Tag Archives: piano

Dr. Maurice Hinson

Posted by MaryO on

hinson

 

I have always respected Dr. Hinson’s work and his music.  So much so that I went to Connecticut to take a class on Piano Pedagogy with him several years ago.  I have also attended several local piano teacher workshops with him.  At one of them, he claimed to remember me from that Connecticut class.  Whether true or not, I treasure that comment and the signature on a piano book he gave me.

We have several of his books at the O’Connor Music Studio and many are available for loan.  If you are interested in buying any for yourself, amazon.com has a great selection.  In addition to those books he has authored, he has edited the works of many composers.  Amazon lists 270 works edited and annotated by Dr. Hinson.

 

From his page on alfred.com:

One of America’s most respected authorities on piano literature, Dr. Maurice Hinson received the Lifetime Achievement Award from the Music Teachers National Association at its Washington, D.C. convention in the spring of 1994, the Outstanding Alumni Award from the University of Florida in 1990, and the Outstanding Alumni Award from the University of Michigan in the fall of 1995. Hailed as a specialist in American piano music, some of his articles appear in the New Grove Dictionary of American Music in the United States.

Dr. Hinson received his Bachelor of Arts degree from the University of Florida and his Master of Music and Doctor of Musical Arts degrees from the University of Michigan. He also studied at The Juilliard School and the Conservatoire National in Nancy, France.

While a Senior Professor of Piano in the School of Church Music at the Southern Baptist Theological Seminary in Louisville, Kentucky, Dr. Hinson’s curriculum included teaching piano, piano literature, and piano chamber music. He performed, lectured, and gave masterclasses worldwide. His books and editions have become classic standards in the studios of serious piano teachers and students the world over.

From his obituary at legacy.com:

Hinson, Dr. G. Maurice, age 84 died November 11, 2015 in the company of his family. Dr. Hinson was Professor and Senior Professor of Piano at the Southern Baptist Theological Seminary from 1957 to 2015, and a member of Broadway Baptist Church. He was also organist-choirmaster of churches in Florida, Michigan and Kentucky from 1943 to 1980. Dr. Hinson received his BA degree from the University of Florida and his MM and DMA degrees from the University of Michigan, and also studied at The Julliard School and the University of Nancy, France (Conservatoire National).

He was the first president of the Greater Louisville Music Teachers Association, and president of the Kentucky Music Teachers Association as well as the Southern Division of the MTNA. He also taught “The Dorsey Class,” a group of selected piano teachers from 1963 to 2015.

Dr. Hinson is the author of 14 books mostly published by Indiana University Press, plus over 100 articles for music publications. He was a senior editor for The Alfred Publishing Company of California. He edited more than 300 editions of classical piano music and recorded five DVDs of piano music.

As Professor of Piano at the Southern Baptist Theological Seminary for 58 years, he taught and nurtured many pianists who now hold distinguished positions in churches and universities throughout the world.

Dr. Hinson received many awards in piano pedagogy and performance. He was awarded the Liszt Commemorative Medal by the Hungarian Government and the Medal of Excellence by the American Liszt Society for his research on the music of Franz Liszt. He was hailed as a specialist in American Piano music and some of his most recent articles appeared in the NEW GROVE DICTIONARY OF AMERICAN MUSIC. He gave recitals, lectures, and master classes in five continents and 50 states.

Hinson was the founding editor of the JOURNAL OF THE AMERICAN LISZT SOCIETY, past editor of THE AMERICAN MUSIC TEACHER, and contributing editor of THE PIANO QUARTERLY and PIANO AND KEYBOARD.

November 3 ~ On This Day in Music

Posted by MaryO on

today

.1587 ~ Samuel Scheidt, German organist and composer

.1801 ~ Vincenzo Bellini, Italian composer

.1911 ~ Vladimir Ussachevsky, Russian-born American composer
More information about Ussachevsky

.1933 ~ John Barry, Academy Award~winning composer

.1941 ~ The classic Jerry Gray arrangement of String of Pearls was recorded by the Glenn Miller Orchestra on Bluebird 78s. The recording featured the trumpet of Bobby Hackett.

.1948 ~ Lulu (Marie McDonald McLaughlin Lawrie), Singer. She changed her name to Lulu (and The Luvvers) in Scotland, early in her career. Married to singer Maurice Gibb

.1954 ~ Adam Ant (Stuart Goddard), Singer

.1956 ~ The classic MGM film, The Wizard of Oz, was first seen on television. The film cost CBS $250,000 to show. The movie was shown 18 times between 1956 and 1976, and you can probably catch it again no matter what year it is.

