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Gershwin: Summertime Ella Fitzgerald & Louis Armstrong

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Summertime by Gershwin

Summertime” is an aria composed in 1934 by George Gershwin for the 1935 opera Porgy and Bess. The lyrics are by DuBose Heyward, the author of the novel Porgy on which the opera was based, although the song is also co-credited to Ira Gershwin by ASCAP.

The song soon became a popular and much-recorded jazz standard, described as “without doubt … one of the finest songs the composer ever wrote … Gershwin’s highly evocative writing brilliantly mixes elements of jazz and the song styles of blacks in the southeast United States from the early twentieth century”. Composer and lyricist Stephen Sondheim has characterized Heyward’s lyrics for “Summertime” and “My Man’s Gone Now” as “the best lyrics in the musical theater”.

Porgy and Bess

Gershwin began composing the song in December 1933, attempting to create his own spiritual in the style of the African American folk music of the period. Gershwin had completed setting DuBose Heyward’s poem to music by February 1934, and spent the next 20 months completing and orchestrating the score of the opera.

The song is sung several times throughout Porgy and Bess. Its lyrics are the first words heard in act 1 of the opera, following the communal “wa-do-wa”. It is sung by Clara as a lullaby. The song theme is reprised soon after as counterpoint to the craps game scene, in act 2 in a reprise by Clara, and in act 3 by Bess, singing to Clara’s now-orphaned baby after both its parents died in the storm. It was recorded for the first time by Abbie Mitchell on July 19, 1935, with George Gershwin playing the piano and conducting the orchestra (on: George Gershwin Conducts Excerpts from Porgy & Bess, Mark 56 667).

The 1959 movie version of the musical featured Loulie Jean Norman singing the song. That rendition finished at #52 in AFI’s 100 Years…100 Songs survey of top tunes in American cinema.


Heyward’s inspiration for the lyrics was the southern folk spiritual-lullaby “All My Trials“, of which he had Clara sing a snippet in his play Porgy.[7][8] The lyrics have been highly praised by Stephen Sondheim. Writing of the opening line, he says:

That “and” is worth a great deal of attention. I would write “Summertime when” but that “and” sets up a tone, a whole poetic tone, not to mention a whole kind of diction that is going to be used in the play; an informal, uneducated diction and a stream of consciousness, as in many of the songs like “My Man’s Gone Now”. It’s the exact right word, and that word is worth its weight in gold. “Summertime when the livin’ is easy” is a boring line compared to “Summertime and”. The choices of “ands” [and] “buts” become almost traumatic as you are writing a lyric – or should, anyway – because each one weighs so much.


Musicologist K. J. McElrath wrote of the song:

Gershwin was remarkably successful in his intent to have this sound like a folk song. This is reinforced by his extensive use of the pentatonic scale (C–D–E–G–A) in the context of the A minor tonality and a slow-moving harmonic progression that suggests a “blues“. Because of these factors, this tune has been a favorite of jazz performers for decades and can be done in a variety of tempos and styles.

While in his own description, Gershwin did not use any previously composed spirituals in his opera, Summertime is often considered an adaptation of the African American spiritual “Sometimes I Feel Like a Motherless Child“, which ended the play version of Porgy.Alternatively, the song has been proposed as an amalgamation of that spiritual and the Ukrainian Yiddish lullaby Pipi-pipipee.The Ukrainian-Canadian composer and singer Alexis Kochan has suggested that some part of Gershwin’s inspiration may have come from having heard the Ukrainian lullaby “Oi Khodyt Son Kolo Vikon” (“A Dream Passes by the Windows”) at a New York City performance by Alexander Koshetz‘s Ukrainian National Chorus in 1929 (or 1926).

Other versions

Statistics for the number of recordings of “Summertime” vary by source; while older data is restricted to commercial releases, newer sources may include versions self-published online. The Jazz Discography in 2005 listed 1,161 official releases, ranking the song fourth among jazz standards.Joe Nocera in 2012 said there were “over 25,000” recordings.

Guinness World Records lists the website’s 2017 figure of 67,591 as the world record total.

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Philip Glass. The Complete Etudes, Book 1

Philip Glass. The Complete Etudes, Book 1. Anton Batagov, piano with sheet music download from our Library.

philip glass sheet music pdf

Philip Glass

Philip Glass (Baltimore, Maryland, January 31, 1937) is an American composer of minimalist music.

As a child he studied the flute at the Peabody Conservatory and later went to the Julliard School of Music, where he began to play the piano almost exclusively.

