard S. Ginell of the All Music Guide , “Every other set” performed in jazz clubs “seems to contain at least one bossa nova.”

Jobim was sometimes called the George Gershwin of Brazil, not so much because of any musical or lyric similarity—Jobim’s songs tended to have oblique, often poetic lyrics quite unlike the clever romantic rhymes of George Gershwin’s brother Ira—but because his music became the bedrock for the work of jazz musicians for decades after its creation.

Studied with German Music Teacher

Antonio Carlos Brasileiro de Almeida Jobim, often known by the nickname Tom, was born in Rio de Janeiro on January 25, 1927. He grew up in the seaside southern Rio suburb of Ipanema, later the setting for his most famous song, and many of his compositions reflected Brazil’s lush natural world in one way or another. Both of Jobim’s parents were educators, and his father, Jorge Jobim, was also active as a diplomat.

But Jobim took after an uncle who played classical guitar, and he soon showed unusual talent of his own. Jobim’s mother, Nilza, rented a piano for the family home, and when Jobim was 14 he began piano lessons with Hans Joachim Koellrutter, a local music scholar of German background who favored the latest experimental trends in European classical music.

Jobim would later point to the influence exerted by French Impressionist composers Claude Debussy and Maurice Ravel on his own music, but a new set of influences was on its way to Brazil in the form of American jazz. Jobim enrolled in architecture school, lasted less than a year, and worked as an assistant to a local architect in the early 1940s.

His real energies were directed toward music, as he gained experience playing piano in small nightclubs known as inferninhos , or little infernos. Visits to Rio by the Duke Ellington Orchestra and other American jazz bands shaped Jobim’s own attempts at composition (which he buried in a drawer at first) and inspired him to settle on a musical career. In 1949 he married his first wife, Thereza Hermanny; they raised a son, Paulo, and a daughter, Elisabeth.

With his well-rounded musical education, by the early 1950s Jobim was able to graduate from Rio’s bars to staff arranging positions with the Continental and Odeon record labels. At this point Jobim was working in the genre of samba, Brazil’s national pop song style, and he sometimes performed his own samba compositions.

His real breakthrough came about in 1956, as the result of a chance meeting two years earlier with Brazilian playwright Vinícius de Moraes. Moraes was working on a play called Orfeu da Conceicção , which was later filmed as Orfeu Negro (Black Orpheus). The play and film transferred the classic Greek myth of Orpheus and Eurydice to modern-day Rio de Janeiro, and Moraes suggested that Jobim write the music for it.

The film Orfeu Negro became an international success, and Jobim’s score, featuring guitarist Luiz Bonfá, kicked off a new musical craze that quickly spread beyond Brazil. It was based in samba rhythms, but it featured subtle harmonic shadings drawn from jazz.

The new style was given the name bossa nova, meaning “new wave,” and the 1958 single “Chega de Saudade” (No More Blues), with music by Jobim, words by Moraes, and guitar by future Brazilian pop star João Gilberto, was the style’s first major hit. Both “Chega de Saudade” and the flip side of the original single, Jobim’s composition “Desafinado” (Out of Tune), have remained jazz standards.

Performed in New York

Jobim’s star rose quickly in Brazil after the release of “Chega de Saudade.” He continued to record with Gilberto, began hosting a weekly television show called O Bom Tom , and wrote music in which he drew on his classical background for the soundtrack to a film called Por Toda a Minha Vida and (with Moraes) Brasîlia, Sinfonia da Alvorada , a four-movement orchestral work with text.

By 1962 American jazz musicians had begun to immerse themselves in bossa nova. Jobim sang his “Samba de uma nota só” (One-Note Samba) on an album by Gilberto and jazz flutist Herbie Mann. The bossa nova phenomenon reached the United States as saxophonist Stan Getz and guitarist Charlie Byrd recorded their successful Jazz Samba album, and in November of 1962 Jobim and other Brazilian musicians performed a major bossa nova concert at New York’s Carnegie Hall. The show was the idea of a Brazilian diplomat who wanted to promote the country’s musical accomplishments abroad.