.1957 ~ Sam Phillips, owner of legendary Sun Records in Memphis, TN, released Great Balls of Fire, by Jerry Lee Lewis. Looking carefully at the original label, one will find credit to Lewis and “his pumping piano.”

.1960 ~ James Prime, Keyboards with Deacon Blue

.1960 ~ “The Unsinkable Molly Brown”, opened on Broadway. The play would become an American theater standard and a smashing career launch for Shirley MacLaine.

.1962 ~ Billboard magazine dropped the “Western” from its chart title. The list has been known as Hot Country Singles ever since.

.1972 ~ Singers Carly Simon and James Taylor were married in Carly’s Manhattan apartment. The couple was said to be the highest-paid couple in the world next to Elizabeth Taylor and Richard Burton. Carly and ‘Sweet Baby’ James would divorce years later, but they are still good friends.

.1990 ~ Mary Martin died

.2000 ~ Mary Hunter Wolf, one of the first female directors on Broadway died at the age of 95. Wolf made her Broadway debut directing the 1944 production of Horton Foote’s “Only the Heart.” The following year, she directed the first black Broadway musical, “Carib Song.” After directing a string of successful plays and musicals, Wolf was hired as an associate director for Jerome Robbins’ “Peter Pan,” starring Mary Martin. In 1947 Wolf was tapped to direct a new musical “High Button Shoes,” but was dismissed by the show’s producers before rehearsals began. Wolf sued, charging that her contract had been broken because she was a woman. Two years later the New York Supreme Court ruled in her favor. During her third year at Wellesley College, Wolf visited her aunt, author Mary Austin, in Santa Fe, N.M. where she found herself introduced into the circle of D.H Lawrence, Willa Cather and Sinclair Lewis. She soon abandoned her studies to pursue a directing career.

Halloween! Toccata and Fugue in d minor by J.S Bach

Posted by MaryO on

toccata-d-minor

Johann Sebastian Bach’s towering monument of organ music, with its deep sense of foreboding, will forever be associated with Halloween.

The piece is recognizable to most and has been featured in many films, including: Dr. Jekyll and Mr. Hyde (1931), The Black Cat (1934), Disney’s Fantasia (1940), Sunset Boulevard (1950), 20,000 Leagues Under the Sea (1954), The Phantom of the Opera (1962), and The Great Race (1965).

This is arranged for very easy piano in PIano Maestro. Get a free copy of the sheet music at IMSLP or borrow a copy from the O’Connor Music Studio.  I have this arranged for organ, piano, duet, 2-piano, simplified…

If you want this in a book with other Bach transcriptions, amazon has this: Toccata and Fugue in D Minor and the Other Bach Transcriptions for Solo Piano, arranged by Ferruccio Busoni.

Here, Virgil Fox performs it on his Allen Digital Touring Organ.

Diane Bish plays the Massey Memorial Organ at the Chautauqua Institution and talks about this instrument.

Mormon Tabernacle Organist, Richard Elliott, performs an eerie rendition of Johann Sebastian Bach’s “Toccata in D Minor” with the Salt Lake Tabernacle pipe organ, the Tabernacle Organ has 11,623 pipes. “Toccata” is often played in the full extent as “Toccata and Fugue in D Minor.” This piece is one of the most famous works in organ repertoire.

Fantasia (1940)

As a bar graph

Just because…one of my new favorites, a mashup of a different Bach d minor work and the Phantom of the Opera.  I bought it at MusicNotes last year, in case anyone wants to give it a try!

Music for Halloween: Funeral March of a Marionette by Charles Gounod

Posted by MaryO on

funeral

The Funeral March of a Marionette (Marche funèbre d’une marionnette) is a short piece by Charles Gounod. It was written in 1872 for solo piano and orchestrated in 1879. It is perhaps best known as the theme music for the television program Alfred Hitchcock Presents, which originally aired from 1955 to 1965.

In 1871-72, while residing in London, Gounod started to write a suite for piano called “Suite Burlesque”. After completing one movement, the Funeral March of a Marionette, he abandoned the suite and had the single movement published by Goddard & Co. In 1879 he orchestrated the piece. The instrumentation is: piccolo, flute, 2 oboes, 2 clarinets in A, 2 bassoons, 2 horns in D, 2 trumpets in A, 3 trombones, ophicleide, timpani, bass drum, triangle, strings. The work is in the key of D minor, with a central section in D major. Various arrangements by other hands exist.

There is a program underlying the Funeral March of a Marionette: The Marionette has died in a duel. The funeral procession commences (D minor). A central section (D Major) depicts the mourners taking refreshments, before returning to the funeral march (D minor).