After studying with Nadia Boulanger and working with Ravi Shankar in France, Glass traveled in 1966 to northern India, mainly for religious reasons, where he came into contact with Tibetan refugees.

He became a Buddhist and met the Dalai Lama in 1972. He is a great supporter of the Tibetan cause. It was his work with Ravi Shankar and his perception of additive rhythm in Indian music that led him to his unique style.

When he returned home, he renounced all his earlier compositions in the style of Copland and began to write austere pieces based on additive rhythms and with a sense of time influenced by Samuel Beckett, whose work he discovered component for experimental theater works.

The little esteem he feels for performers and traditional spaces lead him to form his own musical group, with which he begins to play mainly in art galleries, this being the only real connection between musical minimalism and minimalist visual art.

Over time, his works are less and less austere and more complex, ending up not being totally minimalist and culminating in Music in Twelve Parts. He then collaborated on the first opera of his Einstein on the Beach trilogy with Robert Wilson.

Glass orchestrated some instrumental parts of David Bowie’s albums Low and Heroes (Low Symphony and Heroes Symphony). A prolific musician, Philip Glass, he has orchestrated many films, including the experimental documentary Koyaanisqatsi, by Godfrey Reggio; the Errol Morris-directed biopic A Brief History of Time (based on Stephen Hawking’s popular physics book); Mishima, by Paul Schrader or Kundun, by Martin Scorsese.

Recently, Glass has composed the soundtrack for Stephen Daldry’s The Hours (2002) and Richard Eyre’s Notes on a Scandal (2006).

Philip Glass works.

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Leroy Anderson (1908-1975) and the Forgotten Dreams

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    Leroy Anderson and the Forgotten Dreams (piano sheet music)

    Leroy Anderson and the Forgotten Dreams (piano sheet music)

    Leroy Anderson

    Leroy Anderson (June 29, 1908 – May 18, 1975) was an American composer of short, light-hearted concert pieces, many of which were premiered by the Boston Pops Orchestra under Arthur Fiedler. John Williams has described him ‘as one of America’s greatest masters of light orchestral music’.

    Born in Cambridge, Massachusetts to Swedish parents, Leroy Anderson received his first piano lessons from his mother, who was an organist. He continued his piano lessons with Henry Gideon at the New England Conservatory of Music, and also took double bass lessons with Gaston Dufresne in Boston.

    In 1926, Leroy Anderson entered Harvard, where he studied theory with Walter Spalding, counterpoint with Edward Ballantine, harmony with Georges Enesco, and composition with Walter Piston, earning his Bachelor of Arts in 1929 and his Master of Arts in 1930.

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    In August 1946, he composed the famous title ‘Sleigh Ride’, also known as ‘Promenade en Traineau’, (piece for the holidays and Christmas Day) during a heat wave.

    Unusual instrumentation, or ‘instruments,’ frequently appears in various of Anderson’s music. Sandpaper Ballet uses sandpaper, The Typewriter uses a typewriter, Sleigh Ride uses sleigh bells, The Phantom Regiment uses neighing horses, The Waltzing Cat has the orchestra imitating cat meowing, and The Syncopated Clock uses a grandfather clock. The Syncopated Clock was chosen by WCBS as the theme for The Late Show in 1950. The track was Anderson’s first chart success, reaching number 12 on the US singles chart in the spring of 1951.

    Then, in June 1952, the title Blue Tango was number 1 on the American charts for five weeks.

    In 1958, Anderson set the fairy tale ‘Goldilocks’ to music, for which he wrote 18 pieces of music. The musical ran for 161 performances from October 11, 1958, to February 28, 1959, on Broadway at the Lunt-Fontanne Theater and earned actors Russell Nype Best Actor and Pat Stanley Best Actress Tony Awards.

    In 2006, one of his piano famous works, Forgotten Dreams, became the soundtrack for a British television advert for a mobile phone company.

    Works (excerpt)

    (in alphabetical order)

    • Alma Mater (1954)
    • Arietta (1962)
    • Balladette (1962)
    • Belle of the Ball (1951)
    • Birthday Party (1970)
    • Blue Tango (1951)
    • Bugler’s Holiday (1954)
    • Cambridge Centennial March of Industry (1946)
    • The Captains and the Kings (1962)
    • Chatterbox (1966)
    • Chicken Reel (1946)
    • China Doll (1951)
    • A Christmas Festival (1950) (9:00)
    • A Christmas Festival (1952) (5:45)
    • Clarinet Candy (1962)
    • Classical Jukebox (1950)
    • Concerto in C Major for Piano and Orchestra (1953)
    • The Cowboy and His Horse (1966)
    • Do You Think That Love Is Here To Stay? (1935)
    • Easter Song (194-)
    • Fiddle-Faddle (1947)
    • The First Day of Spring (1954)
    • Forgotten Dreams (1954)
    • The Girl in Satin (1953)
    • The Golden Years (1962)

