Paul F. Page | By the Numbers Primo

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Classical: Piano solo Easy Listening: Background Music Moods: Solo Instrumental
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By the Numbers Primo

by Paul F. Page

original piano solos / hybrid-classical style
Genre: Classical: Piano solo
Release Date: 

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  Song Share Time Download
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1. One Hundred Seventeen
3:09 $0.99
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2. One Hundred Thirty-Two
4:37 $0.99
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3. Ninety-Five
3:58 $0.99
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4. One Hundred Twenty-Two
2:37 $0.99
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5. One Hundred Sixteen
4:33 $0.99
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6. Eighty-Two
2:05 $0.99
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7. One Hundred Twenty-Three
3:16 $0.99
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8. Ninety-Eight
5:24 $0.99
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9. Eighty-Five
2:31 $0.99
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10. One Hundred Twenty-Seven
4:22 $0.99
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11. Eighty-Eight
3:38 $0.99
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12. Eighty-Seven
2:21 $0.99
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13. One Hundred
4:07 $0.99
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14. Eighty-Three
2:43 $0.99
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15. Ninety-One
2:58 $0.99
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16. Ninety-Three
6:07 $0.99
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17. Ninety-Two
4:01 $0.99
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18. One Hundred Twenty-One
5:50 $0.99
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19. One Hundred Thirty
3:41 $0.99
Downloads are available as MP3-320 files.

ABOUT THIS ALBUM


Album Notes
Hybrid-classical piano solos reminiscent of the music of Bach, Chopin, Schumann, Debussy, et al. This music is not overly difficult to play, and it is "transparent" to the listener, unencumbered by bravura writing just for dramatic effect. The music speaks for itself in terms that are easy to understand and in a manner that is pleasant, elegant, engaging, and rewarding. The CD itself runs 71 minutes. All of the tracks are available at the composer's website (http://www.paulpage.org) for FREE in easy-to-download pdf format. In the end, the whole package is a great deal: lots of music to listen to, FREE scores with no hassle, and an inexpensive gift for friends and family who enjoy classical piano music. Students and recitalists will find many numbers here to engage their skill level, too.

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Reviews


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Tobin Mueller

A marvelous collection of solo piano music
I have always loved Paul Page’s solo piano compositions. They harken back to an era of genuine elegance. He mixes in his own balanced yet playful spirit, his light touch and self-assured technique, and his great respect for music and the history of music. This collection is his best yet.

His variations create a sense of flow and controlled improvisation that makes you want to keep listening to each piece until the very end. Compelling and peaceful, showing the heart of a loving artist and seasoned performer, these pieces delight, calm, open windows, feed imagination, embody freedom yet are absolutely secure in their defined spaces. Magical. Below please see my reaction to each track.

1 - One Hundred Seventeen:
With the melody in the left hand, Paul lets the windy arpeggios of his delicate right hand float over a landscape of etherial beauty. This opens up into a dignified chordal section, almost stately in nature. When he returns to the left hand melody, the energy is increased dramatically, lending an entirely meaning to the piece. The variation is inspiring. A wonderful opening track.

2 - One Hundred Thirty-Two:
Moving from a simple study, the flowing variations move from almost a childlike playfulness into a wise and never repeating maturity. This is done seamlessly, which is far more difficult than he makes it sound. Masterful.

3 - Ninety-Five:
The conversation between left and right hands is reminiscent of Baroque counterpoint but has a decidedly contemporary feel. I love pieces that span musical eras, as this piece does. As the pieces continues, it reveals a restlessness, a sense of searching I found refreshing, then comes to a certain and satisfying conclusion.

4 - One Hundred Twenty-Two:
A contemporary lyrical quality floats throughout this lovely piece, as in a Chopin Nocturne. Cinematic, soothing, emotionally performed. Nostalgic yet full of immediacy and honesty. One of the best pieces in the collection.

5 - One Hundred Sixteen:
An elegant sitting room waltz that conjures charm and civility without any sense of triteness or contrived formula. Like most of these pieces, the journey moves through spaces related yet unexpected, leaving you with a fullness rarely achieved.

