View allAll Photos Tagged PianoLessons
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Henriette Ronner-Knip, Amsterdam 1821 - Ixelles 1909
Klavierstunde / Piano lesson
Tylers Museum, Haarlem, NL
It seemed that the French seagulls are much less ferocious than the British ones...
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About Natasha at www.pianolessons-london.co.uk
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About Natasha at www.pianolessons-london.co.uk
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About Natasha at www.pianolessons-london.co.uk
Please don't use this image on websites, blogs or other media without my explicit permission
© All Rights Reserved to Natasha Loresch
About Natasha at www.pianolessons-london.co.uk
Please don't use this image on websites, blogs or other media without my explicit permission
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Every Tuesday we are at piano lessons for about 2 hours or longer. It is a highlight of my week as I get to hear my kids play all of what they worked so hard on all week!
About Natasha at www.pianolessons-london.co.uk
Please don't use this image on websites, blogs or other media without my explicit permission
© All Rights Reserved to Natasha Loresch
About Natasha at www.pianolessons-london.co.uk
Please don't use this image on websites, blogs or other media without my explicit permission
© All Rights Reserved to Natasha Loresch
The squirrel was utterly frozen for a few moments gazing at his beloved on the tree.
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Part of the 2014 Paul Smith exhibition at the London Design Museum. A highly interesting personality.
About Natasha at www.pianolessons-london.co.uk
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and our lives strings,
we'd be sailing around it
on paper boats
made from music sheets,
with the sweetest of tastes
in our mouths
and the nicest of melodies
in our ears and hearts....
I can't think of a suitable application for this so I'm poking a fish with a rolled up Evening News instead.
When I look at this shot of the inside of a grand piano, it never fails to amaze me that an instrument with this much complexity became as popular as it has. Thousands of parts? Houndreds of pounds? Rediculously expensive? "It'll never catch on..."
The creation of a grand piano is a fantastic process, check out many of the piano manufacturer's videos over at YouTube.
David Sprunger
Bain News Service,, publisher.
John Phillip Sousa, 1st, 2d, & 3d
[between ca. 1915 and ca. 1920]
1 negative : glass ; 5 x 7 in. or smaller.
Notes:
Title from data provided by the Bain News Service on the negative.
Photo shows composer and conductor John Philip Sousa, with his son and grandson at a piano.
Forms part of: George Grantham Bain Collection (Library of Congress).
Format: Glass negatives.
Rights Info: No known restrictions on publication.
Repository: Library of Congress, Prints and Photographs Division, Washington, D.C. 20540 USA, hdl.loc.gov/loc.pnp/pp.print
General information about the Bain Collection is available at hdl.loc.gov/loc.pnp/pp.ggbain
Higher resolution image is available (Persistent URL): hdl.loc.gov/loc.pnp/ggbain.29234
Call Number: LC-B2- 4998-10
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Best viewed on black:
bighugelabs.com/flickr/onblack.php?id=2415550724&size...
This is the Our Lady of Czestochowa Catholic Church or as its marketed "Our Lady’s Church on the Waterfront” in Jersey City, NJ. The church building is small but beautiful in its own way esp as a small neighborhood church.
Piano lessons were going on when I took this however the piano teacher (pictured on far right front) was most gracious in allowing me to poke around and take some images.
Interesting excerpt on the church from the New York Times - July 2001:
To the dwindling Polish community in this waterfront town bustling once again -- the changes at the local church say it all.
Call it the tale of Our Lady of the Upwardly Mobile.
''Gather Us In,'' a hymn sung during Mass at Our Lady of Czestochowa Roman Catholic Church near the booming waterfront last Sunday, opened with the lines, ''Here in this place, a new light is streaming/Now is the darkness vanished away.''
Yet that new light, however divine, has cast stark changes over the historically Polish parish in recent years as the local pastor -- with the backing of the authorities at the Archdiocese of Newark -- tries to gather in the young urbanites who have flocked to the Paulus Hook neighborhood that surrounds Our Lady of Czestochowa.