    GOLDILOCKS (Musical)

    • Goldilocks Overture (1958)
    • Come to Me (1958)
    • Guess Who (1958)
    • Heart of Stone (Pyramid Dance) (1958)
    • He’ll Never Stray (1958)
    • Hello (1958)
    • If I Can’t Take it With Me (1958)
    • I Never Know When to Say When (1958)
    • Lady in Waiting (1958)
    • Lazy Moon (1958)
    • Little Girls (1958)
    • My Last Spring (1958)
    • Save a Kiss (1958)
    • Shall I Take My Heart and Go? (1958)
    • Tag-a-long Kid (1958)
    • The Pussy Foot (1958)
    • Town House Maxixe (1958)
    • Who’s Been Sitting in My Chair? (1958)
    • Governor Bradford March (1948)
    • Harvard Fantasy (1936)
    • Hens and Chickens (1966)
    • Home Stretch (1962)
    • Horse and Buggy (1951)

    THE IRISH SUITE (1947 & 1949)

    • The Irish Washerwoman (1947)
    • The Minstrel Boy (1947)
    • The Rakes of Mallow (1947)
    • The Wearing of the Green (1949)
    • The Last Rose of Summer (1947)
    • The Girl I Left Behind Me (1949)
    • Jazz Legato (1938)
    • Jazz Pizzicato (1938)
    • Love May Come and Love May Go (1935)
    • Lullaby of the Drums (1970)
    • March of the Two Left Feet (1970)
    • Melody on Two Notes (1966)
    • Mother’s Whistler (1940)
    • The Music in My Heart (1935)
    • An Old Fashioned Song (196-)
    • Old MacDonald Had a Farm (1947)
    • The Penny Whistle Song (1951)
    • The Phantom Regiment (1951)
    • Piece for Rolf (1961)
    • Plink, Plank, Plunk! (1951)
    • Promenade (1945)
    • Sandpaper Ballet (1954)
    • Saraband (1948)


    • The Bluebells of Scotland
    • Turn Ye To Me
    • Second Regiment, Connecticut National Guard March (1973)
    • Serenata (1947)
    • Sleigh Ride (1948)
    • Song of Jupiter (1951)
    • Song of the Bells (1953)
    • Suite of Carols for Strings (1955)
    • Suite of Carols for Brass (1955)
    • Suite of Carols for Woodwinds (1955)
    • Summer Skies (1953)
    • The Syncopated Clock (1945)
    • Ticonderoga March (1939)
    • To a Wild Rose (1970) (Edward MacDowell)
    • A Trumpeter’s Lullaby (1949)
    • The Typewriter (1950)
    • You Can Always Tell a Harvard Man (1962)
    • Waltz Around the Scale (1970)
    • The Waltzing Cat (1950)
    • Wedding March for Jane and Peter (1972)
    • What’s the Use of Love? (1935)
    • The Whistling Kettle (1966)
    • Woodbury Fanfare (1959)
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    Piazzolla: La Calle 92

    Piazzolla: La Calle 92 (descargar partituras en nuestra biblioteca)

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    FREDERIC MOMPOU (Catalan composer and pianist) sheet music

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      FREDERIC MOMPOU (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.

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      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, Catalonia (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 Frederic 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.

      Mompou: Complete Piano Works (Full Album) played by Federico Mompou

      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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      Wave – Vou Te Contar Jobim (guitar) sheet music

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

      jobim sheet music


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

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

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

      Studied with German Music Teacher

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

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

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

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

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

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

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

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

      Performed in New York

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

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

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

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

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

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

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

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

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

      Branched Out Beyond Bossa Nova

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

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

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

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

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

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

      With these career capstones in the works, it came as a shock for Jobim’s admirers in both the United States and Brazil when Jobim died suddenly of heart failure at New York’s Mount Sinai Hospital on December 8, 1994, shortly after entering the facility for treatment of cardiac disease. Jobim’s body was returned to Brazil, where a funeral parade held in his honor in Rio de Janeiro lasted for four hours, and he was buried in a tomb near that of Vinícius de Moraes, who had died in 1980.

