Lisa LadleIntro to Music Fall 2013

DAVID LANZ

•Born in Seattle, Washington June 28, 1950

• Inspired by the music of his mother and grandmother, David began playing the piano at the

age of 5•Played with several group and

bands of different genres including pop, funk, and jazz• Began practicing yoga and studying eastern philosophy

which helped direct his musical path.

•Heartsounds was his first album in 1983•Commercial breakthrough with Cristofori’s Dream in

1988•Cristofori’s Dream topped Billboard charts for 27

consecutive weeks•Composed as a dedication to Bartolomeo Cristofori,

the man who invented the piano

•Grammy Award nominee•Leader on the Billboard Charts after 3 decades of

producing music•20 recording released and 5 million records sold

Cristofori’s Dream

Cristofori’s Dream was released in 1988 on the album “Heartsounds”. It was written as a tribute to Bartolomeo

Cristofori who invented the piano in the 17 th century. Lanz has stated that his inspiration for this piece came

from a gift a received from a friend. The book “Passion for the Piano” by Judith Oringer, which highlights various pianists throughout history. As one of the most well-

known and respected pieces of new age literature this song has been redone and recreated time and time again. In 2012, David Lanz himself released Cristofori’s Dream… Re-envisioned, which he says incorporates improvisations and slight variations from earlier recordings. Even three decades later, Cristofori’s Dream continues to be a staple

in the repertoire of piano students around the world.

•Originally released in 1985 on the album “Nightfall”•Leaves on the Seine has appeared on six of his albums

•Inspired by his experience on a Parisian fall morning as he sat by the Seine and watched the leaves carried away

LEAVES ON THE SEINE

•0:00-0:20: The music begins softly, with just a simple repetition in the right hand alone. It gradually moves up the scale and then returns to it’s starting position

•0:20-1:04: The same scale is played an octave higher as the left hand joins in and plays a melody almost mirroring what the right hand is playing. Violins are

introduced to complement the melody on the piano

•1:04-1:42: Here, the beginning rhythm and melody are repeated but at a higher octave. The left hand keeps a steady beat while a variety of notes are played with

the right hand.

•1:43-2:10: The second clip of music is now repeated again with right hand and left hand accompanying each other mimicking each other with rhythm and sound.

Violins are now added to the piano.

LISTENING GUIDE:CRISTOFORI’S

DREAM

LISTENING GUIDE: CRISTOFORI’S DREAM

• 2:10-2:55: The piece begins to build here. The melody returns to what we heard in the beginning and the violins no longer play an accompianemen but rather join in playing the core melody.

• 2:55-3:12: The pulse is now kept by the rhythm of the violins. Not only does the rhythm begin to intensify but the sound as well as the right hand gets louder and strikes the keys with more determination.

• 3:12-3:20: The original melody now returns but continues to build. Different dynamics are heard here as there is a gradual crescendo followed by a subtle diminuendo.

LISTENING GUIDE:CRISTOFORI’S DREAM

3:20-3:50: The melody is repeated but interest builds as the dynamics change.

3:50-4:42: The violin is the focus here. The rhythm picks up and the melody sounds similar to that in the beginning but with added rhythmic complexity.

4:42-6:10: The soft, tinkering melody returns as the song slows and eventually fades.

0:00-0:20: A simple melody is played with the right hand and the left hand is playing single notes and simple chords to support the melody.

0:21-0:41: The same pattern and melody is repeated here but slightly louder in piano and slightly faster.

0:42-1:02: This next segment is played with slightly more intensity as the texture of the song is enhanced.

1:03-1:20: We now hear a crescendo as the melody intensifies. The same melody is heard here, but eighth notes now create depth as they provide more texture and variety to the song.

1:21-1:59: The meter changes as you can hear an emphasis on every other note. After about 20 seconds the feeling and tempo change and once again we return to the

soft, pianissimo sounds we heard at the beginning of the song. As the song continues and intensifies you can hear how this diminuendo is setting the stage for the next part of the song.

LISTENING GUIDE: LEAVES ON THE SEINE

2:00- 2:30: We now hear a run of eight notes played by the right hand. The melody gives a waterfall effect as the notes run up the

scale and tumble back down the keyboard

2:31-2:48: Once again the melody return to that of the beginning. It is played at an average dynamic and tempo however; the occasional

eight note creates more interest in the melody.

2:49-3:30: We then hear the song pick up and again plays the melody in chords and eight notes with an emphasis on every other beat. This time, we hear a diminuendo that leads right into the next portion of the song. Before where there has been a slight break in the music

between tempo and meter changes, now there is no pause. The constant flow provides more continuity and grace.

LISTENING GUIDE: LEAVES ON THE SEINE

3:31- 4:08: The melody once again picks up and quarter notes become eighth notes and the sound intensifies. Keeping in mind the title of the song and envisioning the water and the leaves as they are carried down the river, this portion of the song sounds

allows you to see the water begin to flow faster and faster leading to a waterfall and as the notes begin to move down the scale you

can easily envision the leaves being quickly taken down the river.  

4:09- 4:53: The remainder of the song is played just as in the beginning as we resume slow, pianissimo. You can see the leaves gently swirling in the water as the current slows and ultimately

come to a stop as the river flow more slowly and more slowly until they reach the end and gently fade away.

LISTENING GUIDE: LEAVES ON THE SEINE

www.davidlanz.com

www.allmusic.com

REFERENCES