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Best Classical Music

Yuja Wang plays Rachmaninov’s Piano Concerto No. 3

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生平

1987年生於中国北京的一个音乐家庭,父亲王建国是打击乐演奏家,母亲翟杰明是舞蹈老师。她自六歲起習琴,后在中央音乐学院学习[1]。1999年,王羽佳作为晨间音乐桥国际音乐节的交流生来到加拿大卡加利皇家山学院,并随后就读于皇家山音乐学院,她於2001年獲首届仙台國際音樂大賽钢琴组季軍及評委會特別獎[2],2002年被美國柯蒂斯音樂學院录取,师从钢琴教育家加里·格拉夫曼

2003年王羽佳在瑞士蘇黎世舉行了歐洲首演,和指挥大卫·辛曼苏黎世音乐厅管弦乐团合作演奏了貝多芬第四鋼琴協奏曲》。2005年在加拿大渥太華,王羽佳受指挥平夏斯·祖克曼邀请,顶替臨時缺席的鋼琴家拉杜·鲁普,与加拿大国家艺术中心乐团合作完成她在北美的首次演出。

2005年9月11日,王羽佳獲得2006年吉爾默年輕藝術家大獎(Gilmore Young Artist Award)。該獎頒給二十三歲以下的優秀鋼琴家,獎金一萬五千美元。獲獎者可在吉爾默音樂節上演出,並會有作曲家專門為之創作一首作品。

2009年1月與德意志留声机公司(DG)簽下五張唱片的合約。同年4月20日推出的首張個人專輯《Sonatas & Etudes》獲提名第52屆格林美獎古典樂最佳器樂獨奏(無管弦樂伴奏)[3]。該專輯中收錄了炫技版的莫札特「土耳其進行曲」,是為亮點。

2010年在DG推出第二張個人專輯《Transformation》,收錄了史特拉汶斯基斯卡拉蒂布拉姆斯拉威爾等人作品。2011年在DG推出第三张个人专辑《Rachmaninov: Piano Concerto No. 2 / Rhapsody on a Theme of Paganini》。2012年在DG推出第四张个人专辑《Fantasia》,收录了拉赫曼尼諾夫、斯卡拉蒂、舒伯特、蕭邦等人作品。

王羽佳现居紐約,但大部分時間均於全球各地巡迴演出。自2010年以来每年演出超过一百場,縱橫歐美、日本以及世界各地古典樂舞台,已然成為世界最頂尖鋼琴家之

王羽佳在新一代華人鋼琴家中以技巧高超著稱,演奏風格大氣而硬朗。她亦擁有與眾不同的性格,曾在其私人Facebook頁面上自稱「an egocentric, shameless prima donna…have the possibility of turning to a geisha」(自我中心、不知廉恥的傲嬌女王……有成為藝伎的潛質)。2010年5月30日在德國巴登-巴登演出結束後的記者會上,有人問「古典音樂家以外,誰對你影響最大?」王羽佳回答:「Lady Gaga

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Jazz Music LIVE Music Concerts

Bill Evans – Live in Switzerland (1975 Album)

Bill Evans – Live in Switzerland (1975 Album)

Bill Evans – Live in Switzerland (1975 Album)

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This LP comes from a live 1975 concert by the Bill Evans Trio, which was broadcast by Radio Suisse in Switzerland. The pianist is in superb form, joined by longtime bassist Eddie Gomez and newcomer Eliot Zigmund on drums. The sound is excellent, without the annoying announcers or distortion, so this release could have very well been produced from the master tape itself. The set is wide-ranging, including both recent and older compositions by Evans, “Gloria’s Step” (the best-known work by former Evans sideman Scott LaFaro, who died far too young), along with standards like a buoyant “My Romance.

” The leader’s treatment of his ballad “Turn Out the Stars” is rather upbeat, while his somewhat avant-garde composition “T.T.T.T.” (also known as “Twelve Tone Tune Two”) is a modern masterpiece. Perhaps the greatest surprise was Evans‘ inventive treatment of pop singer Bobbie Gentry‘s “Morning Glory.”

bill evans free sheet music & pdf scores download

This CD comes from a live 1975 concert by the Bill Evans Trio, which was broadcast by Radio Suisse in Switzerland. The pianist is in superb form, joined by longtime bassist Eddie Gomez and newcomer Eliot Zigmund on drums.

The sound is excellent, without the annoying announcers or distortion, so this release could have very well been produced from the master tape itself. The set is wide-ranging, including both recent and older compositions by Evans, “Gloria’s Step” (the best known work by former Evans sideman Scott LaFaro, who died far too young), along with standards like a buoyant “My Romance.” The leader’s treatment of his ballad “Turn Out the Stars” is rather upbeat, while his somewhat avant-garde composition “T.T.T.T.” (also known as “Twelve Tone Tune Two”) is a modern masterpiece. Perhaps the greatest surprise was Evans’ inventive treatment of pop singer Bobbie Gentry’s “Morning Glory.”

The only real problem with this CD is the sloppy composer credits on two numbers. This 1990 release may be somewhat difficult to find, but it is one of the better bootlegs issued under Bill Evans’ name. — Ken Dryden, Rovi.

01 Sugar Plum 07:27
02 Midnight Mood 08:23
03 Turn Out The Stars 04:56
04 Gloria's Step 07:09
05 Up With The Lark 06:19
06 Twelve Toned Tune 07:10
07 Morning Glory 04:25
08 Sareen Jurer 06:59
09 Time Remembered 05:38
10 My Romance 07:54
11 Waltz For Debby 05:58
12 Yesterday I Heard The Rain 05:42

Bill Evans, piano
Eddie Gomez, bass
Eliot Zigmund, drums

Epalinges, Switzerland, 6th February 1975
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Bill Evans was on an upswing in 1968. There had been tragedy and depression and demons to bear, but the jazz pianist had made his way forward over the previous few years. He had collaborated fruitfully with such peers as Jim Hall, gained a devoted new manager, signed with the high-profile Verve label, and won his first Grammy Award. Evans had also developed rapport with a virtuoso young bassist, Eddie Gomez, and they eventually added an up-and-coming force of a drummer, Jack DeJohnette, for a new trio — one that seemed to hold a dynamic promise that the pianist’s groups hadn’t quite shown since his famously inspired trio with drummer Paul Motian and short-lived bassist Scott LaFaro in 1959–61.

