pianists (11 Ergebnisse)

Zustand: New.

Zustand: New. 2008. Sheet music. . . . . . Books ship from the US and Ireland.

Taschenbuch. Zustand: Neu. Neuware - This is a reproduction of a book published before 1923. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book. ++++ The below data was compiled from various identification fields in the bibliographic record of this title. This data is provided as an additional tool in helping to ensure edition identification: ++++ Violinists And Piantists VIOLINISTS AND PIANISTS.

Bold Signature on paper, 11.5 x 6cm, laid down on slightly larger pink paper, some glue staining marginally affecting the "S.". See Image.

Zustand: Near Fine. First edition in publisher's original illustrated stiff card wrap covers [soft back]. 8vo. 8½'' x 5¼''. 'To Richter (no first name necessary), warm greetings to the best pianist in the Soviet Union - indeed in the whole world.' Prokofiev. Throughout a life dedicated to music, Richter maintained a stubborn silence about his own ideals and aspirations. Here at last he opens up his heart in these exceptional interviews with Bruno Monsaingeon, who became close to Richter not long before the pianist's death in 1995. These conversations take us on a journey which begins with Richter's childhood memories, follows his early career and his development into 'an artist of the people', and finally charts his rise to international acclaim. Richter's personal notebooks, kept for nearly thirty years, constitute an unparalleled witness to the music of our time. The pianist writes with precision, humour and clarity and is uninhibitedly himself. These are the private thoughts of a nonconformist, one of the greatest performers of the century, yet one whose life was inextricably bound to the history of the USSR. Contains [xxxii] 432 printed pages of text with monochrome photographs throughout. Slight age tanning to the closed page edges and in near Fine condition, no dust wrapper as issued. Member of the P.B.F.A. ISBN 057122511X MUSIC [Classical].

Zustand: New. ersetzt HN240|Feder, Georg, ed|Urtextausgabe|55 international gefeierte Pianisten konnten dafuer gewonnen werden, sich|jeweils einer Haydn-Klaviersonate als Pate anzunehmen und sie mit ihrem|persoenlichen Fingersatz zu versehen - ein Who is who der zeitgenoe.

Zustand: New. ersetzt HN241|Feder, Georg, ed|Urtextausgabe|55 international gefeierte Pianisten konnten dafuer gewonnen werden, sich|jeweils einer Haydn-Klaviersonate als Pate anzunehmen und sie mit ihrem|persoenlichen Fingersatz zu versehen - ein Who is who der zeitgenoe.

Pas de couverture. Zustand: Bon. Rare - Guestbook page signed (on both sides) in person in Brussels in 1956. + Photo (John Browning) 15x15 cm (recent print). Size : 17x13 cm. Condition : please see scans. Certificate of Authenticity and lifetime guarantee. Signé par l'auteur.

Pas de couverture. Zustand: Assez bon. Nice card signed in June 2009. A magazine photo is stuck on the card. Size : 15.5x11.5 cm. Condition : please see scans. Provenance : Gérard Leman collection. Certificate of Authenticity and lifetime guarantee. Signé par l'auteur.