The concert initially seemed to be a flop. The Brazilian players were thrown off their stride by New York’s miserable late fall weather, and critics panned the show. Jobim and his compatriots also took criticism from Brazilian observers who felt they were diluting Brazilian music by singing songs in English—Jobim, who spoke several languages, sometimes translated his own songs from Portuguese into English, while others were translated by jazz writer Gene Lees. Nevertheless, the Carnegie Hall concert succeeded in exposing Jobim to American musicians and music industry figures.

Jobim recognized the importance of American exposure in broadening the reach of his music, and he quipped that if he had remained in Brazil, he would still just be drinking beer in Rio’s corner bars. In 1963 he made his U.S. recording debut on the Verve label with The Composer of Desafinado Plays.

Jobim followed up that release with several more albums in a smooth jazz vein. He collaborated with one of his most influential American admirers on a successful 1966 release, Francis Albert Sinatra & Antonio Carlos Jobim , which was seldom if ever out of print during the next four decades. Jobim sang, played piano, and occasionally strummed a guitar on these recordings, often backed by a small orchestra.

In 1962 Jobim composed a song that was soon to become a worldwide phenomenon, and in the process he added a phrase to the international lexicon. “The Girl from Ipanema” (in Portuguese, “Garota de Ipanema”) was written as Jobim and Moraes were sitting at a table in a bar in Jobim’s hometown of Ipanema and became infatuated with a passer-by, the “tall and tan and young and lovely” woman described in the song. With a vocal by Gilberto’s wife, Astrud, and a verse of English lyrics, the song became a number-two hit in the United States in 1964, eclipsed only by the Beatles’ “A Hard Day’s Night.”

Jobim prospered, although he was never canny about the music publishing deals he signed, and he often failed to receive a proper share of the money his songs earned.

Jobim’s total output of albums was not large (he recorded ten solo albums, plus nine more with collaborators), but his music remained consistently successful through much of the 1960s.

Nothing else became a hit on the scale of “The Girl from Ipanema,” but such songs as “Wave,” “Insensatez” (How Insensitive), and “Meditation,” with vocals by Jobim himself, Astrud Gilberto, or other singers, became part of the record collections of many sophisticates, and were internalized by jazz musicians as quickly as they appeared. Jobim maintained a strong following in Brazil, thanks to duets recorded with female vocalist Elis Regina, and his 1968 album A Certain Mr. Jobim reached the top 15 on Billboard magazine’s jazz sales chart in the United States.

Branched Out Beyond Bossa Nova

Jobim’s popularity dipped in the 1970s as bossa nova finally ran out of steam commercially, but he never really slowed down creatively. One of his most widely covered songs of the decade was 1972’s “Aguas de Março,” which Jobim himself translated into English (with added lyrics) as “Waters of March”; the English version almost completely avoided words with roots in Romance languages (such as Portuguese) in favor of those of Germanic origin. The lyrics consisted of a seemingly disconnected series of images that suggested the impermanence of life.

The influential jazz critic Leonard Feather, according to Mark Holston of Americas , placed “Waters of March” “among the top ten songs of all time.” Jobim recorded with Brazilian-born arranger Eumir Deodato on his Stone Flower album of 1970, and he also often worked with German-born arranger Claus Ogerman. Jobim’s 1975 album Urubu (meaning “The Vulture”) reflected his personal fascination with that bird of prey.

In 1976 Jobim met 19-year-old photographer Ana Beatriz Lontra; the pair had a son, João Francisco, in 1979, married in 1986, and had a daughter, Maria Luiza Helena, in 1987. In the late 1970s Jobim was active mostly in film soundtracks, but in 1984 he assembled his Nova Banda or New Band, with his son Paulo on guitar, and began touring once again.

His concerts in the United States in the mid-1980s were in venues with the highest profiles: Carnegie Hall and Avery Fisher Hall in New York, and Constitution Hall in Washington. His 1987 release Passarim was as well received in the jazz community as any of his 1960s releases had been, and selections from it appeared on several posthumous collections of his work.