A European tour by Evans, Gomez, and DeJohnette in the summer of ’68 would yield an ebullient live album, At the Montreux Jazz Festival, that garnered the pianist his second Grammy. Then Miles Davis broke up the band.

That is, Davis lured DeJohnette away to his own group. Evans could scarcely blame the drummer for leaving him to join the era’s most iconic jazz bandleader. After all, the pianist had made his own name as the trumpeter’s kindred-spirit collaborator on Kind of Blue, the LP that would turn on more people to jazz than any in music history. (DeJohnette would end up playing on Davis’s Bitches Brew, an album almost as epochal for the late sixties as Kind of Blue was for the late fifties.)

But it seemed like a missed opportunity, as the Evans trio with DeJohnette and Gomez, having been together for just six months, was only able to make that one live recording, nothing in the studio. Or at least that’s the way the story went until 2016, when Resonance Records released Some Other Time: The Lost Session from the Black Forest, a two-disc set derived from impromptu recordings made by the trio in a German studio just five days after that celebrated Montreux concert.

For reasons not quite clear, the recordings had never been issued before Resonance’s sleuthing. But all’s well that ends well, at least for today’s Bill Evans fans.

Then lightning struck twice. Last year, Resonance followed up Some Other Time by releasing a second, contemporaneous discovery: Another Time: The Hilversum Concert, which presents a pristine recording of Evans, Gomez, and DeJohnette performing for an audience in the intimate hall of the Netherlands Radio Union, just two days after that studio session in Germany. Moreover, the set list for that Dutch broadcast recording only features two numbers in common with the Montreux concert from the week before. Suddenly, we have two valuable “new” albums — recordings never even bootlegged before — by one of the most beloved and widely influential pianists in the annals of jazz.

“Bill Evans has shaped the harmony of every jazz pianist of the past fifty years, whether they want to admit it or not — because even if they didn’t listen to Bill, they listened to players who did listen to him, from Herbie Hancock on down,” says ace jazz pianist Frank Kimbrough, who teaches at the Juilliard School. “And for the public, the beauty of his music, particularly his early work, has always been accessible — easy to listen to, even if it isn’t ‘easy listening.’”

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Best Classical Music

Do you know who AMY BEACH was?

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Amy Marcy Cheney Beach (September 5, 1867 – December 27, 1944) was an American composer and pianist. She was the first successful American female composer of large-scale art music. Her “Gaelic” Symphony, premiered by the Boston Symphony Orchestra in 1896, was the first symphony composed and published by an American woman. She was one of the first American composers to succeed without the benefit of European training, and one of the most respected and acclaimed American composers of her era. As a pianist, she was acclaimed for concerts she gave featuring her own music in the United States and in Germany. From Wikipedia, the free encyclopedia (full biography and compositions here)

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You can listen to this romantic pieces (4 Sketches, Op.15, no. 3), here. And very soon the Sheet Music Library will include this tender romantic composition.

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Best Classical Music

FREDERIC MOMPOU (CATALAN COMPOSER AND PIANIST) with sheet music to download

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FREDERIC MOMPOU and his sheet music

Mompou was a Catalan composer of lyric songs and piano miniatures whose music is characterized by Impressionist elegance, simple and direct melody, and the haunting, deep emotions of folk music.

Mompou studied piano at the Conservatorio del Liceo in Barcelona and gave his first concert at the age of 15. Three years later, with a letter of recommendation from composer Granados, he went to Paris to study piano and harmony. While there, he wrote his first piano pieces, the Impresiones intimas (1911-1914).

He became very taken with Debussy and the modern French composers, especially the spare melodiousness of Erik Satie. Mompou characterized this Satie quality in his music as “recomençament” (starting over at the beginning), a return to a kind of fundamental, basic state of realization. In emulation of Satie, Mompou adopted his method of scoring (in many of the piano works) by eliminating bar lines and key signatures, and (like Bartók and other composers) placing accidentals only before the notes to which they immediately apply. He also picked up the idea of inserting unusual and often illogically humorous comments, directions, and surreal images in the score, which actually serve to suggest the mood of a passage more adequately than the normal emotional and articulation markings — some of Mompou‘s directions were “Chantez avec le fraîcheur de l’herbe humide” and “Donnez des excuses.”

When World War I broke out, Mompou returned to Barcelona, where he continued composing from 1914-1921. His works at that time include the song L’hora grisa (1915) to words by Blancafort, and the piano sets Pessebres (1914-1917), Scènes d’enfants (1915-1918), Cants mágìcs (1917-1919), Fêtes lointaines (1920), and Charmes (1920-1921). Suburbis (1916-1917) contains musical portraits of people encountered during Mompou‘s long walks. They were richly orchestrated by Manuel Rosenthal in 1936. In El carrer, el guitarrista i el cavall (The road, the guitarist and the old horse) a trumpet tune suggests the slow progress of a cart loaded with stone drawn by a weary horse “with large, sad eyes.” An old man grinds a (wonderfully imitated) barrel organ. Gitane I and Gitane II draw portraits of two female gypsy friends, La Fana and La Chatuncha, through teasing dance music. La cegueta expresses gentle empathy for “the little blind girl” whose slow, uncertain walk is expressed by mirrored patterns. In L’home de l’Aristó (The ariston player) we hear a jolly pieces played again by the wandering beggar musician.

In 1921 Mompou returned to Paris where he remained 20 years, and then returned permanently to Barcelona. He was made a Chevalier des Arts et des Lettres by the French government, and elected to the Royal Academy of San Jorge in Barcelona and of San Fernando in Madrid.

The creation of many piano sets extended over large time spans: the 12 Cançons i dansas (1921-1928, 1942-1962), the ten Préludes (1927-1930, 1943-1951), Variaciones sobre un tema di Chopin (1938-57), the brilliant and evocative Paisajes (1942-1960), and Música callada (1959-1967).

Several of his significant songs include the Comptines I-VI (1931, 1943), Combat del somni (1942-1948), and Llueve sobre el rio, Pastoral (1945). His works for chorus are the Cantar del alma (1951) with text from St. John of the Cross, and Improperios (1963) for chorus and orchestra.

