Ahmad Jevdet Ismail oglu Hajiyev (June 18, 1917 – January 18, 2002) was one of the major Azerbaijani composers of the Soviet period.
A student of Shostakovich, Hajiyev composed eight symphonies, three poems, the opera Veten (“Motherland”) (in collaboration with Gara Garayev), string quartets, solo piano music, choral and vocal works. He also taught at the Azerbaijan State Conservatory for more than four decades, while serving as a Rector from 1957-1969, and as Professor of Composition.
In 1997, the President of Azerbaijan bestowed upon Hajiyev the country’s highest accolade, the Azerbaijan Order of Glory, on the occasion of his 80th Jubilee, commemorating ‘60 long years of fruitful work which is highly appreciated by the nation and the State’.
To celebrate the centenary of his birth, the Muradov Family Archive has released Piano Collection book 1, with a series of concerts to be held in some of the finest concert halls around the world.
Piano Collection book 1 is brought to us via the ever-enterprising EVC Music Publications in the UK, and can be purchased from the EVC Music website here, where you can also listen to audio samples of most of the pieces (these are MIDI versions rather than performances).
Regular readers will know that I have huge admiration for the independent up-coming publisher Editions Musica Ferrum, whose publications consistently bring high-end quality and creative originality.
In recent months EMF have been adding to their range of publications suitable for intermediate, and younger players, building on the success of their best-selling Cool Beans series by Ben Crosland, and EMF founder Nikolas Sideris’s outstanding Fairyland in Treble. Among the most recent releases, I’m going to take a look at four real gems:
Alison Mathews: Treasure Trove
Simon Hester: Megabytes I: The Private Life of Bugs
I was first introduced to singing rounds as a very young child at Primary school…
It was much later in life that I realised their potential for instrumental use. I can remember being quite miffed that – even though I learnt three instruments – I’d not played one round during any of my instrumental lessons.
I try to incorporate rounds into my piano teaching along with using them constantly in my choir and whole school singing assemblies (I work as a music specialist in a Primary School along side piano teaching).
There was a time, not so long ago at all, where home recordings weren’t really an option for most of us. To get any sort of a decent recording you needed a huge amount of hardware and equipment.
Technology never sits still for long, and home recordings have become a real possibility for musicians, and recordings made in your bedroom can work their way into professional quality pieces of music or demos to send to bandmates, but only if you know what you are doing.
I’ve made it sound so easy, and although it has become a lot simpler, it is important to have an understanding of the basics of recording audio. The following tips are designed to transform your crackly, distant sounding piano recordings into clear, crisp audio.
The ability to write an effective miniature for solo piano – one which is personal but idiomatic, original but accessible – remains one of the true challenges for any composer, and one that many “big names” in classical music have seemingly avoided.
Not so for composer Jan Freidlin, who succeeds not just once but four times in quick succession in his latest publication from Edition Dohr, Four Stories.
I am sure that most piano teachers will be alert to the fact that some pupils coming to lessons are anxious. This post will look at some reasons for that, and offer some suggestions that might help normalise lessons.
The article is written for any player who has ever said – and any teacher who has ever heard – the words:
“It was perfect when I practised it at home this morning…”
Clearly, in order for student and teacher to make the most of any piano lesson we all want to move beyond this point!