Critics by this time recognized Jobim as a living legend, and he received various awards of national and international scope in the last years of his life. These included the Diploma of Honor, the highest arts award given by the Organization of American States, which he received in 1988, and induction into the Songwriters’ Hall of Fame in 1991.

Jobim never rested on his laurels, and he entered the mid-1990s with a full plate of creative projects. He worked with classical conductor Ettore Stratta in preparing recordings of some of his more classical-oriented works, and he planned to record an album with opera star Kathleen Battle. In 1994 Jobim released a new album, Antonio Brasileiro , and rejoined Frank Sinatra for a track on Sinatra’s Duets II release.

With these career capstones in the works, it came as a shock for Jobim’s admirers in both the United States and Brazil when Jobim died suddenly of heart failure at New York’s Mount Sinai Hospital on December 8, 1994, shortly after entering the facility for treatment of cardiac disease. Jobim’s body was returned to Brazil, where a funeral parade held in his honor in Rio de Janeiro lasted for four hours, and he was buried in a tomb near that of Vinícius de Moraes, who had died in 1980. The pair had created two of the icons of twentieth-century culture, Black Orpheus and “The Girl from Ipanema,” and the music that came from Jobim’s pen lent the music of much of the century’s second half a distinct Brazilian tinge.

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Baden Powell interprets One Note Samba (sheet music)

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Baden Powell interprets One Note Samba with sheet music

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Baden Powell – a Short Biography

Baden Powell was considered one of the world’s best contemporary acoustic guitar players and one of the most expressive composers of 20th century Brazilian popular music.

Baden Powell was born in the town of Varre-e-Sai (State of Rio de Janeiro) on August 6, 1937, first child of Adelina Gonçalves de Aquino and Lilo de Aquino and was named after the founder of the Boy Scouts, Robert Thompson Baden Powell, of whom Mr. de Aquino was an admirer. The family moved to Rio when the child was four months old and Baden then became a carioca from the São Cristóvão borough. The boy grew up listening to music: his father, a shoe maker by trade and a violinist by calling, held regular get-togethers at home, at which Pixinguinha and Donga, two of Brazil’s popular music icons, were always present.

At the age of eight, after much insistence from Baden, his father arranged for him study guitar with Jaime Florence (“Meira”), violinist from the group “Regional do Canhoto”. Florence introduced Baden to Brazilian popular music and the classics, especially the Spanish masters Francisco Tàrrega and Andrés Segóvia. The boy proved to be a prodigy on the instrument and the following year at age nine, performed in the program Papel Carbono, produced by Renato Murce at the Ràdio Nacional, winning first place as a guitar soloist. By thirteen Baden was practically playing as a professional musician, earning small cachets for performances in balls and parties in the suburbs.

After finishing junior-high school, Baden Powell worked as a musician for the Ràdio Nacional and toured the country performing in small towns. Around 1955 he joined the trio of pianist Ed Lincoln which performed in the Bar Plaza, in Copacabana. At that time jazz had marked its presence in Brazil not only by the possibilities of improvisation and the technique required, but also by the presence of jazz greats such as Benny Goodman, Louis Armstrong, Ella Fitzgerald, etc. And the Plaza was the place to be for music lovers, including one of Powell’s admirers: Antônio Carlos Jobim.

That is when Baden started to compose and, all by himself, produced Deve Ser Amor (It Must Be Love), Encontro Com a Saudade (Date with Loneliness), Não é Bem Assim (Not Quite Like That). In 1956 came his first big success Samba Triste (Sad Samba), with lyrics by Billy Blanco. Other collaborators are: Aloysio de Oliveira (Vou por Aí – Wandering), Geraldo Vandré (Rosa Flor – Rose), Ruy Guerra (Canção à Minha Amada – A Song to My Love), etc.

