Born in 1939, he studied piano from 1957-1962 at the ‘Franz Liszt’ University for Music in Weimar, where he also later taught as a lecturer for jazz and entertainment music from 1968-1984. In doing so, he always manages to uniquely combine his work as a pianist, composer, arranger and band leader with his commitment to teaching music to young people. Manfred Schmitz may well be one of the most industrious musicians of the present day. What is special about these works is that each component (piano accompaniment books, instrument parts, and the play-along CD with a piano accompaniment) can be purchased individually. The pieces accompany students through the year, including tunes for a “Circus” in the “Holiday”, or a “Pop” or “Birthday Party”. This material provides teachers and students with a comprehensive repertoire for recitals and concerts. “10 RAPsodies in Concert” (ranging from medium to challenging) is ideal for experienced players. The pieces have been adapted to different playing levels: in “A Little Pop Music”, the pieces are graded from very easy to moderately difficult “Pop Romance” contains compositions varying from easy to challenging. The pieces can be played either with a piano accompaniment, or in unison in a duo, trio or quartet. In collaboration with experienced instrument teachers, Manfred Schmitz has created pieces specially designed for the violin, viola, cello and flute. By combining classical playing techniques with popular sound, his aim has always been for students to have fun whilst learning. In his many years of practical experience he has produced various compositions which are published in three works. Manfred Schmitz writes music that aims to inspire young musicians. It is important to me that the music of “POP ROMANCE” is available to these instrumentalists as well. In order to maintain that each composition is a bonafide “original” for each instrument, alternate octaves have sometimes been introduced and the melody, the compositional logic of the piece, has been newly shaped to fit the tonal character of each respective instrument. The solo voice above the piano part serves as melodic information when playing together with viola, cello or flute. “POP ROMANCE”, like “A LITTLE POP MUSIC”, was originally written for violin and piano. Here such anticipations should be dealt with more delicately. In a musically expressive spot, such an anticipation should be accented more intensely or aggessively than in a singing, melodic line. The varied pieces within “POP ROMANCE” demand sophisticated interpretation from the soloist with regard to all articulations and the accentuation of anticipations. But the CD can serve as an aid when studying alone when a pianist is not available. To become one with the harmonic progressions, to subordinate oneself to the leading character of the piano, to match intensities at interpretive high points, to be able to wait for each other, to allow the created sound to develop with time, to find good dynamic shadings, - this can all only happen “live” in the immediate communication between two music making partners. This joint development of an interpretive concept can then proceed with plenty of background information and a solid feeling for the desired goal and all tempo-related details can be addressed. ![]() Tracks 28-38 on the CD are the 11 titles from “POP ROMANCE” and can serve as a preliminary practical and musical orientation before the “live” phase begins. ![]() The solo part of this composition offers an extensive number of individual, interpretive possibilities.įor the pieces from “A LITTLE POP MUSIC” and “POP ROMANCE”, a play-along CD is available (sold separately). Naïve's exceptional recording gives Gastinel vivid sound and credibly close presence.Considering its level of difficulty, “POP ROMANCE” is the progressive link between “A LITTLE POP MUSIC” and “POP MUSIC for Violin & Piano”. Gastinel is a passionate and compelling performer with a fresh take on these classics, and her dazzling technique keeps her among the world's virtuosos. ![]() For most of the performances, Gastinel is joined by her longtime accompanist, François-Frédéric Guy, except for the Schubert and Schumann chamber works, where she is accompanied by pianist Claire Désert, and the Schumann Cello Concerto, where she is capably supported by Louis Langrée and the Orchestre Philharmonique de Liège. Gastinel's recordings of the complete cello sonatas and variations for cello and piano of Ludwig van Beethoven take pride of place on the first and second CDs, and cello works by Franz Schubert, Robert Schumann, and Johannes Brahms occupy the remaining discs. Romantique is Anne Gastinel's 2015 collection of recordings of early Romantic cello repertoire, originally released between 19, though some of this material was reissued in a triple-disc package in 2007.
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