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Nobuyuki Tsujii – Elegy for the victims of the Tsunami (free sheet music)

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Nobuyuki Tsujii – Elegy for the victims of the Tsunami of March 11, 2011 with free sheet music

Nobuyuki Tsujii (辻井 伸行, Tsujii Nobuyuki) (also known as Nobu Tsujii) is a Japanese pianist and composer. He was born blind due to microphthalmia, and his exceptional musical talent has propelled him to become a world renowned artist. Tsujii performs extensively, with a large number of conductors and orchestras, and has received critical acclaims as well as notices for his unique techniques for learning music and performing with an orchestra while being unable to see.

Tsujii learns new musical works strictly by ear. A 2009 Time article explains: “Certainly, being blind hasn’t made it easy. Tsujii can use Braille music scores to learn new pieces, but this kind of translation is usually done by volunteers. Because demand is so low, the variety of scores available does not meet the needs of a professional performer, so Tsujii has devised his own method. A team of pianists records scores along with specific codes and instructions written by composers, which Tsujii listens to and practices until he learns and perfects each piece.”.

Tsujii said in a 2011 interview, “I learn pieces by listening, but it doesn’t mean I’m copying CDs or another person’s interpretation. I ask my assistants to make a special cassette tape for me. They split the piece into small sections, such as several bars, and record it (one hand at a time). I call these tapes ‘music sheets for ears.’ It takes me a few days to complete a short piece, but it takes one month to complete a big sonata or concerto.”

Tsujii has performed successfully with numerous orchestras under the baton of many conductors, both in Japan and abroad.

In 2017, a reporter from the Australian Broadcasting Corporation, Monique Schafter, asked Tsujii “How do you stay in time when you can’t see the conductor?” The pianist replied: ” By listening to the conductor’s breath and also sensing what’s happening around me.” Conductor Bramwell Tovey commented: “He must have very acute hearing, I’m sure.”

Piano concertos that Tsujii has performed include: Piano Concerto No. 1 (Beethoven), Piano Concerto No. 2 (Beethoven), Piano Concerto No. 3 (Beethoven), Piano Concerto No. 5 (Beethoven), Piano Concerto No. 1 (Tchaikovsky), Piano Concerto No. 3 (Prokofiev), Piano Concerto (Grieg), Piano Concerto No. 2 (Rachmaninoff), Piano Concerto No. 3 (Rachmaninoff), Piano Concerto No. 20 (Mozart), Piano Concerto No. 21 (Mozart), Piano Concerto No. 26 (Mozart), Piano Concerto No. 27 (Mozart), Piano Concerto No. 1 (Chopin), Piano Concerto No. 2 (Chopin), Piano Concerto (Ravel), Piano Concerto No. 1 (Liszt), and Piano Concerto No. 1 (Shostakovich). He has also performed Gershwin’s Rhapsody in Blue and Rachmaninov’s Rhapsody on a Theme of Paga

In addition to being a pianist, Tsujii is a composer.

At age 12, he performed his own composition “Street Corner of Vienna.”

In 2010-2011, he composed the theme music for a Japanese film ‘神様のカルテ (In His Chart)’,[34] for which he was named the 2011 Film Music Artist by the Japan Film Critics Award. That same year, he also composed the theme music for a Japanese TV drama ‘それでも、生きてゆく (Still We Live On)’.

In June 2011, Japanese figure skating champion Midori Ito performed in a world event (Master Elite Oberstdorf 2011) to the music of “Whisper of the River,” composed by Tsujii when he was in high school to express his love for his father after the two took a walk on the Kanda River in Tokyo.

Tsujii was the music director and composed the theme music for the Japanese film はやぶさ 遥かなる帰還 The Return of the Hayabusa released in February 2012. In 2014, he composed the ending theme for the film ‘マエストロ(Maestro!)’.

In 2016, Tsujii created and performed the background music for a series of three animation of Chōjū-jinbutsu-giga scrolls produced by Studio Ghibli for Marubeni Corporation.

Tsujii’s 2011 performance of his own composition, “Elegy for the Victims of the Tsunami of March 11, 2011 in Japan”, is widely viewed on the Internet.

