1. Lisa Ladle Intro to Music Fall 2013
David Lanz
Lisa Ladle
Intro to Music Fall 2013

2. 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.

3. 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
His first album “Heartsounds” was released in 1983 setting him on a path to success. Lanz’s commercial breakthrough came in 1988 with the release of “Cristofori’s Dream” topping Billboard Magazine’s Adult Alternative/New Age list for an impressive 27 weeks which eventually went platinum. Cristofori’s dream was written as a dedication to Bartolomeo Cristofori, the man who invented the piano in the 17th century.

4. Leader on the Billboard Charts after 3 decades of producing music
Grammy Award nominee
Leader on the Billboard Charts after 3 decades of producing music
20 recording released and 5 million records sold
All in all he has released over 20 recordings and sold 5 million records worldwide. In the year 2000, David was nominated for his first Grammy Award nomination. 3 decades later, Lanz continues to produce and release his music and is still a leader on the new age charts.

5. 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 17th 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.

6. Leaves on the Seine
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

7. Listening Guide: Cristofori’s Dream
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.
0:00-0:20
The selection starts out in mezzo piano with just the right hand playing quarter notes that climb for a couple of measures and then take a step down. This rhythm is repeated twice. At 0:12, a quiet violin is added to enhance the sound but still the melody remains simple and smooth.
0:20-1:04
The notes move up the scale to a higher octave and play a still simple melody. The left hand has joined as well almost mirroring what the right hand is playing but in a lower octave. The same pattern is seen here where the melody builds a little bit on the scale and then comes back down. This is repeated twice but on the second repetition ends on the higher note. This segment has a combination of eighth notes and quarter notes giving the rhythm more texture. The violins can still be heard softly complimenting the melody on the piano.
1:04-1:42
At this point the beginning rhythm and melody are repeated but at a higher octave. This time the left hand is accompanying the right. The right hand is playing quarter notes and eighth notes while the right hand is keeping a steady beat with quarter notes only.
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. The violins are enhancing and not competing with the rhythm and melody on the piano. Long simple strokes are heard. At 2:01 there is a crescendo as the sound starts to build adding depth and interest to the piece.

8. 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.
2:10-2:55
The piece begins to build here. The melody has returned to the starting position on the scale and the note progression and rhythm are similar to the beginning of the song but the notes are being played more definitively and with more confidence. At 2:30 the violins are no longer creating a background for the piano but join in playing the core melody as both instruments begin to crescendo and build. The music builds until 2:50 where it returns to a softer and more timid tone.
2:55- 3:12
The piece now returns to the original melody with both hands and violin playing the simple melody from the beginning but only for a short time as at 3:05 the right hand begins playing eighth notes and 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 crescendo continues here and the rhythm picks up with eighth notes and even a run of sixteenth notes in the right hand as the left hand is now keeping the beat with quarter notes. The violins are once again playing as a backdrop for the piano whose melody now sounds almost dark, whereas the melody before has sounded light and timid now has intensified with a stronger sound.

9. 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.
3:20-3:50
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. Although the key progression is one we have heard before, this time it is played with more force. With the slight diminuendo it seems the character of the song considers backing down but comes back with greater strength as heard with the crescendo.
3:50- 4:42
The violin really picks up here and creates a smooth sound that pulls everything together. The same pattern of key and rhythm are heard here but now combined with scales of sixteenth notes that raise the melody an octave. Towards the end of this segment the rhythm starts to slow down and a dramatic diminuendo is heard ending the segment in pianissimo.
4:42-6:10
The song ends just as it began with a soft tinkering sound in the octave above middle C. The right hand plays the melody while the left hand keeps a steady beat of quarter notes that is difficult to distinguish from the right hand. As the song draws to an end the rhythm gets slower as the sound gets softer. An exaggerated ritard is heard at the end, especially before the last note is played.

10. Listening Guide: Leaves on the Seine
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.
0:00- 0:20: The song begins slowly and softly, in pianissimo. 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. At the end of this segment around 0:37 the dynamics and speed regress back into pianissimo and a slow pace. The gentle tone of this part of the song sounds very reflective and thoughtful and makes the listener feel as if they are in a memory or a dream.
0:42- 1:02: This next segment is played with slightly more intensity as the texture of the song is enhanced as is progresses from single notes with the right hand to chords with both the right and left hands. As this segment progresses however, the dynamics change and the rhythm and sound return to the soft and pensive feeling from before.
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: Eight notes are now played as the sound becomes stronger. The meter also 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.

11. 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.
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. The left hand is playing simple chords and quarter notes and the stark contrast between the solid, deep sound in the left hand and the simple, floating melody in the right hand provide a contrast that produces intrigue and almost makes the song sound dark.
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.

12. 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.

13. www.davidlanz.com www.allmusic.com
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