In 1960, during a performance by Tom Jobim at Arpège, a nightclub in Copacabana, Baden met Vinícius de Moraes, who would become his most frequent collaborator and who was responsible for Baden’s integration into the bossa-nova movement. Cançã o de Ninar Meu Bem (Lullaby for My Love) was the duo’s first composition and was an immediate success. The new greats of modern music were practically in house arrest for three months. Samba em Prelúdio (Samba in Prelude), Só por Amor (Only for Love), Bom Dia Amigo (Good Morning, Friend), Labareda (Blaze), Astronauta (Astronaut) were from that vintage and remained in the charts for months on end.

Baden, now part of the bossa-nova movement, participated in shows and television programs. As an interpreter he highlighted his versatility, his refined technique coupled with unique musicality, conquering the highest applause for his absolute command of the instrument, virtuosity and personalized interpretations.

As a composer he contributed with his songs to the development of popular music. The composer’s inspiration is of unsurpassed richness and new, successful songs with lyrics by Vinicius de Moraes were introduced shortly; among these Além do Amor (Besides Love), Valsa Sem Nome (No-name Waltz), Deve Ser Amor (It Must Be Love), Canção do Amor Ausente (Song to an Absent Love), Consolação (Solace), Deixa (Let It Be), Amei Tanto (Too Much Loving), Tempo Feliz (Happy Times), Apêlo (Appeal), etc., etc. The Candomblé theme which had been attracting Baden for some time, generated a new flood of compositions by the duo called Afro-sambas. The first songs of the new genre were Berimbau and Samba da Bênção. The latter was part of director Claude Lelouch movie Un Homme et Une Femme, re-titled Samba Saravah.

In his declarations about Baden Powell, Vinicius de Moraes said: “Before Berimbau and Samba da Bênção, Baden had already chosen me to write Canto do Caboclo Pedra Preta (Black Rock’s Chant). That song was composed ‘right there and then’ – that is, music and lyrics for the second part searching for a meaning for the original caboclo’s chant. From that same period is Canto de Yemanjá in which, it is my opinion, Baden reached a beauty rarely attained.” Vinicius went on: “Baden’s musical antennae to Bahia and, in a final stretch, to Africa, allowed him to put together this new syncretism, adding a ‘carioca’ taste, within the spirit of modern samba, to the Afro-Brazilian candomblé, giving it a more universal dimension.”

Other Afro compositions include Canto de Ossanha (Ossanha’s Chant), Canto Xangô (Xango’s Chant), Lamento de Exu (Exu’s Lament), Bocoché (Secret) and Tristeza e Solidão (Sadness and Solitude).

In the Sixties, Baden went to the United States to meet and play with Stan Getz. In 1966, Baden went to Europe and became well known with the song Samba de Bençao which was part of the original soundtrack of French filmmaker Claude Lelouch’s Un Homme et Une Femme. One year later, he received his first Golden Record in Paris. In the Seventies Baden discovered Japan.

Baden Powell died on 2000. As an acoustic guitar virtuoso, he never forgot his Brazilian musical roots. Baden bridged the gap between classical and modern music.

Download BadenPowell’s sheet music from our Library.

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Ab Ovo by Joep Beving with sheet music

Ab Ovo by Joep Beving with sheet music download

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Joep Beving

Dutch pianist Joep Beving was catapulted into stardom when his self released debut album Solipsism, initially made for family and friends, was picked up by Spotify and brought to millions of ears around the world.

Joep Beving is a Dutch pianist, originally from Doetinchem but now based in Amsterdam, The Netherlands. He makes “simple music for complex emotions”. His work is often labelled as neo-classical, although Beving says he has more of a ‘pop approach’. Beving has also produced music for TV and cinema commercials.

Having studied music, sociology and economics, Joep Beving started working as a copywriter in advertising. His love for music quickly led him to Amsterdam based company MassiveMusic in 2003, where he was head of business development and strategy. In his spare time he wrote music under the alias I are Giant.

Considering himself to be an electronic music producer and/or jazz musician, Beving decided around 2008 that the music he was making didn’t really move his heart. He returned to his piano and his emotions started to flow into piano compositions. He started his own record label and released an album, Solipsism, in 2015. His music was included in several prestigious and massively popular Spotify playlists and before he knew what was happening his album had gained over 60 million streams worldwide, his Spotify artist account followed by well over a million followers.