Tsujii has an extensive discography. His recordings are now available worldwide.

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Beautiful Music

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 (https://DG.lnk.to/beving-conatus)

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Film & TV Music

The Piano – Big my Secret (Michael Nyman) with sheet music

The Piano – Big my Secret (Michael Nyman) with sheet music

the piano sheet music pdf
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Jazz & Blues Music

Django Reinhardt & Stephane Grappelli “Minor Swing”

Django Reinhardt & Stephane Grappelli “Minor Swing”

Django Reinhardt sheet music pdf

YouTube link.

Django Rreinhardt

Jean Reinhardt (23 January 1910 – 16 May 1953), known to all by his Romani nickname Django, was a Belgian-born Romani-French jazz guitarist and composer. He was the first major jazz talent to emerge from Europe and remains the most significant.

With violinist Stéphane Grappelli, Reinhardt formed the Paris-based Quintette du Hot Club de France in 1934. The group was among the first to play jazz that featured the guitar as a lead instrument. Reinhardt recorded in France with many visiting American musicians, including Coleman Hawkins and Benny Carter, and briefly toured the United States with Duke Ellington‘s orchestra in 1946. He died suddenly of a stroke at the age of 43.

Reinhardt’s most popular compositions have become standards within gypsy jazz, including “Minor Swing“, “Daphne”, “Belleville”, “Djangology”, “Swing ’42”, and “Nuages“. Jazz guitarist Frank Vignola claims that nearly every major popular-music guitarist in the world has been influenced by Reinhardt. Over the last few decades, annual Django festivals have been held throughout Europe and the U.S., and a biography has been written about his life. In February 2017, the Berlin International Film Festival held the world premiere of the French film Django.

Stéphane Grapelli

Stéphane Grappelli (26 January 1908 – 1 December 1997), born Stefano Grappelli, was a French-Italian jazz violinist who founded the Quintette du Hot Club de France with guitarist Django Reinhardt in 1934. It was one of the first all-string jazz bands. He has been called “the grandfather of jazz violinists” and continued playing concerts around the world well into his eighties.

For the first three decades of his career, he was billed using a gallicised spelling of his last name, Grappelly, reverting to Grappelli in 1969. The latter, Italian spelling is now used almost universally when referring to the violinist, including reissues of his early work.

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Jazz & Rock Play Along

Laurie by Bill Evans with sheet music

Laurie by Bill Evans with sheet music

bill evans sheet music

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Rachmaninoff: Piano Concerto No. 3 with sheet music

Rachmaninoff: Piano Concerto No. 3 with sheet music, Alexis Weissenberg, piano, Chicago Symphony, Georges Prêtre, conductor.

[0:07] I. Allegro ma non tanto [16:37] II. Intermezzo. Adagio [28:19] III. Finale. Alla breve

rachmaninoff free sheet music & pdf scores download

Sergei Rachmaninoff: Piano Concerto No. 3, Op. 30 in D minor

1. Allegro ma non tanto (16:25)

2. Intermezzo: Adagio (11:42)

3. Finale: Alla breve (14:54)

Alexis Weissenberg, piano

Chicago Symphony Orchestra – Georges Prêtre, conductor

Original LP:  RCA  LSC-3040 (1968)

CD re-issue:  BMG Music (RCA Gold Seal)  9026-61396-2 (1993)

Original liner notes by Alexis Weissenberg:

It was Rachmaninoff’s own recording of the concerto that revealed the work to me for the first time.  I remembered this quite suddenly and with extraordinary precision the day, in Chicago, we sat listening, exhausted and happy, Jack Pfeiffer, the RCA technicians, Georges and I, to the final takes of the last recording session. 

We had worked hard and well for two long days, and thanks to the orchestra’s constant enthusiasm and cooperation of the highest professional quality the recording had been finished in record time.  For each one of us the work was done, another record had been born.  But for me, that late afternoon, it was a little more than that; in fact, it was a long-time dream that had suddenly come true.