The score contains the following inscriptions in appropriate places:

La Marionnette est cassée!!! (The Marionette is broken!!!)
Murmure de regrets de la troupe (Murmurs of regret from the troupe)
Le Cortège (The Procession)
Ici plusieurs des principaux personnages de la troupe s’arrêtent pour sa rafrâichir (Here many of the principal personages stop for refreshments)
Retour a la maison (Return to the house). (Wikipedia)

Download this music in several versions from IMSLP.  Click on Arrangements and Transcriptions.  There are also some arrangements for piano at the O’Connor Music Studio, including an advanced level.  This is arranged for three levels starting with very easy piano in Piano Maestro.

On Alfred Hitchcock:

From Faber Piano Adventures Performance Book Level 3B No.7 (Also available in the OCMS Library):

Piano 4-hands:

With animation:

On organ:

Mannheim Steamroller:

And, finally, a light show!

Music for Halloween: In the Hall of the Mountain King by Edvard Grieg

Posted by MaryO on

hall-mountain

“In the Hall of the Mountain King” is a piece of orchestral music composed for the sixth scene of act 2 in Henrik Ibsen’s 1867 play Peer Gynt by Edvard Grieg. It was originally part of Opus 23 but was later extracted as the final piece of Peer Gynt, Suite No. 1, Op. 46. Its easily recognizable theme has helped it attain iconic status in popular culture, where it has been arranged by many artists, including for the piano.

The translation of the title of this piece from Norwegian isn’t quite literally “mountain king”. The “king” in this instance is actually a troll that Peer Gynt invents in a fantasy. The introduction of this movement is, “There is a great crowd of troll courtiers, gnomes and goblins. Dovregubben sits on his throne, with crown and sceptre, surrounded by his children and relatives. Peer Gynt stands before him. There is a tremendous uproar in the hall.”

Borrow a copy of the sheet music from the O’Connor Music Studio.  I have this arranged for piano, duet, 2-piano, simplified…

8 part vocal orchestra (plus a tiny pair of cymbals)

Pianist Paul Barton

Solo piano sheet music – Video Score

Orchestral version

Organ

Music for Halloween: Danse Macabre by Camille Saint-Saëns

Posted by MaryO on

danse-macabre

Danse macabre, Op. 40, is a tone poem for orchestra, written in 1874 by French composer Camille Saint-Saëns. It started out in 1872 as an art song for voice and piano with a French text by the poet Henri Cazalis, which is based on an old French superstition. In 1874, the composer expanded and reworked the piece into a tone poem, replacing the vocal line with a solo violin.

With a title that includes the word “macabre”, you can tell it’s a great piece for Halloween. This is by far the most famous work associated with the holiday, and with good reason. It is a tone poem inspired by a French legend that says “Death” appears at midnight on Halloween to call forth the dead from their graves to dance for him. He plays the fiddle while skeletons dance until dawn.

Get a free copy of the sheet music at IMSLP (Look for Arrangements and Transcriptions) or borrow a copy from the O’Connor Music Studio.  I have this arranged for organ, piano, duet, simplified…

Amazon has a great Dover edition for solo piano.  This splendid compilation features a variety of the composer’s best piano works, all reproduced from authoritative sources. Taking its title from the popular orchestral work “Danse Macabre” (presented here in the brilliant arrangement by Liszt), this collection also includes “Allegro appassionato,” “Album” (consisting of six pieces), “Rhapsodie d’Auvergne,” “Theme and Variations,” plus six etudes, three waltzes, and six etudes for left hand alone.

This video originally aired on PBS in the 1980s:

 

For two pianos:

 

Piano Tutorial:

 

Orchestra:

Happy Birthday, Franz Liszt!

Posted by MaryO on

liszt-quote

Franz Liszt was born in Raiding, near Ödenburg, October 22, 1811 and died in Bayreuth, July 31, 1886. He was a Hungarian composer and pianist who was a major influence during the romantic period. Liszt was an outstanding pianist at seven, composed at eight and made concert appearances at nine. In addition to being a piano virtuoso, he was also a critic, conductor, city music director, literary writer and transcriber of the works of other composers. He transcribed Beethoven’s Symphonies for the piano.

Franz Liszt began his career as the outstanding concert pianist of the century, who, along with the prodigious violinist Niccoló Paganini (1782-1840), created the cult of the modern instrumental virtuoso. To show off his phenomenal and unprecedented technique, Liszt composed a great deal of music designed specifically for this purpose, resulting in a vast amount of piano literature laden with dazzling, and other technical marvels. In this vein, Liszt composed a series of virtuosic rhapsodies on Hungarian gypsy melodies, the best-known being the all too familiar Hungarian Rhapsody no. 2. Liszt developed the rhapsody as a form of serious music. This kind of music is worlds apart from the generally more introspective, poetic music of pianist-composer Frédéric Chopin.