Frederic Mompou

The music of the Catalan composer Frederic Mompou (1893–1987) is radically simple, spare, mystical, and utterly unclassifiable as to style—all this in a century that favored intellectual feats on the part of composers who classified themselves into schools and “isms.” The work he regarded as a summation of his life’s efforts was given the quizzical title Música callada—(music that has fallen silent). Find his complete sheet music in our Library.

The restraint of Mompou’s music was matched by the composer’s near-total refusal to engage in self-promotion. Mompou’s music, mostly for piano or voice and piano, at first attracted only a small, highly devoted following. Wider audiences began to discover his works toward the end of the twentieth century, when the Minimalist movement of composers such as Steve Reich and Philip Glass heralded a new spirit of extreme simplicity in classical music, and a new emphasis on the experience of hearing musical raw materials stripped down to their basic forms. John Rockwell of the New York Times, in fact, wrote in Mompou’s obituary that the composer was “an early Minimalist, [who] sought to achieve deep emotional effects through the sparest of musical means.”

Family Background Included Bell Maker

Mompou’s full name was Frederic Mompou i Dencausse. He was born on April 16, 1893, in Barcelona, Spain. Barcelona is in Spain’s Catalonia region, a culturally distinctive area with its own language, Catalan (a blend of Spanish and an old southern French dialect), and a range of indigenous folk music traditions that differ from those heard elsewhere in Spain. Music critic Wilfrid Mellers suggested that Mompou was influenced by these regional traditions. He wrote in the study Le Jardin retrouvé: The Music of Frederic Mompou, “Even today, when we listen to or play one of the piano pieces he calls Cançó i dansa [Song and Dance] we should remember that they are not mere parlor pieces but recollections of activity that is also ritual.” Mompou used both the Catalan (Frederic) and Spanish (Federico) forms of his first name. His last name is generally pronounced as in French (mom-POOH), but Mompou told an interviewer that in Catalonia it would properly be pronounced mom-POH-oo, with all the vowels sounding.

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Another major influene on Mompou’s creation of his magically simple sound was bells. His maternal grandfather was a member of a French bell-making family that had been in the profession since the 1400s; he had come to Barcelona to set up a bell factory. Mompou himself spent time at the factory, worked there briefly, and learned to tune his ear to the subtle sounds of bells. A unique harmony in his music, known as the metallic chord, was derived from the sound of ringing bells.

Mompou was close to his parents, and they encouraged his interest in music. Friends and extended family often came to the Mompou home to sing and dance, and Mompou was given lessons after he showed talent on the piano. He attended the Conservatorio del Liceo music school in Barcelona and made rapid progress, giving his first concert at age 15. But the severely shy Mompou never really enjoyed performing. He quickly changed direction after hearing pianist Marguerite Long, with the great French composer Gabriel Fauré in attendance, play a concert of Fauré’s music the following year. The concert was, he told Dorle J. Soria of Musical America, his first encounter “with contemporary music of my time and it gave me a great desire to compose.” His first published work was a set of piano pieces called Impresiones intimas (Intimate Impressions), written between 1911 and 1914. “It already had his personality,” Mompou’s wife, Carmen, told Soria, and music historians have agreed, finding the characteristic simple, almost naive quality of Mompou’s adult music already present in the early Impresiones intimas.

Like most of the other young Spanish composers of his day, Mompou decided to study music in Paris, where French composers had written nationalistic Spanish music before Spanish composers themselves began to do so. He arrived at the Paris Conservatory in 1911 with a letter of recommendation written by the leading Spanish composer Enrique Granados, but, typically, was too shy to show it to the admissions committee. Nevertheless, his music stood on its own merits, and he studied piano and harmony at the Conservatory for two years. Remaining in Paris until 1914, he returned home when World War I broke out and became involved in a Catalonian arts movement called Noucentisme, which rejected the confrontational spirit of the avant-garde and emphasized a return to classical values of balance.

Selected Classical Sheet Music

Influenced by French Composers

Mompou had the knack of absorbing influences from various composers while writing music that was quite dissimilar to theirs. Despite his shyness he interacted with other musicians and became acquainted with the leading edge of French music of the early twentieth century. He admired the iconic composers of Paris during the years of World War I, and took something from each of them. Like Claude Debussy, he eschewed any strong sense of directional motion in music, preferring to paint musical colors on an almost static background. Like Maurice Ravel, he was fascinated by the world of childhood and the musical creativity that seemed to reside near its surface; he had a gift for melodies that seemed unassuming, but haunted listeners, who responded to his unique language. From the unconventional, ironic Erik Satie he inherited a belief that radical simplicity had its place, and he showed the same tendency to go his own way rather than follow the prevailing musical fashion. The harmonic stasis of Mompou’s music was matched by an absence of strong rhythmic drive; he frequently wrote his music without bar lines separating one rhythmic unit from another.

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Stimulated by the Parisian scene, Mompou returned to Paris in 1921 and remained there for 20 years. The period from World War I through about 1930 was Mompou’s most productive, and he published such piano works as Suburbis (Suburbs, 1917), Scènes d’enfants (Scenes of Children,1918), the Cants mágics (Magic Songs, 1919), and the first four of his Cançós i dansas (Songs and Dances, 1928), along with the beginnings of a small but influential group of French-language songs. His Comptines of 1931 were songs based on children’s number rhymes. Mompou’s lifetime output was slender, amounting to about 200 mostly short pieces collected into a few dozen sets. In the highly competitive and polemical Paris atmosphere, Mompou rarely gave concerts, although he liked to perform for small groups of artists and writers. He lived alone and stayed out of the headlines. Yet a select group of observers were captivated by his music. Critic Emile Vuillermoz wrote of Mompou, in a famous newspaper article quoted by Soria, that “in the Middle Ages the people would have condemned to the stake an artist gifted with such powers.” The argument was an apt one, for Mompou aimed not just at simplicity but at what he called a recommencement, a new beginning that would put music back in touch with its aboriginal power. Mompou was a friend to the French composers Francis Poulenc and Georges Auric, but declined to join the composers’ collective Les Six (The Six), of which they were members.