It is often a pity that, with time, one tends to forget the moment when one first came into contact with a new work.  While later performances of that work can have their ups and downs and be more or less exhilarating, nothing is, in a way, more thrilling, more exciting to an interpreter than his first discovery through listening or sight-reading. 

Later, of course, when fully assimilated and completely re-created through the compulsive nature of one’s talent, imagination and temperament, the work becomes such a part of oneself, such an unconditional fragment of one’s creative nature, that one tends to feel, logically, that the composition somehow never existed away from one.  This, actually, is a conviction that is essential to re-creation.

But that first moment, that spine-thrill of love at first sight, holds infinite magic in it.  I must have been 7-8 years old, not more.  Already, music was not part of my life, I had become part of its life.  Everything connected with musical sound — harmonies, rhythms, melodic lines — had already established itself in me, and around me, as an absolute climate of self-expression and unlimited exploration for the rest of my life. 

Recordings by Hoffmann, Horowitz, Rachmaninoff and Backhaus had become vitally important, and the days when after a long and wonderful piano lesson I would go with my teacher Wladigeroff to his brother Luben’s house to listen to them were anticipated with the same tension and excitement as birthdays and Christmas.  It was at Luben’s that I first heard the Rachmaninoff Third, recorded by the composer.

Every child who is studying the piano seriously and has at heart the ambition to make it his professional career knows what it is to daydream, or sit awake nights “night-dreaming,” about his first public appearance, in what seems a hundred years from then, at a gigantic plush-gilded concert hall packed with millions of people, looking like a jumbo-size penguin, seated in front of a monstrous jet-black concert grand with the biggest sound ever, surrounded by the largest and greatest (in that order!) orchestra, and with probably God conducting, playing the. . . . .

It had been the Tchaikovsky B-Flat for me too, of course.  Until then.  And then came the Rachmaninoff Third.  I can still see myself, barely sitting on the edge of a chair in Luben’s library, my heart pounding faster and faster, my eyes wide open (my mouth probably too), listening incredulously to what seemed then the discovery of the Concerto of all Concerti, and reliving through the scene described above up to the last thunderous applause that brought an apocalyptic end to an unmeasurable dream!  Wladigeroff laughed heartily — “You’ll play it someday.”

That night I didn’t sleep for the very opposite reason.  I thought, “I’ll never be able to play it.”

Six years later, in Jerusalem, I saw the piano score in a music store and bought it.  Reflexively, the same fantasy switched on automatically, but by then an instinctive teen-age censorship had brutally readjusted certain details regarding qualifications, plush-gildedness, quantities, enormities and the final result. 

A first and unhappy attempt at sight-reading a visually frightening score did not help much in altering a pessimistic climate.  Instead, I bought the Horowitz-Coates historic recording and listened to it day in, day out.  It still remains a favorite, and by a wonderful, sentimental coincidence the first live performance of the concerto I heard was by Horowitz with Reiner and the New York Philharmonic in a memorable concert.

It was only during the winter of 1946, when I commuted between Philadelphia and New York to study with Samaroff at Juilliard, that I first seriously tried my hand at the concerto.  I had decided to present the Rachmaninoff Third with the Brahms Second and the Chopin E Minor at both The Philadelphia Orchestra Youth Contest and the Leventritt Award Competition that same year.  Madame Samaroff gave me my first opportunity to play the concerto with a second piano two months before the Leventritt Eliminations started, at one of her weekly Leyman Courses at Town Hall. 

That was an excellent occasion for me to loosen up the work interpretively and to let it breathe some fresh air after the long weeks of applied hard labor.  It was also at that concert that I met William Kapell, who came backstage and soon became a close and invaluable friend.  To me, Willie gave one of the finest and most exciting performances of the Rachmaninoff Third I have ever heard, in Boston with Koussevitzky.

The following year, in 1947, as winner of The Philadelphia Orchestra Youth Contest, I had the great privilege of playing the concerto under Eugene Ormandy with The Philadelphia Orchestra.  That particular concert also marked the beginning of my career in America — my early career in America, that is.