On a mission to broaden the appeal and maximize the efficiency of the parish, which also includes a school, a community center and some choice real estate, the pastor last month eliminated the Polish-language Mass that had been a tradition at Our Lady of Czestochowa in the century since Polish Catholic immigrants bought the gray stone church from upwardly mobile Episcopalians.
But in a move that could make the most shameless real estate agent blush, the Rev. Thomas Iwanowski has sought to play down Our Lady of Czestochowa's very name. He has done that with what he calls a tag line painted above the church's double oak doors: Our Lady's Church on the Waterfront.
The new logo -- conceived by an advertising executive -- uses only the letters OLC.
''When the wind blows, things change,'' Father Iwanowski said during an interview in his office in the rectory next to the church. ''When the spirit of God comes, things change. Right now, change is involved here.''
Website of the church: www.olcjc.org/olc.html
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Please don't use this image on websites, blogs or other media without my explicit permission
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About Natasha at www.pianolessons-london.co.uk
Please don't use this image on websites, blogs or other media without my explicit permission
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My daughter Kavya and her very patient piano teacher, Ms. Rosa. There is something really sweet about little legs that dangle way above the piano pedals.
Blogged here: sketchaway.wordpress.com/2011/12/08/the-piano-lesson/
About Natasha at www.pianolessons-london.co.uk
Please don't use this image on websites, blogs or other media without my explicit permission
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About Natasha at www.pianolessons-london.co.uk
Please don't use this image on websites, blogs or other media without my explicit permission
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The Piano Lesson, Issy-les-Moulineaux, late summer 1916.
Oil on canvas, 8' 1/2" x 6' 11 3/4" (245.1 x 212.7 cm)
Henri Matisse, French, 1869-1954
This composition shows the open living-room window of Matisse's house at Issy-les-Moulineaux, outside Paris, with his son Pierre practicing on the Pleyel piano. It is dusk; a candle is burning, illuminating a triangle of the lawn. In the bottom left corner is a representation of the most erotic of Matisse's sculptures, Decorative Figure of 1908, while the severe "teacher" in the opposite corner is a representation of the painting Woman on a High Stool of 1914. Together they afford a contrast of sensuality and hard work, suggesting that Pierre may be a surrogate representation of his father.
Mrs. Simon Guggenheim Fund.
*
The Museum of Modern Art (MoMA) was founded in 1929 and is often recognized as the most influential museum of modern art in the world. Over the course of the next ten years, the Museum moved three times into progressively larger temporary quarters, and in 1939 finally opened the doors of its midtown home, located on 53rd Street between Fifth and Sixth Avenues in midtown.
MoMA's holdings include more than 150,000 paintings, sculptures, drawings, prints, photographs, architectural models and drawings, and design objects. Highlights of the collection inlcude Vincent Van Gogh's The Starry Night, Salvador Dali's The Persisence of Memory, Pablo Picasso's Les Demoiseels d'Avignon and Three Musicians, Claude Monet's Water Lilies, Piet Mondrian's Broadway Boogie Woogie, Paul Gauguin's The Seed of the Areoi, Henri Matisse's Dance, Marc Chagall's I and the Village, Paul Cezanne's The Bather, Jackson Pollack's Number 31, 1950, and Andy Warhol's Campbell's Soup Cans. MoMA also owns approximately 22,000 films and four million film stills, and MoMA's Library and Archives, the premier research facilities of their kind in the world, hold over 300,000 books, artist books, and periodicals, and extensive individual files on more than 70,000 artists.
About Natasha at www.pianolessons-london.co.uk
Please don't use this image on websites, blogs or other media without my explicit permission
© All Rights Reserved to Natasha Loresch
The Piano Lesson, Issy-les-Moulineaux, late summer 1916.