His rise to online fame (and growing popularity all over the world, particularly in North America) was noticed by prestigious record label, Deutsche Grammophon. Beving’s second full-length release, April 2017’s Prehension, will be released worldwide.

They say you need three things to succeed in the music business – talent, timing and luck. Plus a little something extra to get you noticed. Joep Beving has all four in abundance.

At nearly six foot ten, with his wild hair and flowing beard, the Dutch pianist resembles a friendly giant from a book of children’s fairy tales. But his playing – understated, haunting, melancholic – marks him out as the gentlest of giants, his delicate melodies soothing the soul in these troubled times.

“The world is a hectic place right now,” says Joep. “I feel a deep urge to reconnect on a basic human level with people in general. Music as our universal language has the power to unite. Regardless of our cultural differences I believe we have an innate understanding of what it means to be human. We have our goosebumps to show for it.”

Joep’s music is the antidote to that hectic world of uncertainty and fear – a soundtrack for a kinder, more hopeful future; a score for the unmade film of lives yet to come. “It’s pretty emotional stuff,” agrees Joep. “I call it ‘simple music for complex emotions’. It’s music that enhances images, music that creates a space for the audience to fill in the gaps with their own imagination.”

As for the rest of Joep Beving’s story, it’s one of good fortune and better timing.

Joep (pronounced “Yoop”) first formed a band at 14 and made his live debut in his local town’s jazz festival. He left school torn between a life in music and a career in government. When a wrist injury forced him to abandon his piano studies at the Conservatoire and focus on an Economics degree, it seemed that music’s loss would be the Civil Service’s gain.

But the draw of music was too strong. “It was always in my heart,” he says, “and it always will be.” Reaching a compromise between his two conflicting paths, he spent a decade working for a successful company matching and making music for brands. “But I always had a love-hate relationship with advertising – I was never comfortable using music to sell people stuff they don’t need”.

In his spare time he played keyboards with successful Dutch nu-jazz outfit The Scallymatic Orchestra and self-styled “electrosoulhopjazz collective” Moody Allen, and dabbled in electronica with his one-man project I Are Giant. But, by his own admission: “It was not me. I had not found my own voice”.

That began to change during a trip to Cannes for the Lions Festival – the Oscars of the advertising world – when he played one of his compositions at the grand piano at his hotel… and people started to cry. “It was the first time I had seen the emotional effect my music could have on an audience.”

Encouraged by the response, Joep organised a dinner party for close friends at his home in Amsterdam, where he played them his music on the piano left to him by his late grandmother in 2009. “It was the first time my friends had heard me play music they thought should travel outside my living room. It was the push to pursue the dream of doing a solo album with just my instrument.”

A month later a close friend died unexpectedly, and Joep composed a piece for his funeral service. “I performed it for the first time at his cremation. Afterwards people encouraged me to record it so that it would be a permanent memorial to him. He was an extraordinary person.”

Inspired by the reaction, Joep wrote more tunes and recorded them in single takes over the course of the next three months in his own kitchen, playing in the still of night while his girlfriend and two young daughters were asleep. The result was his debut album Solipsism.

Turned down by the only record label he had approached, he paid to press 1,500 vinyl copies, with artwork by Rahi Rezvani (who also made the stunning video for “The Light She Brings”). Joep staged the album launch in March 2015, in the studio of hot Amsterdam fashion designer Hans Ubbink, and performed it there for the first time.

That first vinyl pressing quickly sold out, mainly to friends, and the songs were an instant hit on Spotify, whose team in New York added one tune – “The Light She Brings” – to a popular ‘Peaceful Piano’ playlist. “People started saving the tune, so they put another one on. Then they started liking the whole of my album.” Soon Solipsism was a viral phenomenon, with another tune, “Sleeping Lotus”, now over 30 million streamed plays. And all songs of both albums together have now been streamed over 180 million times.