That same year, just after the Leventritt Award and during my first coast-to-coast tour of the United States, I was called upon as a last-minute substitute for Vladimir Horowitz, suddenly taken ill, in Pittsburgh, in the same concerto.  I also made my European debut with the Rachmaninoff Third, in Paris in 1950 with the Orchestre du Conservatoire at the Théâtre des Champs-Élysées.  The year after, I had an exciting collaboration in the concerto with Bernstein and the Israel Philharmonic.  That same year I made my debuts with it both at La Scala of Milan and at the Colón in Buenos Aires with Celibidache.

Recently, after a self-imposed and necessary sabbatical over a period of ten years for work and meditation and a restrained amount of public appearances, I reopened my career with the New York Philharmonic at Lincoln Center, and chose to make my comeback with the Rachmaninoff Third for reasons more sentimental than superstitious, although the concerto had in the meantime inevitably become a mascot in my life.

By this time I have, of course, long since revised my speculations and considerations as to which is the Concerto of all Concerti, and the two Brahms, the Fourth and Fifth Beethoven, the Mozart K. 271 and K. 491, the Bartók Second and a few others have alternately exchanged or shared the place of preference in my creative enthusiasm and musical needs, but the Rachmaninoff Third has kept, and will keep forever and without the slightest doubt, a place apart in my heart. 

I still think it is the most gloriously written concerto for the piano, find it as thrilling and exciting to hear and perform as I did years ago, and I find very appropriate and rewarding this first opportunity I have had not only to give it all due credit for the often decisive part it has played in my artistic life but also to dedicate to it my unlimited and everlasting gratitude.

—Alexis Weissenberg

Paris, June 1968

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How do you feel Einaudi’s music?

What is it about Ludovico Einaudi and his music which provokes such strong reactions from so-called “serious” classical music people? His music is regularly criticized by these people for being “bland”, “unchallenging”, “unsophisticated”, or simply “bad”…

Einaudi’s musical language is minimalist and meditative, often composed of repeating cycles of broken chords in the bass with a simple, pretty melody in the treble. He tends not to offer the unexpected or more colourful harmonic progressions one finds in the music of Philip Glass, but like Glass’, his hypnotic music has a wide appeal, especially amongst younger audiences.

einaudi free sheet music & pdf scores download

Arguably the most successful living classical artist, Einaudi has made a fortune from his particular brand of contemporary classical music; his concerts sell out, he has more followers on Spotify than Mozart, and his albums top the classical music charts. For those who sneer at his music, I suspect their negative attitude is really founded on envy at his success – something which is generally regarded with suspicion in the classical music world.

His music challenges the strict definition of “classical music”, and for serious classical music aficionados and critics, it threatens to dilute their beloved art form. These gatekeepers of classical music would rather Einaudi and his ilk (composers like Yann Tiersen, Michael Nyman or Ólafur Arnalds) were not in their world. Yet his music is constructed from the same classical structures, harmonies and idioms as that of Schubert, for example. It’s unchallenging and safe: despite studying with the Italian modernist composer Luciano Berio, Einaudi eschewed the hallmarks of modernism in favour of a style which is consonant, melodic and highly accessible. And also highly marketable.

For the purists, this mellifluous but apparently superficial music should not be categorized as “classical music”. But for the record label and the marketing people, how else should they define it? It’s not pop music, it’s not jazz…. It could be described as ‘New Age’ or ‘chill out’ or ‘post-classical’, but for marketing purposes, the “classical music” tag gives it greater currency and gravitas.

Personally, I’m not really bothered how Einaudi’s music is categorized. It is pleasant, as ambient background music, and I have also found his piano music useful in my teaching as it is very appealing to teenagers in particular. It is quite challenging to play, one of the chief challenges being the ability to bring shape and colour to the repetitive passages. It can also act as a gateway to other repertoire, such as the minimalist music of Philip Glass, and if it encourages wider exploration of the piano repertoire, that has to be a good thing.

einaudi sheet music pdf

Einaudi’s recent seven-concert series at London’s Barbican was a sell out, and his other concerts in the UK later this year are already sold out – a significant achievement for any artist regardless of the genre of their music, but especially for a classical artist. The mainstream critics have been generally less than complimentary about the music and the performer, describing it variously as “unmemorable and humourless”, “soulless”, “unpalatably synthetic” and “cheap”.