Oil on canvas, 8' 1/2" x 6' 11 3/4" (245.1 x 212.7 cm)
Henri Matisse, French, 1869-1954
This composition shows the open living-room window of Matisse's house at Issy-les-Moulineaux, outside Paris, with his son Pierre practicing on the Pleyel piano. It is dusk; a candle is burning, illuminating a triangle of the lawn. In the bottom left corner is a representation of the most erotic of Matisse's sculptures, Decorative Figure of 1908, while the severe "teacher" in the opposite corner is a representation of the painting Woman on a High Stool of 1914. Together they afford a contrast of sensuality and hard work, suggesting that Pierre may be a surrogate representation of his father.
Mrs. Simon Guggenheim Fund.
*
The Museum of Modern Art (MoMA) was founded in 1929 and is often recognized as the most influential museum of modern art in the world. Over the course of the next ten years, the Museum moved three times into progressively larger temporary quarters, and in 1939 finally opened the doors of its midtown home, located on 53rd Street between Fifth and Sixth Avenues in midtown.
MoMA's holdings include more than 150,000 paintings, sculptures, drawings, prints, photographs, architectural models and drawings, and design objects. Highlights of the collection inlcude Vincent Van Gogh's The Starry Night, Salvador Dali's The Persisence of Memory, Pablo Picasso's Les Demoiseels d'Avignon and Three Musicians, Claude Monet's Water Lilies, Piet Mondrian's Broadway Boogie Woogie, Paul Gauguin's The Seed of the Areoi, Henri Matisse's Dance, Marc Chagall's I and the Village, Paul Cezanne's The Bather, Jackson Pollack's Number 31, 1950, and Andy Warhol's Campbell's Soup Cans. MoMA also owns approximately 22,000 films and four million film stills, and MoMA's Library and Archives, the premier research facilities of their kind in the world, hold over 300,000 books, artist books, and periodicals, and extensive individual files on more than 70,000 artists.
About Natasha at www.pianolessons-london.co.uk
Please don't use this image on websites, blogs or other media without my explicit permission
© All Rights Reserved to Natasha Loresch
About Natasha at www.pianolessons-london.co.uk
Please don't use this image on websites, blogs or other media without my explicit permission
© All Rights Reserved to Natasha Loresch
About Natasha at www.pianolessons-london.co.uk
Please don't use this image on websites, blogs or other media without my explicit permission
© All Rights Reserved to Natasha Loresch
About Natasha at www.pianolessons-london.co.uk
Please don't use this image on websites, blogs or other media without my explicit permission
© All Rights Reserved to Natasha Loresch
About Natasha at www.pianolessons-london.co.uk
Please don't use this image on websites, blogs or other media without my explicit permission
© All Rights Reserved to Natasha Loresch
My musical sensibility was awakened at the age of four, hearing some undreamed-of piano music on the radio. I was instinctively rivetted. I must have been insistent that I wanted to play a piano, and I must have gone on insisting, because my Mum and Dad, who had nothing for luxuries, managed a couple of years later to obtain one. This in the days when the parlour upright was going out of fashion fast, and Mum worked with someone who had one to get rid of. So for £2, the cost of removing it by van, it arrived. It was a handsome instrument, of lustrous polished mahogany and sweet toned, adorned only with a big gilded cartouche inside the lid pronouncing 'CHURCHILL Park Street, Bristol'. I knew it wasn't truly mine, that an adult had given it and they could take it away, yet I was hugely proud of it, the only thing I owned that no-one else in the family had passed down, that I could make do things no-one else could.