      The pair had created two of the icons of twentieth-century culture, Black Orpheus and “The Girl from Ipanema,” and the music that came from Jobim’s pen lent the music of much of the century’s second half a distinct Brazilian tinge.

      Beautiful Music Gershwin's music

      George Gershwin at the Piano – Fascinating rhythm (sheet music)

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      George Gershwin at the Piano – Fascinating rhythm (with sheet music)

      It was first introduced by Cliff Edwards, Fred Astaire and Adele Astaire in the Broadway musical Lady Be Good. The Astaires also recorded the song on April 19, 1926, in London with George Gershwin on the piano (English Columbia 3968 or 8969).

      Many recorded versions exist. One of the rarest recordings[citation needed] is one by Joe Bari (a pseudonym of Anthony Dominick Benedetto, later better known as Tony Bennett) for Leslie Records in 1949 and issued as catalog number 919 with “Vieni Qui” as the flip side. Having rerecorded it as a duet with Diana Krall in 2018 for their duet album Love Is Here to Stay, he currently holds the Guinness World Record for the “longest time between the release of an original recording and a re-recording of the same single by the same artist”.

      “Fascinating Rhythm” inspired the riff to the 1974 Deep Purple song “Burn”.

      The 1926 Astaire/Gershwin version and a 1938 version by Hawaiian steel guitarist Sol Hoʻopiʻi have both been added to the Library of Congress’s National Recording Registry of “culturally, historically, or aesthetically important” American sound recordings.

      George Gershwin (born Jacob Bruskin Gershowitz, September 26, 1898 – July 11, 1937) was an American composer and pianist whose compositions spanned both popular and classical genres. Among his best-known works are the orchestral compositions Rhapsody in Blue (1924) and An American in Paris (1928), the songs “Swanee” (1919) and “Fascinating Rhythm” (1924), the jazz standard “I Got Rhythm” (1930), and the opera Porgy and Bess (1935) which spawned the hit “Summertime“.

      Gershwin studied piano under Charles Hambitzer and composition with Rubin Goldmark, Henry Cowell, and Joseph Brody. He began his career as a song plugger but soon started composing Broadway theater works with his brother Ira Gershwin and with Buddy DeSylva. He moved to Paris intending to study with Nadia Boulanger, but she refused him. He subsequently composed An American in Paris, returned to New York City and wrote Porgy and Bess with Ira and DuBose Heyward. Initially a commercial failure, it came to be considered one of the most important American operas of the twentieth century and an American cultural classic.

      Gershwin moved to Hollywood and composed numerous film scores. He died in 1937 of a malignant brain tumor. His compositions have been adapted for use in film and television, with several becoming jazz standards recorded and covered in many variations.

      Gershwin was influenced by French composers of the early twentieth century. In turn Maurice Ravel was impressed with Gershwin’s abilities, commenting, “Personally I find jazz most interesting: the rhythms, the way the melodies are handled, the melodies themselves. I have heard of George Gershwin’s works and I find them intriguing.” The orchestrations in Gershwin’s symphonic works often seem similar to those of Ravel; likewise, Ravel’s two piano concertos evince an influence of Gershwin.

      George Gershwin asked to study with Ravel. When Ravel heard how much Gershwin earned, Ravel replied with words to the effect of, “You should give me lessons.” (Some versions of this story feature Igor Stravinsky rather than Ravel as the composer; however Stravinsky confirmed that he originally heard the story from Ravel.)

      Gershwin’s own Concerto in F was criticized for being related to the work of Claude Debussy, more so than to the expected jazz style. The comparison did not deter him from continuing to explore French styles. The title of An American in Paris reflects the very journey that he had consciously taken as a composer: “The opening part will be developed in typical French style, in the manner of Debussy and Les Six, though the tunes are original.”

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      Georges Moustaki – Chanson “Le Quotidien”

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      Georges Moustaki – Chanson “Le Quotidien”

      Parfois je ne sais pas ce qui m’arrive
      Je noie la poésie dans l’alcool
      Je ne sais pas lequel des deux m’enivre
      Et pour finir je parle de footballEt lorsque j’en ai marre
      Je gratte ma guitare
      Lorsque j’en ai marre
      Je gratte ma guitareChaque matin j’avale un café crème
      En lisant des journaux remplis de sang
      Mais le regard d’un enfant me ramène
      Dans un monde meilleur et innocentLorsque j’en ai marre
      Je gratte ma guitare
      Lorsque j’en ai marre
      Je gratte ma guitareJe parle du tiercé avec ma femme
      Un jour on finira par le toucher
      Ensemble on rêve et ça réchauffe l’âme
      De rêver du jour où tout va changerLorsque j’en ai marre
      Je gratte ma guitare
      Lorsque j’en ai marre
      Je gratte ma guitareLe samedi on boit quelques bouteilles
      Ça fait passer l’amertume et le temps
      Tant pis si le dimanche on se réveille
      Avec les mêmes problèmes qu’avantLorsque j’en ai marre
      Je gratte ma guitare
      Lorsque j’en ai marre
      Je gratte ma guitareParfois lorsque mon esprit vagabonde
      J’essaie de croire qu’il y a un bon Dieu
      Je lui dis pourquoi as-tu fais le monde
      Si c’est pour le défaire peu à peuEt lorsque j’en ai marre
      Je gratte ma guitare.