Oblong-8vo. 6 pp. Long letter to the Spanish pianist Antonio Baciero (geb. 1936).Ahora, a esperar y quizás otros dos años en tener una contestación tuya. Porque, Dios sabe cuál será tu nueva dirección.Solo conocía estos casos por la prensa de provincias donde a veces suele leerse: "Betanzos. Recibe una postal a los 15 años de su expedición, etc." Pero resulta que sin ir a Betanzos, también en Madrid pasa lo mismo.Ayer he recibido desde la Comisaría de la Música tu carta.Ya sabrás que esta "sede" (de tantas cosas.) trasladó sus oficinas de Alcalá al Teatro Real. Y al mismo tiempo, cambio de Ministro incluyendo el último gato, fórmulas, costumbres, normas. En fin: lo de siempre.En una carpeta desvencijada, en cuya polvorienta tapa se transparentaba un vago título de "Varios". Carpeta que, entre cascotes, yeso, pintura, urgencias de traslado, y docenas de nuevos "reestructuradores" (léase: los nuevos Antonio de las Heras), quedó para más tarde. Como todo lo que es "Varios".Pensar que me han privado de 2 años de placer al leer tu carta los discípulos de Santa Cecilia, es para asesinarlos.¿Has venido por Madrid en todo este tiempo? Quizás sí, pero no habrás querido saber nada de mí ignorando mi viva la Pepe.Yo sé que iré a Düsseldorf en septiembre próximo para las conocidas "Noches" de Don Manué con Rafael Frühbeck. Si sigues en Alemania y viviendo en la misma dirección, tentaciones me dan de acercarme hasta ahí, si es que ese "ahí" no está a la otra punta del país. Y aun así, lo haría gustosísimamente.Y por la sencilla razón de que eres una persona que me caes de bien. Como dicen ahora, aparte de admirarte como artista y como pianista.Mira Antonio, hablándote a lo bruto:Por Achúcarro no iría ni a Aranjuez.Por Orozco ni a Toledo, que toca dentro de 2 semanas, y el hombre toca un rato largo.Por etc. etc. ni a San Bernardo 44. Pero por ti haría peregrinación a pie. Solo por la emoción de oírte unos compases de Bach.Tu forma de realizar me conmueve hasta lo más íntimo, y un dulce "dejarse llevar" me proporciona los momentos más deliciosos de sabores auditivos.A veces te oigo grabaciones por Radio Nacional que me conmueven. Y siempre he pensado con nostalgia el que nos conociéramos tan oficialmente y tan poco humanamente. Siempre lo lamenté.Pero tu carta, aunque irritantemente tarde, me resarce de un tiempo perdido, porque ahora (aunque ya no nos viésemos más) sí noto tu mano con la mía en amistoso apretón, más tangible y verdadero que cuando nos dimos la mano en el Conservatorio.No quiero causarte más. Solo decirte que deseo vivamente una noticia tuya de vez en cuando, asegurándote que soy de tus más grandes admiradores. Te lo digo desde mi corazón."- Aus der Autographensammlung des spanischen Pianisten Antonio Baciero (geb. 1936).

Attractive collection of portraits of five jazz greats, those of Paul Bley and John Lewis are vintage prints from the studio of Burt Goldblatt, with wet stamps on verso. Goldblatt's New York Times obituary describes him as "a prolific designer of moody jazz LP album covers. In the early 1950s, after the introduction of the LP, the most progressive American cover designs were created for jazz albums, and Mr. Goldblatt was among the pioneers in establishing the cool-jazz style. It encompassed black-and-white portraits and studio photographs, inspired by film noir, as well as gritty street scenes, often abstractly overlaid with flat colours, evoking a sense of urban night life". The study of Paul Bley shows him performing at the Newport Jazz Festival, where Goldblatt was very much the house photographer, publishing an illustrated history of the festival in 1977. Bley, in the avant-garde of developments in the music, "has produced vivid, vital jazz couched in an advanced and challenging idiom" (Cook & Morton). That of John Lewis - leader of the MJQ, one of the most successful small groups in jazz - is an intimate close-up shot of him at the keyboard. Bill Evans is shown standing at the keyboard working through some changes with another musician, perhaps drummer Kenny Clarke; the figure at Evans's elbow may be fellow-pianist Hank Jones. Similarly, Tommy Flanagan, sporting a flat cap and plaid shirt, is going over material with drummer Roy Haynes. Flanagan is perhaps best known for his work accompanying Ella Fitzgerald and Tony Bennett, emerging in the '70s and '80s as "a bebopper of gentlemanly distinction" (Cook & Morton). The shot of Wynton Kelly is a delightful unguarded portrait, showing him at the piano smiling and clearly in conversation, sporting a hat with upturned brim and hip suit. Like Evans, Kelly played on Miles Davis's timeless album Kind of Blue and is described by the All About Jazz website as "a superb accompanist loved by Miles Davis and Cannonball Adderley". Richard Cook & Brian Morton, The Penguin Guide to Jazz Recordings, eighth ed., 2006. Five original silver gelatin prints (each 254 x 200 mm). Bley: identified on verso in black felt tip, Burt Goldblatt wetstamp; Evans: identified on verso in pencil; Flanagan: identified on verso in pencil; Kelly: ghost of tape marks on verso; Lewis: identified on verso in blue ballpoint, Burt Goldblatt wetstamp. Very slight blue ink smudging to the front of the image of Bley, otherwise all in excellent condition.