As a result of his huge online success, Joep was invited to perform on a prime-time Dutch TV show. The following day his album knocked One Direction off the top of the charts. “Then, a few days later, Adele made her comeback – and I was history,” he laughs. But by then he had made his mark.

He was besieged by concert promoters offering shows, including a prestigious solo recital at Amsterdam’s famous Concertgebouw and his album found its way to Berlin when another friend played it in her local bar, “at 2am with everyone smoking and drinking Moscow Mules.” By chance, one of those night owls was Deutsche Grammophon executive Christian Badzura. After making contact online, they met when Joep performed at Berlin’s Christophori Piano Salon – and ended up signing with the world’s foremost classical label.

The first fruits of the new partnership are Prehension. A natural successor to Solipsism, it carries forward the musical and philosophical themes Joep identifies in his music. “I am reacting to the absolute grotesqueness of the things that are happening around us, in which you feel so insignificant and powerless that you alienate yourself from reality and the people around you because it is so impossible to grasp. I just write what I think is beautiful, leaving out a lot of notes, telling a story through my instrument, trying to unite us with something simple, honest and beautiful.”

Selected discography

2015 Solipsism

2016 A Hunger For The New – single release

2017 Prehension

2018 Conatus (

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You Raise Me Up by Rolf Løvland (Secret Garden) Piano solo (Josh Groban version) with sheet music

You Raise Me Up by Rolf Løvland (Secret Garden) Piano solo (Josh Groban version) with sheet music

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Secret Garden

Secret Garden is an IrishNorwegian band specialised in new instrumental music, led by the duo consisting of Irish violinist and singer Fionnuala Sherry and Norwegian composer, arranger and pianist Rolf Løvland.

The group has sold over 3 million albums since having won the 1995 Eurovision Song Contest, representing Norway with the composition “Nocturne“.

Rolf Løvland

Rolf Undsæt Løvland (born 19 April 1955) is a Norwegian composer, lyricist, arranger, and pianist. Together with Fionnuala Sherry, he formed the Celtic-Nordic group Secret Garden, in which he was the composer, producer, and keyboardist. He began composing at an early age (he formed a band at the age of nine) and grew up studying at the Kristiansand Music Conservatory, later receiving his master’s degree from the Norwegian Institute of Music in Oslo. Løvland has won the Eurovision Song Contest twice, composing the songs “La det swinge” in 1985 and “Nocturne” in 1995 alongside Secret Garden, resulting in Norway’s first two titles.

He also composed the song “You Raise Me Up“, which, according to Rolf Løvland in an interview with Radio Norge in February 2010, has been covered more than 500 times thus far.

You Raise Me Up

You Raise Me Up” is a song originally composed by the Norwegian-Irish duo Secret Garden. The music was written by Secret Garden’s Rolf Løvland, and the lyrics by Brendan Graham. After the song was performed early in 2002 by the Secret Garden and their invited lead singer, Brian Kennedy, the song only became a minor UK hit. The song has been recorded by more than a hundred other artists including American songwriter Josh Groban in 2003 and Irish boy band Westlife in 2005 whose versions were hits in their countries. Welsh singer Aled Jones and all-female Irish ensemble Celtic Woman have also recorded successful covers.

Løvland composed an instrumental piece in 2002 and titled it “Silent Story”. He later approached Irish novelist and songwriter Brendan Graham to write the lyrics to his melody, after reading Graham’s novels. The song was performed for the very first time at the funeral of Løvland’s mother.[1][2] The original designated vocalist was Johnny Logan, who recorded a demo with an orchestra. However, the vocalist was changed due to a desire to distance the album from the Eurovision Song Contest, in which all three men were known for their success: Logan had won twice as a performer and twice as a composer; Løvland had won once as a performer and twice as a composer: and Graham had won twice as a composer.