The 1930s were a melancholic period for Mompou and he stopped composing almost completely between about 1931 and 1937. He reemerged in 1937 with a piano work called Souvenirs d’exposition (Souvenirs of the Fair) and began working on another piece, Variations on a theme of Chopin, that would occupy him for many years. In 1941 Mompou fled the war in France and returned to Barcelona. While judging a piano competition there he was impressed by the performance of a young woman named Carmen Bravo, 30 years his junior. Several years later they married, each for the first time. Mompou joined with a group called the Independent Catalan Composers Movement and reconnected with his musical roots, while still maintaining contact with friends in France.

With these stimuli working in his favor, Mompou began to compose again, continuing to work until he was slowed by a stroke at age 87. In the post-World War II era, dominated by the complex serialist or 12-tone system and its harsh dissonances, Mompou was completely out of fashion—and completely unconcerned. “I am in revolt against the excessive cerebration of our age,” he was quoted as saying by Soria. “Music must cease to be a laboratory product and acquire the lyrical and evocative qualities which spring from personal experience and meditation.”

Wrote Vocal Works

Mompou branched out beyond piano music after World War II, writing a number of Catalonian-language songs and pairing them with texts by poet Josep Janées i Olive. These included the widely recorded Suite compostelana (Compostela Suite) for guitar (1962), and various works for chorus, including the Cantar del alma (Song of the Soul) to a text by the Spanish mystic and ascetic, St. John of the Cross (1542–1591). Mompou was fascinated by St. John of the Cross and borrowed a phrase from one of his writings for the title of the major work of his later years, Música callada.

The 28 pieces in Música callada (four albums, 1959–67), never move faster than a moderate tempo; in free rhythms, they are unassuming yet strangely powerful. This music, Mompou was quoted as saying by Isabelle Leymarie in the UNESCO Courier, “is heard internally. Its emotion is secret, and becomes sound only by reverberating in the coldness of our solitude.” The work, completed in 1967, was premiered in 1972 by Spanish pianist Alicia de Larrocha, to whom it was dedicated. A host of recordings of the work appeared in the late 1990s and early 2000s.

Mompou wrote an oratorio—an unstaged dramatic work—called Los improperios (The Ungrateful Ones) in 1963; although it was his only work to feature a full symphony orchestra, it showed no lack of skill in handling that medium. The text of the work dealt with the Good Friday speech of the crucified Christ rebuking the crowd for its ingratitude, and Mompou set it in a spare style comparable to that of his piano music. Well into his ninth decade Mompou wrote more choral music and a work for cello and piano, El pont. Admirers of Mompou expanded the collection of his works by arranging some of his piano music into two ballets, The House of Birds and Don Perlimpin. Mompou died at age 94 on June 30, 1987, and his popularity only increased following his death.

Download Mompou’s the compete piano sheet music from our Library.

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Games' music

Final Fantasy VII OST

Final Fantasy VII and the Music of Final Fantasy VII with sheet music

Sheet music available in our online Library.

Final Fantasy VII is a role-playing video game developed by Square (now Square Enix) and published by Sony Computer Entertainment as the seventh installment in the Final Fantasy series. Released in 1997, the game sparked the release of a collection of media centered on the game entitled the Compilation of Final Fantasy VII. The music of the Final Fantasy VII series includes not only the soundtrack to the original game and its associated albums, but also the soundtracks and music albums released for the other titles in the collection. The first album produced was Final Fantasy VII Original Soundtrack, a compilation of all the music in the game. It was released as a soundtrack album on four CDs by DigiCube in 1997. A selection of tracks from the album was released in the single-disc Reunion Tracks by DigiCube the same year. Piano Collections Final Fantasy VII, an album featuring piano arrangements of pieces from the soundtrack, was released in 2003 by DigiCube, and Square Enix began reprinting all three albums in 2004. To date, these are the only released albums based on the original game’s soundtrack, and were solely composed by regular series composer Nobuo Uematsu; his role for the majority of subsequent albums has been filled by Masashi Hamauzu and Takeharu Ishimoto.

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The Compilation of Final Fantasy VII began eight years after the release of Final Fantasy VII with the release of the animated film sequel Advent Children in 2005. The soundtracks for each of the titles in the collection are included in an album, starting with the album release of the soundtrack to Advent Children that year. The following year, Nippon Crown released a soundtrack album to correspond with the video game Dirge of Cerberus, while Square Enix launched a download-only collection of music from the multiplayer mode of the game, which was only released in Japan. After the launch of the game Crisis Core in 2007, Warner Music Japan produced the title’s soundtrack. The latest album in the collection, Before Crisis: Final Fantasy VII & Last Order: Final Fantasy VII Original Soundtrack, was released by Square Enix the same year as a combined soundtrack album for the game Before Crisis and the animated movie Last Order.

The original music received highly positive reviews from critics, who found many of the tunes to be memorable and noted the emotional intensity of several of the tracks. The reception for the other albums has been mixed, with reactions ranging from enthusiastic praise to disappointment. Several pieces from the soundtrack, particularly “One-Winged Angel” and “Aeris’ Theme”, remain popular and have been performed numerous times in orchestral concert series such as Dear Friends: Music from Final Fantasy and Tour de Japon: Music from Final Fantasy. Music from the Original Soundtrack has been included in arranged albums and compilations by Square as well as outside groups.

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Nobuo Uematsu composed the music of Final Fantasy VII in less than one year, matching the game’s development time, although he had taken two years to create the soundtrack for the previous title, Final Fantasy VI. Final Fantasy VII was the first game in the series to be developed for the PlayStation, and while the media capabilities of the console allowed for pre-recorded Linear PCM (often as Red Book audio tracks on the CD), it was decided to generate the music in real time on the console instead, using samples and note data. This decision has been credited as giving the soundtrack “a very distinctive mood and feel”, forming a strong association for listeners between the game and its soundtrack. Uematsu had initially planned to use vocal performances for the game to take advantage of the console’s capabilities, but found that the advanced audio quality required in turn made the game have much longer loading times in each area. Uematsu decided that the quality was not worth the effects on gameplay, though after the release and seeing Suikoden II (1998, PlayStation), which had used higher-quality music instead, he reversed his stance for Final Fantasy VIII. There was a plan to use a “famous vocalist” for the ending theme to the game as a “theme song” for the game, but time constraints and thematic concerns, caused the idea to be dropped. Uematsu has stated, however, that the move into the “PlayStation era”, which allowed video game composers to use sounds recorded in the studio rather than from synthesizers, had “definitely been the biggest change” to video game music.