Through some additional unknown sacrifice, extra hours worked and things done without, I went in 1967 to this seemingly huge and important house, No. 10 Vicars' Close, next to Wells Cathedral. Cecil and Cicely Jones were music teachers at the Cathedral School, now retired, and here they taught me piano for the rest of my childhood. They had both graduated from the Guildhall School of Music in 1922, as the pair of proudly framed and gilded degree certificates told. Then in their sixties, they seemed incalculably old, as old as their repertoire. Not for me the jazzy popular music that several of my friends mastered from other teachers. Their front room, packed with slightly faded antique furniture, too many cushions and tapestries and photographs of people long dead, became witness to my struggles with the finger exercises of Czerny and the simplest pieces of Mozart. Strangely for one so beligerent in my wish to learn, I had no appetite for practice at home, so progress was numbingly slow. Tea was usually taken during my lesson (theirs not mine), involving a tray and a bone china cup, and sticky chomping as fruit cake got caught in a dental plate. The Joneses' techniques were as old-fashioned as their repertoire. When I stumbled over the notes Mrs Jones, wrapped in a crocheted shawl and smelling of lavender, would grab the offending finger in her bigger, knotty hand, and stamp it down several times on the correct note. This I found physically painful and emotionally mortifying. Failure to please was its own punishment. Yet I liked them and they me, Mrs Jones particularly referring to me as 'my little one' or 'my little lamb', as though I were a lost pet. I suspect that the name was not reserved only for me but, naively, that didn't occur to me then, and it made me feel special. I slowly progressed towards the music I loved most - the great Romantic figures of Beethoven, Schubert, Schumann and especially, Chopin. I began to buy my own music, and the ability to play Scott Joplin's Entertainer popularised by the film The Sting won me slight kudos at school, but at thirteen or so, other pursuits more respectable for a 1970s teenager won through and I left No. 10 Vicars Close for the last time, with four Royal College of Music grades to my name. The piano was disposed of, perhaps to the enormous November bonfire indulged in by the neighbouring street; the frequent fate for these unsaleable hulks.
Aged thirty or so, my partner sweetly gave me a much lesser piano obtained for some hundred times the cost of the old Churchill. I quickly regained my old standard and worked past it. At 35, leaving the employ of Messrs Intel after three years of impossible pressure, 14 hour days and constant travel, I was close to a nervous breakdown of some sort, and took two or three months out to regain my sanity. Much of my redundancy pay went on a fine Broadwood piano (Beethoven's favourite maker), with a magical tone that doubled the impact of everything played on it. At the Arcade in Broadmead I purchased the sheet music for all Chopin's waltzes. My convalescence involved long hours walking through tortuous arpeggios and pages of demi-semi-quavers. The most difficult pieces I never mastered, but the easier to middling pieces I gradually pieced together and repeated with increasing proficiency until the whole actually sounded like Chopin. Perhaps it was a form of regression therapy, I don't know, but it worked. A few years later I moved, alone, to a very much smaller house. The Broadwood would not even make it down the narrow hall, and if it had, it would have swamped an entire room. It was sold and I was dispossessed of my dream.
How to Read Piano Music Sheet
achyutaya.com/step-by-step-piano-lessons-for-beginners/
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It seems like no matter what angle you take a picture from, the grand piano always seems to be dressed in a tuxedo. As a piano player, one of the most amazing things for me to watch is my own hands reflected in the fallboard. Not that I'm enamored with myself too much, but for some reason when you're watching your own hands reflected and spun around, they seem disconnected and your playing takes on a new perspective. I know that's kind of weird but always strikes me as an interesting sight.
I produce online video piano lessons online, and most of my students don't have a grand piano. However, it always gives me a kick when one of my students steps up to the plate of commitment and buys a grand piano so they'll sound fantastic when they really get good! What a great incentive to become a musician. On the other hand I'm always kind of sad when I see a grand piano sitting unused in someone's house. Really sad. Shouldn't that be illegal? :)
David Sprunger
Brass wound bass piano strings - it's amazing how the mechanical scale of the piano is also extremely pleasing to the eye. Even though this particular grand piano is not extremely long, it is long enough so that the bass piano strings don't have to be wound too heavily. Check this tidbit out - in order for a piano to have strings long enough so that they would not need to have any windings on them, the piano would have to be two stories tall!