“The young guy next to me had a tear on his cheek. I’m just not sure what for” (The Arts Desk review)

The snobbery and sneering in these reviews demonstrates, yet again, that elitism is, sadly, very much alive and well within the world of classical music, often perpetrated by those who are quick to decry social elitism, while simultaneously displaying a certain academic elitism towards those people who enjoy Einaudi’s music and flock to his concerts.

Musical taste is subjective and highly personal. Einaudi’s music may be simple, but there is beauty in simplicity, and accessibility in his gentle, inoffensive lyricism, as confirmed by the huge popularity of his music. It may not compete with the complexities and imagination of Messiaen, but it is possible to like both. For many, Einaudi’s music provides solace in our uncertain times, and for that reason alone, it has value. Perhaps next time a critic attends a concert where the music says nothing to them, but appeals to a large number of people, they might pause to consider why this is the case.

Ludovico Einaudi’s sheet music is in our online Library.

Read the full article here.

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Jazz & Blues Music

Chet Baker My Funny Valentine – Chet Baker in Tokyo LIVE!

Chet Baker My Funny ValentineChet Baker in Tokyo LIVE!

chet baker free sheet music & scores pdf
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Rock & Pop Music

“Viva la vida” – Coldplay (Song of the year in 2009)

Viva la vida – Coldplay (with sheet music)

coldplay sheet music

Viva la Vida

Viva la Vida” is a song by British rock band Coldplay. It was written by all members of the band for their fourth album, Viva la Vida or Death and All His Friends (2008).

The lyrics to the song contain historical and Christian references, and the track is built around a looping string section in unison with a digital processed piano, with other layers gradually being added as the song builds.

The track was released on 13 June 2008 as the album’s second single, debuting to critical acclaim and commercial success. “Viva la Vida” reached the top spot of the UK Singles Chart and Billboard Hot 100, becoming the band’s first number-one single in both the U.S. and U.K. The song won the Grammy Award for Song of the Year at the 51st Annual Grammy Awards in 2009 and has sold over 9.44 million copies worldwide, with 6.94 million being in the U.S. on the digital sales format alone.

Background

The song’s Spanish title, “Viva la Vida”, is taken from a painting by 20th-century Mexican artist Frida Kahlo. In Spanish viva is an expression used to acclaim someone or something, so “Long Live Life” is an accurate translation and the painting reflects the artistic irony of acclaiming life while suffering physically. When asked about the album’s title, referring to Frida Kahlo’s strength, enduring polio, a broken spine, and a decade of chronic pain, lead singer Chris Martin said: “She went through a lot of pain, of course, and then she started a big painting in her house that said ‘Viva la Vida’, I just loved the boldness of it.”

During the album’s production, “Viva la Vida” was one of the songs that had polarised each member’s opinion over which version they should choose. In an interview, Martin recalled: “We did quite a few different versions and went round the houses a bit and eventually settled on those treatments for it.”

Musical Composition

The lyrics to “Viva la Vida” are narrated by a protagonist who says he “used to rule the world”. Martin has explained the song lyric “I know Saint Peter won’t call my name” in an interview with Q magazine: “It’s about … You’re not on the list” to enter the Pearly gates. When asked about the song, bass guitarist Guy Berryman said: “It’s a story about a king who’s lost his kingdom, and all the album’s artwork is based on the idea of revolutionaries and guerrillas.

There’s this slightly anti-authoritarian viewpoint that’s crept into some of the lyrics and it’s some of the pay-off between being surrounded by governments on one side, but also we’re human beings with emotions and we’re all going to die and the stupidity of what we have to put up with every day. Hence the album title.”

Unlike the then-typical arrangement of Coldplay songs, in which either the guitar or piano is the prominent instrument, the track mostly consists of a string section and a digital piano playing the song’s upbeat riff, along with a steady bass drum beat, percussion (including a timpano and a church bell), bass guitar, and Martin’s vocals; there is limited use of electric guitar. All the strings are arranged and conducted by violinist Davide Rossi, who is one of the main collaborators of the album. Rossi’s strings comprise the main driving force throughout the song, with a strong beginning loop that supports Martin’s voice, until the choruses where the symphonic power of the orchestra takes its fullest shape.

