Definition, Betydelse & Anagram | Engelska ordet PIANIST'S

Definition av PIANIST'S

1. böjningsform av pianist

Exempel på hur man kan använda PIANIST'S i en mening

• A pianist's repertoire may include music from a diverse variety of styles, such as traditional classical music, jazz, blues, and popular music, including rock and roll.
• The term "stride" comes from the idea of the pianist's left hand leaping, or "striding", across the piano.
• Reproducing rolls are the same as hand-played rolls but have additional control codes to operate the dynamic modifying systems specific to whichever brand of reproducing piano it is designed to be played back on, producing an approximation of the original recording pianist's dynamics.
• In May 1899 Thorndike gave her first solo piano recital, but shortly afterwards she developed recurrent pianist's cramp, and although she performed in leading concert venues in London – the Bechstein, Steinway and St James's halls – by 1902 it was clear that a musical career would be impossible.
• Exploring music's ability to bring the past back to life, it comprises a selection of evanescent miniatures by Chopin, Debussy, Satie and Valentin Silvestrov which, in the pianist's own words, "conjure atmospheres of fragile reflection, a mirage of what was – or what could have been".
• Other modernistic features are the toccata like sections where the pianist's repeated notes beat with diabolic intensity and special sound effects in the orchestra—for example, the col legno in the strings sound like shuddering or clanking bones.
• Calling upon every intellectual resource and fully exploiting the pianist's technical arsenal, it is at this point where a performer's concentration might wane.
• Carnaval remains famous for its resplendent chordal passages and its use of rhythmic displacement and has long been a staple of the pianist's repertoire.
• It pales, of course, next to the prodigious Concerto by Ravel, which, under Long's magic fingers met another triumph, but it is a valuable asset to the modern pianist's repertoire.
• In an effort to mitigate awkward passages and expand the pianist's range of sonorities, the Czech pianist and pedagogue Vilém Kurz undertook an extensive rewriting of the solo part; the Kurz revision is frequently performed today.
• The recordings that Benko produced, initially for the International Piano Archives, as well as new recordings he made with Nyiregyházi that were issued by Columbia Records, were heatedly discussed for a time due to the pianist's enormous dynamic range and willful interpretive style.
• Ferber was most active as a solo recitalist, the pianist's repertoire being extensive and wide-ranging.
• The Allmusic review by Scott Yanow states "it is particularly interesting to hear the pianist's reworkings of "Lil' Darlin'," "Satin Doll", "Lover Man" and Thelonious Monk's "Rhythm-A-Ning," transforming them into modal masterpieces".
• But the fascinatingly preoccupied, almost abstract blues of the title track displays more layers and implications than any other—from the pianist's minimal, fragmentary blues figures to Peacock's free-associating rejoinders, and DeJohnette's lateral, pattering brushwork.
• 'My Funny Valentine' is a lazy wash of rhapsodic phrasing and cymbal whispers, and the bop classic 'Scrapple from the Apple' finds DeJohnette set a completely contrasting arhythmic pulse against the pianist's doodly, preoccupied skirting around the melody.
• In recent years the work has attracted some notable names in both the speaker's role, including Dietrich Fischer-Dieskau, Jon Vickers, Michael York, Claude Rains, Benjamin Luxon, Patrick Stewart and Gwyneth Jones, and the pianist's role, including Glenn Gould, Jörg Demus, Stephen Hough, Emanuel Ax, and Marc-André Hamelin.
• Since 2011 there have been a series of recording projects with Simon Barker and Brett Hirst featuring Australian guitarist, James Muller, UK pianist's Ivo Neame, Jason Rebello and New York based pianists, Craig Taborn and Luis Perdomo.
• But unlike Monk, Blake brings a kind of European classical sensibility, both melodically and harmonically, to his improvisations" while Jerry D'Souza said "The pianist's thoughts are as fertile as one could ever wish them to be, and he makes fulsome use of them as he enunciates with authority on All That Is Tied, a solo recording made forty years after his first album.
• The accompanimental rhythm in the pianist's left hand is taken from the popular Brazilian dance type called maxixe, while the sentimental melody is reminiscent of the modinha.
• The AllMusic review by Matt Collar said it "features more of the jazz pianist's smart and forward-thinking jazz" and that "Moran reveals himself once again to be a nimble improviser with an ear toward atmospheric and often fractured hypnotic post-bop jazz".

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