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Uematsu’s approach to composing the game’s music was to treat it like a film soundtrack and compose songs that reflected the mood of the scenes rather than trying to make strong melodies to “define the game”, as he felt that approach would come across too strong when placed alongside the game’s new 3D visuals. As an example, he composed the track intended for the scene in the game where Aerith Gainsborough is killed to be “sad but beautiful”, rather than more overtly emotional, creating what he feels is a more understated feeling. Uematsu has additionally said that the soundtrack has a feel of “realism”, which also prevented him from using “exorbitant, crazy music”. The first piece that Uematsu composed for the game was the opening theme; game director Yoshinori Kitase showed him the opening cinematic to the game and asked him to begin the project there. The track was well received in the company, which gave Uematsu “a sense that it was going to be a really good project”. He later stated in the liner notes for the soundtrack album that the music for Final Fantasy VII was his “greatest harvest” to date. Final Fantasy VII was the first game in the series to include a track with digitized vocals, “One-Winged Angel”. The track has been called Uematsu’s “most recognizable contribution” to the music of the Final Fantasy series, though the composer did not expect it to gain such popularity. The piece, described as “a fanfare to impending doom”, is said to not “follow any normal genre rules” and has been termed “possibly the most innovative idea in the series’ musical history”. Uematsu approached the piece, which accompanies the final battle of the game, in a different manner than previous “boss tracks”: as he felt that using his normal approach would cause unfavorable comparisons to his well-received Final Fantasy VI boss tracks, he instead tried to take a different approach. Inspired by The Rite of Spring by Igor Stravinsky to make a more “classical” track, and by rock and roll music from the late 1960s and early 1970s to make an orchestral track with a “destructive impact”, he spent two weeks composing short unconnected musical phrases, and then arranged them together into a song, an approach he has never used before or since. The lyrics of “One-Winged Angel”, a Latin choral track that plays at the climax of the game, were taken from the medieval poetry that forms the basis of Carl Orff‘s Carmina Burana, specifically “Estuans Interius”, “O Fortuna“, “Veni, Veni, Venias” and “Ave Formosissima”. Uematsu has stated that the intro of “One-Winged Angel” is based on Jimi Hendrix‘s “Purple Haze“, that the piece revolves around the image of Sephiroth, and that despite the chorus and orchestra, he still thinks of it as a “rock piece”. He said in a 2005 interview that “One-Winged Angel” is his favorite tune from the soundtrack, and in 2004 that it was his favorite battle theme from any Final Fantasy game.

Final Fantasy VII Original Soundtrack is a soundtrack album containing musical tracks from the game, composed by Nobuo Uematsu and produced by Uematsu and Minoru Akao. It was originally released on February 10, 1997 through DigiCube and later reissued directly by Square Enix on May 10, 2004. The soundtrack spans 85 tracks over four discs and has a combined duration of 4:39:53. A limited edition was produced along with the original album, containing illustrated liner notes with several pictures of Uematsu’s workspace and personal effects, various cutscenes and in-game screen shots from the game, and a discography.

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The soundtrack covers a wide variety of musical genres, including rock, techno, orchestral, and choral, although the soundtrack as a whole is primarily orchestral. While many of the tracks were intended as background music, reviewers noted the emotional intensity of several tracks, especially “Aerith’s Theme”, which plays during a moment described as “the most shocking moment in video games,” and has been described as the most memorable track from the album. The theme has become popular among fans, and has inspired various arrangements. Other notable tracks include “Main Theme of Final Fantasy VII”. Themes from this track play during several other tunes from the soundtrack, such as “Words Drowned by Fireworks”, to tie the soundtrack together.