The prominent chords played by the string section throughout the song (and in the chorus of “Rainy Day”, another of the band’s songs) are very similar to those used by “Viva la Vida” co-producer Brian Eno in his piece “An Ending (Ascent)”, meaning they could have been suggested partially for the song by Eno.

The song is written in the key of A-flat major. Its main chord progression is D♭/E♭/A♭/Fm. The time signature is 4/4 and the tempo is 138 beats per minute.

Release and promotion

“Viva la Vida” was initially released only with iTunes Store pre-orders of Viva la Vida or Death and All His Friends on 7 May 2008 – the “new edit” version of the song – which led to the song’s temporary exclusion from the UK Singles Chart. It was released as a download-only single on 25 May 2008, and a physical CD single in Europe on 29 July 2008 to coincide with the release of the single’s music videos. “Viva la Vida” was well-downloaded in the internet, becoming iTunes’ best-selling song of 2008.

The song was used as part of Apple Inc.‘s iPod + iTunes advertisement campaign. Coldplay performed the song live for the first time at the 2008 MTV Movie Awards. It has since gone on to make many media appearances, including being featured throughout the episode “A Person of Interest” from the paranormal drama Medium, as a song played on the radio in the episode “We’re Not in Kansas Anymore” from the teen drama 90210, used as bumper music on Bill Bennett‘s “Morning in America” radio talk show, and on the international soundtrack to the Brazilian soap opera A Favorita which helped push “Viva la Vida” up the charts in Brazil, where the telenovela had been shown.

In 2009, Solange Knowles covered the song. Lady Gaga also covered the song for BBC Radio 1. A live version of the song appeared on Coldplay’s 2009 live album LeftRightLeftRightLeft. It was also used in an episode entitled “Million Dollar Maybe” of The Simpsons. The song was covered in the seventh series of The X Factor by the boyband One Direction in 2010.

Music & videos

The official music video for “Viva la Vida” was directed by Hype Williams and premiered at Coldplay’s official website on 1 August 2008. The video depicts the band performing against a blurry, warped version of Eugène Delacroix‘s painting La Liberté guidant le peuple, ending with the band members crumbling into rose petals.

A second, alternate video was shot in The Hague, the Netherlands, directed by Anton Corbijn and released alongside the first. This second version is a tribute to Corbijn’s video for Depeche Mode‘s “Enjoy the Silence” and portrays Chris Martin as the king from whose perspective the song is sung. During the video, he carries Delacroix’s painting. At the end, he hangs the picture up in a white stall on top of a hill. As he sings the last chorus, his bandmates surface heading his way, tying in loose ends from the “Violet Hill” video.

“Viva la Vida” has become the band’s highest charting single. Fueled by high digital sales, the song peaked at the top spot of the U.S. Billboard Hot 100, becoming the band’s first and, to date, only US number-one single and their second top ten on the Hot 100.

Coldplay were first accused of plagiarism of “The Songs I Didn’t Write” by American alternative band Creaky Boards, for the melody of “Viva la Vida”.Creaky Boards’ band member Andrew Hoepfner claimed that Martin had heard them playing the song at a live show in October 2007. The band released a video clip, in which it compares sections of both songs. Coldplay denied the claim. Band spokesman Murray Chambers said Martin was working in AIR Studios in London at that time, having checked the singer’s diary.

In addition, Coldplay had recorded a demo version of “Viva la Vida” in March 2007, long before Creaky Boards performed it live in October of the same year. Creaky Boards later retracted the accusations and speculated that both songs may have been inspired by the video game The Legend of Zelda.

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Best Classical Music

Classical Piano: Bach, Beethoven, Chopin…. Benedetta Iardella, piano solo

Classical Piano: Bach, Beethoven, Chopin…. Benedetta Iardella, piano solo sheet music download.