In 2002, it was released on the Secret Garden album Once in a Red Moon, with the vocals sung by Irish singer Brian Kennedy, and sold well in both Ireland and Norway. Originally, Brian Kennedy was supposed to follow Secret Garden on their Asian tour in 2002, but Curb records couldn’t come to an agreement with Universal to release Brian, and he reluctantly could not attend the tour. He was replaced by Norwegian singer Jan Werner Danielsen, who also later recorded the song together with Secret Garden. A demo version of this recording was released in 2010, on Danielsen’s posthumous compilation album One More Time – The Very Best Of, which included several previously unpublished recordings.

Although the original version did not chart internationally, the song has now been covered more than 125 times. Irish singer Daniel O’Donnell‘s version debuted at its peak position, number twenty-two, in the UK Singles Chart on the week of December 7–13, 2003. It fell to number 35 the following week. It fell off the top 100 three weeks afterwards. Christian group Selah‘s version, included in their 2004 album Hiding Place, peaked number two on Billboards Hot Christian Songs and Christian Airplay on the week ending June 25, 2004. This recording was nominated for Song of the Year at the 2005 Dove Awards and appeared on WOW Hits 2005.

The Josh Groban peaked #73 in the Billboard Hot 100 and #1 on the US Adult Contemporary chart, Westlife #1 in the UK Singles Chart, and Dutch Popstars winner Wesley Klein #4 in the Netherlands. The song has also found success as part of a three-song EP entitled “George Best – A Tribute” by Peter Corry and the song’s original vocalist Brian Kennedy, which reached #4 in the UK.

In 2004, the song was played more than 500,000 times on American radio. In late 2005, there were over 80 versions available in US alone, and it has been nominated for Gospel Music Awards four times, including “Song of the Year.”

On 21 September 2006, “You Raise Me Up” became the first song to have sold over 76,000 copies of the score on the popular sheet music website

Josh Groban version

In 2003, David Foster decided to produce the song after being introduced to it by Frank Petrone of peermusic, the song’s publisher. He chose the up-and-coming Josh Groban to record the song, which was accompanied by the tenor Craig Von Vennik of the Establishment. Groban’s version made it to #1 on the Billboard adult contemporary chart in early 2004 and remained there for six weeks. This version also peaked at #73 on the Billboard Hot 100, his first single to do so, and was nominated for a 2005 Grammy award.

Josh Groban – You Raise Me Up (Official Music Video)


When I am down and, oh my soul, so weary
When troubles come and my heart burdened be
Then, I am still and wait here in the silence
Until You come and sit awhile with me.You raise me up, so I can stand on mountains
You raise me up, to walk on stormy seas
I am strong, when I am on your shoulders
You raise me up to more than I can beYou raise me up, so I can stand on mountains
You raise me up, to walk on stormy seas
I am strong, when I am on your shoulders
You raise me up to more than I can be.You raise me up, so I can stand on mountains
You raise me up, to walk on stormy seas
I am strong, when I am on your shoulders
You raise me up to more than I can be.You raise me up, so I can stand on mountains
You raise me up, to walk on stormy seas
I am strong, when I am on your shoulders
You raise me up to more than I can be.You raise me up to more than I can be.

Beautiful Music

Toquinho e Paulinho Nogueira – Full album (1999)

Toquinho e Paulinho Nogueira – Full album (1999)


01 Triste 0:00 02 Ária na 4ª corda (Air On G Sting) 2:12 03 Lamentos 5:25 04 Insensatez/Apelo 8:27 05 Choro típico 11:42 06 Gente humilde/Duas contas 16:47 07 Bachianinha n°1 19:29 08 Odeon 23:02 09 Rosa 26:33 10 Samba em prelúdio 30:20 11 Implorando 34:28 12 Manhã de Carnaval 37:22 13 Choro chorado pra Paulinho Nogueira 41:17


#1 Tom Jobim; #2 J. S. Bach; #3 Baden Powell/Pixinguinha/Vinicius de Moraes; #4 a) Tom Jobim/Vinicius de Moraes, b) Baden Powell/Vinicius de Moraes; #5 Heitor Villa-Lobos; #6 a) Chico Buarque/Garoto/Vinicius de Moraes, b) Garoto; #7 Paulinho Nogueira; #8 Ernesto Nazareth; #9 Otavio Souza/Pixinguinha; #10 Baden Powell/Vinicius de Moraes; #11 Toquinho; #12 Antônio Maria/Luiz Bonfá; #13 Paulinho Nogueira/Toquinho/Vinicius de Moraes

Download Bossa Nova sheet music from our Library.