Track listing

No.TitleLength
1.“The Prelude” (プレリュード Pureryūdo)2:52
2.“Opening – Bombing Mission” (オープニング~爆破ミッション Ōpuningu ~ Bakuha Misshon)3:58
3.“Mako Reactor” (魔晄炉 Makō Ro)3:20
4.“Anxiety” (不安な心 Fuan na Kokoro, lit. “Anxious Heart”)4:02
5.“Tifa’s Theme” (ティファのテーマ Tifa no Tēma)5:06
6.“Barret’s Theme” (バレットのテーマ Baretto no Tēma)3:27
7.“Hurry!” (急げ! Isoge!)2:29
8.“Lurking in the Darkness” (闇に潜む Yami ni Hisomu)2:33
9.“Shinra, Inc” (神羅カンパニー Shinra Kanpanī, lit. “Shinra Company”)4:02
10.“Let the Battles Begin!” (闘う者達 Tatakau Monotachi, lit. “Those Who Fight”)2:47
11.“Fanfare” (ファンファーレ Fanfāre)0:55
12.“Flowers Blooming in the Church” (教会に咲く花 Kyōkai ni Saku Hana)4:59
13.“Turks’ Theme” (タークスのテーマ Tākusu no Tēma)2:19
14.“Under the Rotting Pizza” (腐ったピザの下で Kusatta Piza no Shita de)3:22
15.“The Oppressed” (虐げられた民衆 Shiitagerareta Minshū)2:38
16.“Honeybee Inn” (蜜蜂の館 Mitsubachi no Yakata)3:52
17.“Who…Are You?” (お前は…誰だ Omae wa… Dare da)1:24
18.“Don of the Slums” (スラムのドン Suramu no Don)2:11
19.“Infiltrating Shinra” (神羅ビル潜入 Shinra Biru Sennyū)3:49
20.“Fight On!” (更に闘う者達 Sarani Tatakau Monotachi, lit. “Those Who Fight Further”)3:32
21.“Red XIII’s Theme” (レッドXIIIのテーマ Reddo XIII no Tēma)1:28
22.“The Chase” (クレイジーモーターサイクル Kureijī Mōtāsaikuru, lit. “Crazy Motorcycle”)3:37
23.“Dear to the Heart” (想いを胸に Omoi o Mune ni)2:14
No.TitleLength
1.“Main Theme of Final Fantasy VII” (F.F.VIIメインテーマ F. F. VII Mein Tēma)6:29
2.“On Our Way” (旅の途中で Tabi no Tochū de)3:44
3.“Good Night, Until Tomorrow” (お休み,また明日 Oyasumi, Mata Ashita)0:10
4.“On That Day, Five Years Ago” (5年前のあの日 Gonen Mae no Ano Hi)3:13
5.“Farm Boy” (牧場の少年 Bokujō no Shōnen)2:52
6.“Waltz de Chocobo” (ワルツ・デ・チョコボ Warutsu de Chokobo)0:34
7.“Electric de Chocobo” (エレキ・デ・チョコボ Ereki de Chokobo)4:02
8.“Cinco de Chocobo” (シンコ・デ・チョコボ Shinko de Chokobo)3:00
9.“In Search of the Man in Black” (黒マントの男を追え Kuro Manto no Otoko o Oe)3:04
10.“Fort Condor” (鷲の砦 Washi no Toride)4:00
11.“Rufus’ Welcoming Ceremony” (ルーファウス歓迎式典 Rūfausu Kangei Shikiten)2:14
12.“It’s Hard to Stand on Both Feet!” (二本足で立つのも難しいものだな Nihon Ashi de Tatsu no mo Muzukashī Mono da na)3:31
13.“Trail of Blood” (血の跡 Chi no Ato)4:13
14.“J-E-N-O-V-A” (J-E-N-O-V-A)2:32
15.“Continue” (つづきから Tsuzuki Kara)0:37
16.“Costa del Sol” (太陽の海岸 Taiyō no Kaigan, lit. “Sun Coast”)2:28
17.“Mark of a Traitor” (裏切り者の烙印 Uragirimono no Rakuin)3:32
18.“Mining Town” (炭坑の街 Tankō no Machi)3:00
19.“Gold Saucer” (ゴールドソーサー Gōrudo Sōsā)1:58
20.“Cait Sith’s Theme” (ケット・シーのテーマ Ketto Shī no Tēma)3:34
21.“Desert Wasteland” (砂の流刑地 Suna no Ryūkeichi)5:33
No.TitleLength
1.“Cosmo Canyon” (星降る峡谷 Hoshi Furu Kyōkoku, lit. “Valley of the Falling Stars”)3:36
2.“Lifestream” (生命の流れ Seimei no Nagare, lit. “Stream of Life”)3:36
3.“The Great Warrior” (偉大なる戦士 Idai naru Senshi)3:24
4.“Descendant of Shinobi” (忍びの末裔 Shinobi no Matsuei)2:45
5.“Those Chosen by the Planet” (星に選ばれし者 Hoshi ni Erabareshi Mono)3:16
6.“The Nightmare Begins” (悪夢の始まり Akumu no Hajimari)2:58
7.“Cid’s Theme” (シドのテーマ Shido no Tēma)3:11
8.“Steal the Tiny Bronco!” (タイニーブロンコを奪え! Tainī Buronko o Ubae!)1:16
9.“Wutai” (ウータイ Ūtai)4:29
10.“Stolen Materia” (マテリアいただき Materia Itadaki)1:36
11.“Win / Place / Show Chocobo!” (本命穴チョコボ Honmei Ana Chokobo, lit. “Place Chocobo”)1:50
12.“Fiddle de Chocobo” (フィドル・デ・チョコボ Fidoru de Chokobo)2:50
13.“Jackpot!” (大当たりぃ~ Ōatarī~)0:47
14.“Tango of Tears” (涙のタンゴ Namida no Tango)0:49
15.“Debut” (初舞台 Hatsubutai)2:36
16.“Words Drowned by Fireworks” (花火に消された言葉 Hanabi ni Kesareta Kotoba)2:50
17.“Forested Temple” (樹海の神殿 Jukai no Shinden)3:51
18.“Listen to the Cries of the Planet” (星の声が聞こえる Hoshi no Koe ga Kikoeru)3:40
19.“Aerith’s Theme” (エアリスのテーマ Earisu no Tēma)4:18
20.“Buried in Snow” (雪に閉ざされて Yuki ni Tozasarete)4:51
21.“The North Cave” (北の大空洞 Kita no Daikūdō)6:05
22.“Reunion” (リユニオン Riyunion)3:34
23.“Who… Am I?” (俺は…誰だ Ore wa… Dare da)1:37
No.TitleLength
1.“Shinra’s Full-Scale Assault” (神羅軍総攻撃 Shinra Gun Sōkōgeki)2:57
2.“Attack of the Weapon” (ウェポン襲来 Wepon Shūrai)2:52
3.“The Highwind Takes to the Skies” (空駆けるハイウィンド Sora Kakeru Haiwindo)3:35
4.“Secret of the Deep Sea” (深海に眠る秘密 Shinkai ni Nemuru Himitsu)4:17
5.“Provincial Town” (偏狭の村 Henkyō no Mura)2:26
6.“From the Edge of Despair” (絶望の淵から Zetsubō no Fuchi Kara)4:15
7.“Other Side of the Mountain” (山の向こうに Yama no Mukō ni)2:35
8.“Hurry Up!” (もっと急げ! Motto Isoge!)2:57
9.“Launching a Dream into Space” (宇宙への夢 Uchū e no Yume)2:50
10.“Countdown” (秒読み開始 Byōyomi Kaishi)0:50
11.“Open Your Heart” (心開けば Kokoro Akeba)2:47
12.“Mako Cannon – The Destruction of Shinra” (魔晄キャノン発射~神羅爆発 Makō Kyanon Hassha ~ Shinra Bakuhatsu)1:33
13.“Judgment Day” (最期の日 Saigo no Hi)4:07
14.“Jenova Complete” (完全なるジェノヴァ Kanzen naru Jenova)3:59
15.“Birth of a God” (神の誕生 Kami no Tanjō)4:11
16.“One-Winged Angel” (片翼の天使 Katayoku no Tenshi)7:19
17.“The Planet’s Crisis” (星の危機 Hoshi no Kiki)8:05
18.“Ending Credits” (スタッフロール Sutaffu Rōru, lit. “Staff Roll”)6:51

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Jazz Music

Bill Evans, american jazz pianist and composer (1929-1980)

Bill Evans, american jazz pianist and composer (1929-1980) with sheet music

Sheet music transcriptions available in our online Library.

Bill Evans

Born August 16, 1929, in Plainfield, NJ
Died September 15, 1980, in New York, NY

Bill Evans sheet music

William John Evans (August 16, 1929 – September 15, 1980) was an American jazz pianist and composer who mostly played in trios. His use of impressionist harmony, inventive interpretation of traditional jazz repertoire, block chords, and trademark rhythmically independent, “singing” melodic lines continue to influence jazz pianists today.