Track listing

0:00:00 Bach – Partita No. 2, BWV 826 0:13:18 Beethoven – Sonata Op. 2 No. 3 0:37:45 Chopin – Revolutionary Etude Op.10 No. 12 0:40:38 Debussy – Images: Reflets dans l’eau 0:46:16 Rachmaninov – Prelude Op. 32 No. 12 0:49:10 Bach – The Well-Tempered Clavier, Book II: Prelude and Fugue No. 12 0:53:17 Brahms – Intermezzo Op.117 No. 2

The piano

The piano is an acoustic, stringed musical instrument invented in Italy by Bartolomeo Cristofori around the year 1700 (the exact year is uncertain), in which the strings are struck by wooden hammers that are coated with a softer material (modern hammers are covered with dense wool felt; some early pianos used leather). It is played using a keyboard, which is a row of keys (small levers) that the performer presses down or strikes with the fingers and thumbs of both hands to cause the hammers to strike the strings.

classical piano free sheet music & scores pdf

The word piano is a shortened form of pianoforte, the Italian term for the early 1700s versions of the instrument, which in turn derives from gravicembalo col piano e forte(key cymbal with quieter and louder) and fortepiano. The Italian musical terms piano and forte indicate “soft” and “loud” respectively, in this context referring to the variations in volume (i.e., loudness) produced in response to a pianist’s touch or pressure on the keys: the greater the velocity of a key press, the greater the force of the hammer hitting the strings, and the louder the sound of the note produced and the stronger the attack. The name was created as a contrast to harpsichord, a musical instrument that does not allow variation in volume; compared to the harpsichord, the first fortepianos in the 1700s had a quieter sound and smaller dynamic range.

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A piano usually has a protective wooden case surrounding the soundboard and metal strings, which are strung under great tension on a heavy metal frame. Pressing one or more keys on the piano’s keyboard causes a wooden or plastic hammer (typically padded with firm felt) to strike the strings. The hammer rebounds from the strings, and the strings continue to vibrate at their resonant frequency. These vibrations are transmitted through a bridge to a soundboard that amplifies by more efficiently coupling the acoustic energy to the air. When the key is released, a damper stops the strings’ vibration, ending the sound. Notes can be sustained, even when the keys are released by the fingers and thumbs, by the use of pedals at the base of the instrument.

The sustain pedal enables pianists to play musical passages that would otherwise be impossible, such as sounding a 10-note chord in the lower register and then, while this chord is being continued with the sustain pedal, shifting both hands to the treble range to play a melody and arpeggios over the top of this sustained chord. Unlike the pipe organ and harpsichord, two major keyboard instruments widely used before the piano, the piano allows gradations of volume and tone according to how forcefully or softly a performer presses or strikes the keys.

Most modern pianos have a row of 88 black and white keys, 52 white keys for the notes of the C major scale (C, D, E, F, G, A and B) and 36 shorter black keys, which are raised above the white keys, and set further back on the keyboard. This means that the piano can play 88 different pitches (or “notes”), going from the deepest bass range to the highest treble. The black keys are for the “accidentals” (F♯/G♭, G♯/A♭, A♯/B♭, C♯/D♭, and D♯/E♭), which are needed to play in all twelve keys. More rarely, some pianos have additional keys (which require additional strings). Most notes have three strings, except for the bass, which graduates from one to two.

The strings are sounded when keys are pressed or struck, and silenced by dampers when the hands are lifted from the keyboard. Although an acoustic piano has strings, it is usually classified as a percussion instrument rather than as a stringed instrument, because the strings are struck rather than plucked (as with a harpsichord or spinet); in the Hornbostel–Sachs system of instrument classification, pianos are considered chordophones. There are two main types of piano: the grand piano and the upright piano. The grand piano has a better sound and gives the player a more precise control of the keys, and is therefore the preferred choice for every situation in which the available floor-space and the budget will allow, as well as often being considered a requirement in venues where skilled pianists will frequently give public performances.

The upright piano, which necessarily involves some compromise in both tone and key action compared to a grand piano of equivalent quality, is nevertheless much more widely used, because it occupies less space (allowing it to fit comfortably in a room where a grand piano would be too large) and is significantly less expensive.