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Last Christmas (piano solo arrangement)

Last Christmas (piano solo arrangement) with sheet music

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Yuna’s Ballad ユウナのバラード Final Fantasy X-2

Yuna’s Ballad ユウナのバラード from Final Fantasy X-2 ファイナルファンタジー OST Piano collections with sheet music

“Yuna’s Ballad” from Final Fantasy X-2

“Yuna’s Ballad” is a theme associated with Yuna in Final Fantasy X-2. Unlike Yuna’s character theme, “Yuna’s Ballad” is an emotional and sorrowful leitmotif, most notably played during YRP’s fight against Bahamut in the Bevelle Underground and moments where Yuna thinks about Tidus. It also plays during Gug‘s fiend tale ending.

A vocal version called, “Kimi e” (君へ。, To you?), sung by Yuna’s Japanese voice actress, Mayuko Aoki, was included on the Final Fantasy X-2: Vocal Collection – Yuna album. It also appears on the Final Fantasy X-2 International + Last Mission Original Soundtrack, and plays during Final Fantasy X-2 Last Mission‘s closing scenes.

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Tom Jobim – Caymmi Visita Tom (1964) Full Album

Tom Jobim – Caymmi Visita Tom (1964) Full Album (sheet music)

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Tracks Listing

01 – Das Rosas (Dorival Caymmi)
Dorival Caymmi(voz)
Tom Jobim (piano)
Dori Caymmi (violão)
Dom Um Romão (bateria)
Sérgio Barroso (contrabaixo)
Abelardo Magalhães (vocal)

02 – Só Tinha De Ser com você (Tom Jobim/Aloysio de Oliveira)
Tom Jobim (voz)
Danilo Caymmi (flauta)
Dori Caymmi (violão)
Dom Um Romão (bateria)
Sérgio Barroso (contrabaixo)

03 – Inútil Paisagem (Tom Jobim/Aloysio de Oliveira)
Tom Jobim (piano)
Dori Caymmi (violão)
Danilo Caymmi (flauta)
Edison Machado (bateria)
Sérgio Barroso (contrabaixo)

04 – Vai De Vez (Roberto Menescal/Lula Freire)
Danilo Caymmi (flauta)
Dori Caymmi (violão)
Tom Jobim (piano)
Edison Machado (bateria)
Sérgio Barroso (contrabaixo)

05 – Saudades Da Bahia (Dorival Caymmi)
Tom Jobim (piano)
Dori Caymmi (violão)
Danilo Caymmi (flauta)
Dom Um Romão (bateria)
Sérgio Barroso (contrabaixo)

06 – Tristeza De nós Dois (Durval Ferreira/Bebeto

Castilho/Maurício Einhorn)
Nana Caymmi (voz)
Tom Jobim (piano)
Dori caymmi (violão)
Edison Machado (bateria)
Sérgio Barroso (contrabaixo)

07 – Berimbau (Baden Powell/Vinícius de Moraes)
Danilo Caymmy (flauta)
Dori Caymmi (violão)
Tom Jobim (piano)
Edison Machado (bateria)
Sérgio Barroso (contrabaixo)

08 – Sem Você (Tom Jobim/Vinícius de Moraes)
Nana Caymmi (voz)
Tom Jobim (piano)
Edison Machado (bateria)
Sérgio Barroso (contrabaixo)
Dori Caymmi (violão)

09 – Canção Da Noiva (Dorival Caymmi)
Stela Caymmi (voz)

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George Gershwin Rhapsody in Blue (Cziffra, piano)

George Gershwin – Rhapsody in Blue with sheet music for piano in our Library

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