Liszt was wildly handsome and hugely talented. He was extremely popular in Paris during the 1830’s. It is said that women actually fainted at his piano recitals. He was the first to position the piano so that its lid reflected the sound and the audience could see his profile as he performed.

Liszt was the first to write a tone poem, which is an extended, single-movement work for orchestra, inspired by paintings, plays, poems or other literary or visual works, and attempting to convey the ideas expressed in those media through music. Such a work is Les Préludes, based on a poem in which life is expressed as a series of struggles, passions, and mysteries, all serving as a mere prelude to . . .what? The Romantic genre of the symphonic poem, as well as its cousin the concert overture, became very attractive to many later composers, including Saint-Saëns, Tchaikovsky, Dvorák, Sibelius, and Richard Strauss.


Liszt’s birthday

anniversary of Liszt’s death

Listen to Liszt’s transcription of Meyerbeer’s Hellish Waltz from Robert du Diable, which probably caused more public commotion than any other piano piece in history.


Read quotes by and about Liszt

Liszt was the first recitalist

In Praise of Pianos and the Artists Who Play Them

History of the Piano

Franz Liszt

Music for Halloween: “Catacombs” from “Pictures at an Exhibition”

Posted by MaryO on

Modest Mussorgsky composed this multi-movement work in memory of his friend, artist Viktor Hartmann. Each movement corresponds to a picture in Hartmann’s gallery, with one pairing with Hartmann’s Paris catacombs. The painting depicts Hartmann and two other men walking through the labyrinthine catacombs, illuminated only by lamplight.

The movement is in two distinct parts. Its two sections consist of a nearly static Largo consisting of a sequence of block chords with elegiac lines adding a touch of melancholy and a more flowing, gloomy Andante that introduces the Promenade theme into the scene.

The first section’s alternating loud and soft chords evoke the grandeur, stillness, and echo of the catacombs. The second section suggests a merging of observer and scene as the observer descends into the catacombs. Mussorgsky’s manuscript of “Catacombs” (shown right) displays two pencilled notes, in Russian: “NB – Latin text: With the dead in a dead language” and, along the right margin, “Well may it be in Latin! The creative spirit of the dead Hartmann leads me towards the skulls, invokes them; the skulls begin to glow softly.”

The whole suite is really good – there is a copy of Mussorgsky — Pictures at an Exhibition (Alfred Masterwork Edition) in the O’Connor Music Studio, if you want to give it a try.

Piano

Orchestra

Symphony Band

Music for Halloween: Dreams of a Witches’ Sabbath from Symphonie fantastique

Posted by MaryO on

berlioz-symphony-fantastique
The final movement is the best known part of the symphony, thanks to its use in the Julia Roberts movie, Sleeping With The Enemy. It features a four-part structure, which Hector Berlioz described in his own program notes from 1845 as follows:

“He sees himself at a witches’ Sabbath, in the midst of a hideous gathering of shades, sorcerers and monsters of every kind who have come together for his funeral. Strange sounds, groans, outbursts of laughter; distant shouts which seem to be answered by more shouts. The beloved melody appears once more, but has now lost its noble and shy character; it is now no more than a vulgar dance tune, trivial and grotesque: it is she who is coming to the Sabbath… Roar of delight at her arrival… She joins the diabolical orgy… The funeral knell tolls, burlesque parody of the Dies irae, the dance of the witches. The dance of the witches combined with the Dies irae.”

The Dies irae melody is one of the most-quoted in musical literature, appearing in the works of many diverse composers.

The traditional Gregorian melody has also been used as a theme or musical quotation in a number of  classical compositions, notable among them:

Free sheet music from IMSLP for the basic Dies irae

Free sheet music from IMSLP for the basic Symphonie fantastique (look under Arrangements and Transcriptions)

The basic Gregorian Chant

An animated version of the  Dreams of a Witches’ Sabbath from Symphonie fantastique.  Can you hear the Dies irae in this?  It starts around 3:18.

Leonard Bernstein conducts the “Orchestre National de France” in Berlioz’s Symphonie Fantastique
5th Movement

Arranged for piano

A listening guide

Music for Halloween: Jaws

Posted by MaryO on

Nearly everyone can figure out the first 2 notes to this spooky piece – just play the B and C notes really low on your keyboard!  It doesn’t seem logical that just two notes could cause such a sense of foreboding, but John Williams managed it. His soundtrack to Spielberg’s Jaws has been keeping people out of the sea since 1975.  This piece is available in Halloween Favorites (Big-note Piano) and many others.

John Williams conducts his theme from Jaws with the Boston Pops Orchestra at Tanglewood.

Piano interpretation by Giorgio Rizzarelli

Piano duet

For guitar