During the 1800s, influenced by the musical trends of the Romantic music era, innovations such as the cast iron frame (which allowed much greater string tensions) and aliquot stringing gave grand pianos a more powerful sound, with a longer sustain and richer tone. In the nineteenth century, a family’s piano played the same role that a radio or phonograph played in the twentieth century; when a nineteenth-century family wanted to hear a newly published musical piece or symphony, they could hear it by having a family member play a simplified version on the piano. During the nineteenth century, music publishers produced many types of musical works (symphonies, opera overtures, waltzes, etc.) in arrangements for piano, so that music lovers could play and hear the popular pieces of the day in their home.

The piano is widely employed in classical, jazz, traditional and popular music for solo and ensemble performances, accompaniment, and for composing, songwriting and rehearsals. Although the piano is very heavy and thus not portable and is expensive (in comparison with other widely used accompaniment instruments, such as the acoustic guitar), its musical versatility (i.e., its wide pitch range, ability to play chords, louder or softer notes and two or more independent musical lines at the same time), the large number of musicians – both amateurs and professionals – trained in playing it, and its wide availability in performance venues, schools and rehearsal spaces have made it one of the Western world’s most familiar musical instruments.

Bernardetta Iardella

Benedetta Iardella è una pianista italiana. Nata a Carrara nel 1995, nel 2000 intraprende lo studio del pianoforte. Nel 2006 viene ammessa al Conservatorio “P. Mascagni”, di Livorno, nella classe del Maestro Daniel Rivera.


Dal 2008 Benedetta inizia a prendere lezioni al Conservatorio “G. Puccini” di La Spezia dove nel 2013 si diploma a pieni voti (Vecchio ordinamento) e nel 2016 si laurea con 110 e Lode con il Maestro Vincenzo Audino. A 14 anni Vince il Concorso “Giovani Interpreti” di La Spezia, grazie al quale debutta con l’Orchestra “Mussinelli” di La Spezia eseguendo il concerto in Re Maggiore di J. Haydn diretto dal Maestro Piero Papini.

Ottiene l’opportunità di frequentare Masterclass di perfezionamento con i Maestri Daniel Rivera, Giuseppe Bruno, Jin Ju, Pietro De Maria, Giovanni Carmassi e Roberto Cappello. Attualmente studio presso la prestigiosa Accademia Pianistica Internazionale “Incontri col Maestro” di Imola, sotto la guida dei Maestri Stefano Fiuzzi e Riccardo Risaliti.

Nel 2018 esegue il Concerto K414 di Mozart nella riduzione per quartetto d’archi presso l’auditorium di “Palazzo Blu” a Pisa, collaborando con il violinista Marco Fornaciari. Si è classificata sempre nei primi posti in molti concorsi nazionali e internazionali tra i quali:

Concorso Nazionale “Città di Bardolino”, Concorso Pianistico “Rovere d’oro” San Bartolomeo al Mare, Concorso Pianistico Nazionale “J. S. Bach” di Sestri Levante, Concorso Pianistico “Città di Pesaro”, Concorso Nazionale di Esecuzione Musicale “Riviera Etrusca” di Piombino, Concorso “Città di Carrara”, Concorso “Giovani Interpreti” di La Spezia, International Music Competition for youth “Dinu Lipatti”di Roma, Concorso Nazionale “Città di Garda”


Benedetta Iardella si è esibita nelle seguenti sale da concerto italiane: Pisa: Auditorium di Palazzo Blu, Accademia Stefano Strata, Sarzana: Fortezza Firmafede, La Spezia: Sala Dante, Fondazione Carispezia, Auditorium del Conservatorio “G. Puccini”, Carrara: Teatro Animosi, Teatro Garibaldi, Massa: Villa Rinchiostra, Villa Cuturi, Piombino: Sala Concerti del Resort “Poggio all’agnello”, Rapallo: Teatro delle Clarisse, Barlassina: Teatro Antonio Belloni, Garda: Sala congressi, Bardolino: Sala della Disciplina, Parma: Auditorium del Conservatorio “Arrigo Boito”, Lizzano: Teatro San Manante.