Born in Plainfield, New Jersey, in 1929, he was classically trained at Southeastern Louisiana University and the Mannes School of Music, where he majored in composition and received the Artist Diploma. In 1955, he moved to New York City, where he worked with bandleader and theorist George Russell. In 1958, Evans joined Miles Davis‘s sextet, which in 1959, then immersed in modal jazz, recorded Kind of Blue, the best-selling jazz album of all time.

Bill Evans was born in Plainfield, New Jersey on August 16, 1929 and began his music studies at age 6. Classically trained on piano; he also studied flute and violin as a child. He graduated with a degree in piano performance and teaching from Southeastern Louisiana College (now University) in 1950, and studied composition at Mannes College of Music in New York. After a stint in the Army, he worked in local dance bands, and with clarenetist Tony Scott, Chicago-area singer Lucy Reed and guitarist Mundell Lowe, who brought the young pianist to the attention of producer Orrin Keepnews at Riverside Records.

Evans’ first album was New Jazz Conceptions in 1956, which featured the first recording of his most loved composition, “Waltz for Debby”. It’s follow-up, Everybody Digs Bill Evans was not recorded for another two years; the always shy and self- deprecating pianist claiming he “had nothing new to say.” He gradually got noticed in the NYC jazz scene, for his original piano sound and fluid ideas, when in 1958, Miles Davis asked him to join his group (which also featured John Coltrane and Cannonball Adderley) He stayed for nearly a year, touring and recording, and subsequently playing on the all-time classic Kind of Blue album — as well as composing “Blue in Green”, now a jazz standard. His work with Miles helped solidify Bill’s reputation, and in 1959, Evans founded his most innovative trio with the now-legendary bassist Scott LaFaro and with Paul Motian on drums. The trio concept of equal interplay among the musicians was virtually pioneered by Evans, and these albums remain the most popular in his extensive catalog. They did two studio albums together in addition to the famous ‘live” sessions at NYC’s Village Vanguard in 1961. LaFaro’s tragic death in a car accident a few weeks after the Vanguard engagement — an event which personally devastated Bill — sent the pianist into seclusion for a time, after which he returned to the trio format later in 1962, with Motian again, and Chuck Israels on bass.

His 1963 Conversations With Myself album , in which he double and triple-tracked his piano, won him the first of many Grammy® awards and the following year he first toured overseas, playing to packed houses from Paris to Tokyo, now solidifying a worldwide reputation. The great bassist Eddie Gomez began a fruitful eleven year tenure with Bill in 1966, in various trios with drummers Marty Morell, Philly Joe Jones, Jack DeJohnette and others — contributing to some of the most acclaimed club appearances and albums in Evans’s career. His recorded output was considerable — (for Riverside, Verve, Columbia, Fantasy and Warner Bros) over the years, and he also did sessions (especially early on) with some of the top names in jazz. Musicians like Charles Mingus, Art Farmer, Stan Getz, Oliver Nelson, Jim Hall, George Russell, Shelley Manne, Toots Theielmans, Kai Winding /J.J. Johnson, Hal McKusick and others all featured Evans. In the seventies, he recorded extensively– primarily trio and solo piano now and then, but also including several quintet albums under his own name as well two memorable dates with singer Tony Bennett.

His last trio was formed in 1978, featuring the incomparably sensitive Marc Johnson on bass and drummer Joe LaBarbera, which rejuvenated the often-ailing pianist, who was elated with his new line-up, calling it “the most closely related” to his first trio (with LaFaro and Motian). He suffered yet more family problems and upheavals in his personal life, (often due to bouts with narcotics addiction) and yet brought a new dynamic musical vitality, a surer confidence, fresh energy and even more aggressive interplay to the trio’s repertoire. Evans’ health was deteriorating, however, though he insisted on working until he finally had to cancel midweek during an engagement at Fat Tuesday’s in New York. A few days later, he had to be taken to Mount Sinai Hospital on September 15, 1980, where he died from a bleeding ulcer, cirrhosis of the liver and bronchial pneumonia . He is buried next to his beloved brother Harry, in Baton Rouge, Louisiana.

While Evans was open to new musical approaches that would not compromise his musical and artistic vision — such as his occasional use of electric piano, and his brief associations with avant-garde composer George Russell — he always insisted on the purity of the song structure and the noble history of the jazz tradition. It was a point the highly articulate Evans was quite forthcoming about in the various interviews he gave throughout his career. Consistently true to his own pianistic standards, he continued to enhance his own singular vision of music until the very end.

Bill Evans sheet music
Bill Evans sheet music

In his short life, Bill Evans was a prolific and profoundly creative artist and a genuinely compassionate and gentle man, often in the face of his recurring health problems and his restless nature. His rich legacy remains undiminished, and his compositions have enjoyed rediscovery by jazz players and even some classical musicians. Even twenty-five years after his passing, Bill Evans’ music continues to influence musicians and composers everywhere and all those who have been deeply touched by his expressive genius and sensitive, lyrical artistry.

Bill Evans: The Complete Catalog of Recordings.

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LIVE Music Concerts

HOW TO ATTEND CLASSICAL MUSIC CONCERTS FOR FREE

If you a music lover and you want to listen to classical music concerts for free, you are lucky, because you have got a lot of options. The best way to enjoy a free concert is to go along to performances by students at music conservatories and music schools. Usually, you can check the concerts’ agenda in their own website. For instance, at Barcelona you may go the ESMUC, The Escola Superior de Música de Catalunya, that is a higher education public institution. Or you can go the Conservatori Municipal de Música de Barcelona . There is also the Liceu Conservatory Foundation .

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In Paris, The École normale de musique de Paris regularly organizes such concerts at the Salle Cortot, and also do the Conservatoire national supérieur de musique et de danse de Paris and the Conservatoire à rayonnement régional de Paris (CRR). Some associations also organize suchs free concerts, for exemple Jeunes Talents. And if you want to get the sheet music for free as well, you can visit the Sheet Music Library (pdf).

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Best Classical Music

Erik Satie (composer and pianist) (1866-1925)

Erik Satie (composer and pianist) (1866-1925). Download his sheet music in our Library.

