Michael Proksch (*1958) Piano Poetry
34 Piano Pieces for All Sides of Life [pno]
Proksch recorded all the pieces himself on the enclosed CD in order to provide orientation for the interpreters.
Michael Proksch plays Piano Poetry on YouTube.
56 pages | 23 x 30,5 cm | 252 g | ISMN: 979-0-004-18419-6 | Softcover
More and more people are looking for a way to offset the demands of everyday life by making music. Particularly welcome are pieces that often evoke poetic, meditative moods and are good for the soul through their simple harmonies. The majority of the pieces in this book arose from this premise. They also explore the multi-faceted expressive possibilities of the piano as well: they can convey exuberance, comfort, joy, longing, compassion, mourning, anger and ecstasy, but also mystical moments. Short programmatic annotations in the musical text, along with the titles and the music on the CD, awaken inner relationships that infuse more spirit into ones playing. And the possibility of expressing feelings while playing can also be a motivation to expand ones own piano-technical resources.
„Dans la sélection de Michael Proksch, tout est propice à l’improvisation, plus classique que réellement jazz. Le CD joint donne une bonne idée.”
More and more people are looking for a way to offset the demands of everyday life by making music. This book thus contains music that evokes positive feelings and does good to the soul through simple harmonies and introspective moments, but that also explores the multi-faceted expressive possibilities of the piano: pieces that can convey exuberance, comfort, joy, longing, compassion, mourning, anger and ecstasy, but also mystical moments. Furthermore, I have taken into account – albeit with a touch of irony – the predilection of many piano aficionados for the genre of film music.
Culled from the rich stocks of classical piano literature, some of the pieces refer directly to a specific model. This way they are linked together with frequent listening experiences and awaken one’s curiosity about the generally more difficult original work, whose preparation is considerably simplified through such guidance.
The titles and the succinct programmatic annotations often suggest the mood and feelings that are expressed in the piece in question. Such verbal aids – other than purely dynamic indications and tempo markings – awaken inner associations that stimulate diversified agogics and sonorities, and infuse more spirit into one’s playing. The recordings on the enclosed CD can serve as a source of inspiration, but should not stand in the way of a personal interpretation.
For his rewarding collaboration I thank my editor Friedhelm Pramschüfer, without whom the present collection would not have taken on such variety, as well as the piano pedagogue Sigrid Naumann for some very important tips.
Munich, Spring 2013