No kidding, I actually saw a picture of a piano like this in Germany back in the 1980s. It was in an issue of keyboard Magazine, and it was a completely amazing sight. The pianist actually had to climb a ladder up to the second story to play the keyboard. Somebody had to be pretty excessive in their creativity to come up with that one. I've got an online website that teaches students how to play piano keyboard by ear, ( Check out the piano lessons here ) and in the course of producing video lessons, I'm always hauling around heavy keyboards and moving grand pianos. I suppose if I was really a purist I'd take all those video piano lessons from three stories above that big upright beast of a piano in Germany!
David Sprunger
Manatee Strings
16525 County Rd 675, Parrish, FL, 34219
(941) 920-2408
Mrs. Lind is a professional violinist who performs with the Charlotte Symphony Orchestra. She has appeared as concertmaster, soloist, and violinist in orchestras in Southwest Florida. Her music studio Manatee Strings offers music instruction for violin, piano, and guitar to all ages. Manatee Strings also provides professional classical chamber music for entertainment at weddings, parties, and church services.
Violin Teacher, Private Violin Lessons, Violin Lessons, Music Lessons, Private Music Instruction
Willow Florida; Fort Hamer Florida; Ellenton Florida; Memphis Florida; Palmetto Florida
Music Instructor, Violin Classes, Professional Violinist, Piano Lessons, Guitar Lessons
Okay, I pixelated this poor grand piano to death. But even so, it's gorgeous.
Check out those pins in the pin block. Those babies are about 2 inches long, and are really heavy. The reason I bring it up is because every time I see the the pin block of the piano, I think about the time that my dad was in charge of the men's dorm back in college. They had an old upright piano in the fourth story, and after years of relentless pounding from college boys, the piano was dead. They tried to remove it, but in the years since it had been taken up to the fourth story, the stairwells had been narrowed and they couldn't get the piano down.
My dad always had a flair for the dramatic (he was a fantastic preacher) and he decided to make a college event out of removing that poor dead piano.
On the following Saturday, all the students gathered beneath the men's dorm, four stories below on the ground. The door at the end of the hallway of the fourth floor was opened up. Down the hall came four strapping college boys, rolling that baby towards oblivion. When they stopped on the edge of the fire escape, the piano made its maiden voyage out into the wild blue yonder.
My dad said that when the piano hit the concrete, the sound was unlike anything he'd ever heard. I'm sure.
What he didn't know was that each one of the strings had approximately 120 pounds of tension on them. At the end of each one of those strings was a 2" turning pin, almost as heavy as a 50 caliber World War II bullet. Dad said that they found very few of those tuning pins. Nobody died, at least that we know of...
David Sprunger
About Natasha at www.pianolessons-london.co.uk
Please don't use this image on websites, blogs or other media without my explicit permission
© All Rights Reserved to Natasha Loresch
About Natasha at www.pianolessons-london.co.uk
Please don't use this image on websites, blogs or other media without my explicit permission
© All Rights Reserved
Bain News Service,, publisher.
Belle Baker
[between ca. 1915 and ca. 1920]
1 negative : glass ; 5 x 7 in. or smaller.
Notes:
Title from unverified data provided by the Bain News Service on the negatives or caption cards.
Forms part of: George Grantham Bain Collection (Library of Congress).
Format: Glass negatives.
Rights Info: No known restrictions on publication.
Repository: Library of Congress, Prints and Photographs Division, Washington, D.C. 20540 USA, hdl.loc.gov/loc.pnp/pp.print
General information about the Bain Collection is available at hdl.loc.gov/loc.pnp/pp.ggbain
Higher resolution image is available (Persistent URL): hdl.loc.gov/loc.pnp/ggbain.29322
Call Number: LC-B2- 5011-6
Piano Lessons available here www.spoonflower.com/fabric/3450137-piano-lessons-by-bluev... and Shaggy Lava Lamp by Anniedeb available here www.spoonflower.com/fabric/4324531-shaggy-lava-lamp-by-lu...
certainly make a dynamic duo on this Sprout Patterns everyday tote.