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Erik Satie (French composer and pianist) Erik Alfred Leslie Satie was a famous French composer and pianist who is remembered for his unconventional and often humorous style of music. He was born in the middle of the 19th century in France and began his musical education under a local church organist. He enrolled in the Paris Conservatoire at the age of 13, but was dismissed as a very insignificant and lazy student after two and half years.

He later reentered the Conservatory, but failed to change his teachers’ opinion and left within year. He then joined French military but was discharged after a few months due to a severe case of self-inflicted bronchitis.

After recouping, he began his career as a pianist at the Le Chat Noir Café-Cabaret in Montmartre, struggling all the while to gain recognition and financial stability. He became famous at the age of 45, when Maurice Ravel and Claude Debussy played his works at concerts. Very soon, musicians of the younger generation began to appreciate his work, which also lead to the formation of the ‘Les Six’. However, his work was truly recognized only after his death; and within a decade of his death, he began to be hailed as a genius.

Erik Satie (composer and pianist) sheet music

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Erik Alfred Leslie Satie was born in the coastal town of Honfleur in the Normandy region of France on 17 May 1866. His father Jules Alfred Satie initially worked as a ship broker. Later, he moved with his family to Paris, where he became a translator.His mother Jane Leslie Anton was of Scottish origin. She had a musical inclination and wrote a few pieces for piano. Satie was born eldest of his parents’ three children, having a younger sister named Olga Lafosse and a brother named Conrad.Satie’s family lived in Paris until their mother’s death in 1872.

Thereafter, they were sent back to Honfleur to live with their paternal grandfather, who brought them up under strict Catholic tradition.As a child, Satie showed an interest in music; and in 1874, his grandfather made an arrangement for him to study piano under the organist at a local church. His teacher Vinot introduced him to liturgical music, especially the Gregorian chant.

This early exposure proved to be a major influence on his later works.During his stay at Honfleur, Satie was influenced by his uncle, whom he called ‘Uncle Sea Bird’ because he spent a lot time sitting in his boat. Sea Bird took him to see circuses and plays. On those occasions, he was able to get glimpses of the backstage.In 1878, Satie’s piano teacher left Honfleur. In the same year, his grandmother died, and the children were sent back to Paris to live with their father.His father married Eugenie nee Bametche, a musically gifted piano teacher, in 1879.

Around the same time, Satie enrolled in the Paris Conservatoire. Very soon, he started giving auditions to get admission in the piano class, but he failed each time.His teachers found his piano techniques uninspiring, and some of them also called him the laziest student of the class. After two and a half years, he was dismissed from the Conservatoire.During his years at the Conservatoire, Satie had started writing music for piano.

The first two pieces he wrote were ‘Valse-Ballet’ and ‘Fantaisie-Valse’. He published them in 1885, numbering ‘Valse-Ballet’ as opus 62 instead of opus 1.Even after being dismissed from the Conservatoire, Satie continued to sit in the biannual examinations to enter the intermediate class.

He finally reentered the institution after passing the examination at the end of 1885. However, his teachers’ opinions remained as biased as before.As he was unable to change his teachers’ perceptions, Satie left the Conservatoire in November 1886 and volunteered for army service.

He was assigned to the 33rd Infantry Regiment as a reservist. Although his duties were comparatively light, he found his job too onerous for his liking and therefore made plans to leave.Hoping to be dismissed from the army, he began to sneak out of his barrack at night and moved about bare-chested in the cold winter air. As a result, he caught severe bronchitis.In April 1887, he was back to Paris on a two-month medical leave, which was extended several times before he was discharged from the service in November 1887.

While recouping at home from his ailment, he started working on two of his well-known works, ‘Trois Sarabandes’ and ‘Gymnopédies’.After completing the sketches of some of his initial works, he began to focus on ‘Sarabandes’, completing it on 18 September 1887. In December, he moved to Montmartre, the bohemian part of Paris, after receiving a gift of 1600 francs from his father. In the same year, he befriended famous composer Claude Debussy.

You can read the full biography here. Of course, you can find Erik Satie’s sheet music at the Sheet Music Library (pdf).

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Film Music

EBB TIDE (with sheet music download)

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“Ebb Tide” is a popular song, written in 1953 by the lyricist Carl Sigman and composer Robert Maxwell. The song’s build up is to illustrate the ocean waves coming in and out to and from the shores, due to the ebb tides. The first three notes are identical to the first three notes of the Erroll Garner song “Misty” (1954). This song is a key part of the original soundtrack of the film Sweet Bird of Youth

EBB TIDE (with sheet music download)

Download this sheet music at the Sheet Music Library (pdf)

sheet music

(From Wikipedia, the free encyclopedia. Read the full article here)

Lyrics:

First the tide rushes in
Plants a kiss on the shore
Then rolls out to sea
And the sea is very still once more
So I rush to your side
Like the oncoming tide
With one burning thought
Will your arms open wide
At last we’re face to face
And as we kiss through an embrace
I can tell, I, I can feel
You are love, you are real
Really mine in the rain
In the dark, in the sun
Like the tide at its ebb
I’m at peace in the web of your arms
Ebb tide

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Did you know?

A History of Stanley Kubrick in 21 Tracks

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A History of Stanley Kubrick in 21 Tracks

In general, Kubrick enjoyed listening to music – his wife Christiane had, in fact, mentioned in an interview that:

“He was addicted to music, he played it always, all day long. He worked with music, … classical and the pop songs and he liked jazz music. You name it, a very catholic taste in music.”

He’d listen to a wide range of music, at times, and select those pieces that excited him and felt appropriate for the scene – according to ever-so-reliable Wikipedia, it seems that in his last six films, he used music from existing sources, rather than commissioning a soundtrack to be composed – and the majority of this music was classical music. He justified this decision in an interview with Michael Ciment, saying:

“However good our best film composers may be, they are not a Beethoven, a Mozart or a Brahms. Why use music which is less good when there is such a multitude of great orchestral music available from the past and from our own time? When you are editing a film, it’s very helpful to be able to try out different pieces of music to see how they work with the scene…Well, with a little more care and thought, these temporary tracks can become the final score.”

Please, read this interesting article about “A History of Stanley Kubrick in 21 Tracks“.

You can find Kubrick’s sheet music in our Library.

kubrick free sheet music & scores pdf A  History  of  Stanley  Kubrick  in  21  Tracks

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