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      坂本 龍一 Ryuichi Sakamoto Full Album 2020 – 坂本 龍一 Ryuichi Sakamoto Best Of

      坂本 龍一 Ryuichi Sakamoto Full Album 2020 – 坂本 龍一 Ryuichi Sakamoto Best Of (with sheet music)

      坂本 龍一(さかもと りゅういち、Sakamoto Ryūichi、1952年1月17日 – )は、日本ミュージシャン作曲家編曲家作詞家音楽プロデューサー音楽評論家指揮者タレント俳優政治活動家東京都出身。

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      Ryuichi Sakamoto (坂本 龍一, Sakamoto Ryūichi, born January 17, 1952) is a Japanese composer, singer, songwriter, record producer, activist, and actor who has pursued a diverse range of styles as a solo artist and as a member of Yellow Magic Orchestra (YMO). With his bandmates Haruomi Hosono and Yukihiro Takahashi, Sakamoto influenced and pioneered a number of electronic music genres.

      Sakamoto began his career while at university in the 1970s as a session musician, producer, and arranger. His first major success came in 1978 as co-founder of YMO. He concurrently pursued a solo career, releasing the experimental electronic fusion album Thousand Knives in 1978. Two years later, he released the album B-2 Unit. It included the track “Riot in Lagos”, which was significant in the development of electro and hip hop music.

      He went on to produce more solo records, and collaborate with many international artists, David Sylvian, Carsten Nicolai, Youssou N’Dour, and Fennesz among them. Sakamoto composed music for the opening ceremony of the 1992 Barcelona Olympics, and his composition “Energy Flow” (1999) was the first instrumental number-one single in Japan’s Oricon charts history.

      As a film-score composer, Sakamoto has won an Oscar, a BAFTA, a Grammy, and 2 Golden Globe Awards. Merry Christmas, Mr. Lawrence (1983) marked his debut as both an actor and a film-score composer; its main theme was adapted into the single “Forbidden Colours” which became an international hit.

      His most successful work as a film composer was The Last Emperor (1987), after which he continued earning accolades composing for films such as The Sheltering Sky (1990), Little Buddha (1993), and The Revenant (2015). On occasion, Sakamoto has also worked as a composer and a scenario writer on anime and video games. In 2009, he was awarded the Ordre des Arts et des Lettres from the Ministry of Culture of France for his contributions to music.

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      The World Of Hans Zimmer – A Symphonic Celebration (Full Album)

      The World Of Hans Zimmer – A Symphonic Celebration (Full Album). Download Hans Zimmer’s sheet music from our Library.

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      sheet music pdf The World Of Hans Zimmer - A Symphonic Celebration (Full Album)

      Tracklist: 01. The Dark Knight Orchestra Suite 06:05 02. Mission Impossible 2 Orchestra Suite: Part 1 05:06 03. Mission Impossible 2 Orchestra Suite: Part 2 04:49 04. Rush Orchestra Suite 06:19 05. Kung Fu Panda: Oogway Ascends – Orchestra Version 02:06 06. The Da Vinci Code Orchestra Suite (Live) Part 1 (Live) 06:28 07. Part 2 (Live) 05:14 08. Part 3 (Live 04:27 09. Part 4 (Live) 04:23

      10. Sherlock Holmes Fantasy 06:00 11. The Holiday Orchestra Suite 07:31 12. Hannibal: To Every Captive Soul – Orchestra Version 06:56 13. The Lion King Orchestra Suite 08:56 14. Gladiator Orchestra Suite: Part 3, Now We Are Free 04:13 15. Inception: Time – Orchestra Version (Live) 04:46 16. Pirates of The Caribbean Orchestra Suite Part 1, I Don’t Think Now Is The Best Time / At Wit’s End 07:05 17. Part 2, Drink Up Me Hearties Yo Ho 02:50

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