Nuotteja ja kirjoja kaupassa 58 717 kappaletta ● Erikoistuotteet tilauksesta
Avoinna ma-pe klo 11-18 | puh. 020 7070443 | Musiikkitalo, Mannerheimintie 13a B, 00100 HELSINKI | ostinato@ostinato.fi
Wessman
Ellenin alttoviuluvihko - 9 helppoa kappaletta (vla,pf)
Hinta: 17,50
€
Varastossa
Ellen's viola album - Nine easy pieces for viola and piano
Harri Wessman's compelling and cheerful writing for young musicians results in numerous works. Ellen's viola album (2012) consists of nine pieces for viola and piano. The viola part utilizes flageolets and higher positions, helping the left hand move freely and gain good positions.
Movements:
Visegrád
Carita's Song (Caritan laulu)
Dorian March (Doorinen marssi)
The Third Avenue (Kolmas linja)
Clumsy (Kömpelö)
The Slide (Luisti)
Carelian Dance (Röntyskä)
Let's Remember Johannes (Muistetaanpa Johannesta)
Perpetuum Mobile (Ikiliikkuja)
Harri Wessman (b. 1949) is interested in all aspects of music that may be expressive, without in any way ignoring the possibilities of melody. He himself describes his harmonic method as a kind of contrapuntally treated jazz harmony. During recent years pedagogic music has become a more and more central area in his output with an emphasis on creating repertoire for budding musicians, from beginners to young professionals. “I don't write children's music. Stylistically I write in the same way as for professionals; technically, the pieces just have to be easier to play.”
Harri Wessman's compelling and cheerful writing for young musicians results in numerous works. Ellen's viola album (2012) consists of nine pieces for viola and piano. The viola part utilizes flageolets and higher positions, helping the left hand move freely and gain good positions.
Movements:
Visegrád
Carita's Song (Caritan laulu)
Dorian March (Doorinen marssi)
The Third Avenue (Kolmas linja)
Clumsy (Kömpelö)
The Slide (Luisti)
Carelian Dance (Röntyskä)
Let's Remember Johannes (Muistetaanpa Johannesta)
Perpetuum Mobile (Ikiliikkuja)
Harri Wessman (b. 1949) is interested in all aspects of music that may be expressive, without in any way ignoring the possibilities of melody. He himself describes his harmonic method as a kind of contrapuntally treated jazz harmony. During recent years pedagogic music has become a more and more central area in his output with an emphasis on creating repertoire for budding musicians, from beginners to young professionals. “I don't write children's music. Stylistically I write in the same way as for professionals; technically, the pieces just have to be easier to play.”
