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"In the Garden" (sometimes rendered by its first line "I Come to the Garden Alone" is a gospel song written by American songwriter C. Austin Miles (1868–1946), a former pharmacist who served as editor and manager at Hall-Mack publishers for 37 years. It reflects on Mary Magdalene's witness about the resurrection of Jesus at The Garden Tomb. [1]
Amanda Harberg (born 1973) is an American composer and pianist of classical music whose work has been performed internationally. [1] She is currently on the composition faculty at the Berklee College of Music and has been on the faculty for the Juilliard School advancement program as well as the Mason Gross School of the Arts at Rutgers University.
Garden is a live album by Cecil Taylor recorded at Basel Switzerland, November 16, 1981, and released on the Hat Hut label. The album features seven solo performances by Taylor on a Bösendorfer grand piano and was originally released as a double LP in 1982 and then rereleased as two single CDs entitled Garden Part 1 and Garden Part 2 in 1990.
The lyrics of "In the Garden" contain a line which gives the album its name: "No Guru, no method, no teacher/ Just you and I and nature/And the Father in the garden." Some of the words also fall back to Astral Weeks territory with mentions of "childlike visions", "into a trance" from the song, " Madame George " and "in the garden wet with rain ...
Kevin Kern (born Kevin Lark Gibbs on December 22, 1958) is an American pianist, composer and recording artist known for his new-age compositions. [1] [2] Born legally blind, Kern is aided in studio by SONAR's accessibility and Dancing Dots' assistive music technologies for the vision impaired.
In the Garden (Eurythmics album), a 1981 album by the Eurythmics; In the Garden, a 2007 EP by The Eighties Matchbox B-Line Disaster; In the Garden (Gypsy album), a 1971 album by Gypsy; Coin Coin Chapter Five: In the Garden, 2023 albums by Matana Roberts
The piano is often used to provide harmonic accompaniment to a voice or other instrument.However, solo parts for the piano are common in many musical styles. These can take the form of a section in which the piano is heard more prominently than other instruments, or in which the piano may be played entirely unaccompanied.
His first two pieces to make a mark with a wide public were The Phantom Melody (1911) and In a Monastery Garden (1915), both best known in their orchestral versions, but originally written for cello and piano and for solo piano respectively. [13] For the familiar orchestral version of the second of these pieces the composer published a synopsis:
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