6 - Eighty-Two:
Transcending the minor key is the beauty and freedom of the floating melody, keeping the piece from ever landing in a place of sadness or remorse, although these are both felt on the fringes. Elusive, thought provoking.

7 - One Hundred Twenty-Three:
Beginning almost like a tango, there is a dance quality that grows from the opening then expands into a refreshing New Age statement of healing, combining hymn-like grace and the movement of innocence.

8 - Ninety-Eight:
Although I have never liked the use of synth strings in a solo piano collection, if I block out the legato accompaniment and listen only to the delicate, soulful piano, this piece is refined and nicely restrained, a sanctuary built carefully and thoughtfully.

9 - Eighty-Five:
Neo-classical and full of life, this reminds me of Paul’s earlier recording, “Etudes d'Origine” to which I wrote: “Playful, sophisticated, passionate, whimsical.”

10 - One Hundred Twenty-Seven:
This piece shows more depth than the previous track (Eighty-Five) but stands as a wonderful complementary piece, showing the range of the composer to recreate such a fine range of emotions in similar stylings. Again: “Playful, sophisticated, passionate, whimsical.”

11 - Eighty-Eight:
My favorite compositions that Paul writes harken back to Chopin. One cannot have enough music like the Nocturnes in this world. This elegant waltz goes to places that, like Chopin’s expansion of the Mazurka, transcends the genre. Not meant for dancing but for mindful contemplation. Wonderful.

12 - Eighty-Seven:
A wonderful etude-length excursion back into the late 18th century.

13 - One Hundred:
If the title indicates that this is the 100th piano piece Paul has written, it represents the oldest composition of the collection. It does seem the least sophisticated, at first listening. A very pleasant straightforward piece that melds 200 years of musical styles into a very pleasing result.

14 - Eighty-Three:
Whenever I think Paul is about to write a dark piece of music, the light he stirs and emanates breaks out like sun through the clouds. The variations lift one up like nature, like kind memories, like what one would expect from a satisfied soul.

15 - Ninety-One:
A warm New Age waltz that morphs into a neoclassical procession that takes you a little further than you expected to go.

16 - Ninety-Three:
Another wonderful Chopin-inspired piece of exquisite clarity and fragile beauty played with flawless grace and understanding. Like Chopin’s Berceuse, this is a wonderful lullaby,

17 - Ninety-Two:
Perhaps the most contemporary sounding piece in the collection, this could be used as a soundtrack to a film. It has a mid-twentieth century feel,like a standard tune that calls for vocals and intimate lyrics. The playing is unhurried, leaves room for thought, remains uncluttered throughout. A reverie in the modern sense.

18 - One Hundred Twenty-One:
The subtle complexities of J.S. Bach bubble up throughout this wonderfully rising (then falling) piece of music. The arc of the composition, when it lands back to where it began, is doubly satisfying as it takes its time to settle and find its peace.

19 - One Hundred Thirty:
This track sounds as if it was recorded in a slightly different setting, so I chose to view it as a Bonus Track :-) It reminded me of a Cherny etude yet somehow transported forward decades. A fitting bonus track, indeed.

I presume the numbered titles relate to the chronology of Paul’s solo piano compositions. If so, I like that he has numbered them in the style of composers from earlier centuries. His music takes heavily from especially the 18th and 19th centuries. But that is not a criticism. What I hear is heartful homage, beautiful music, vibrant depth and emotional honesty. Do not expect to be surprised by new sounds, unpredictable chordal progressions or contemporary chord substitutions. Instead, expect to be comforted by beauty and peace and well-tested stylings. The surprise comes in how this music, coming as it does from a noble yet antecedent tradition, imparts a sincere nobility all its own.

The clarity of the recording is marvelous. It is both gentle and urgent. Wonderfully relaxing yet romantically stimulating, all at once. A marvelous collection. Highly recommended.
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Richard Schletty

Nourishing, enriching, lifting
Paul, I like your expression, dynamics and subtle variations in tempo. These piano compositions have bright, flowing melodic threads supported by pleasing arpeggiated chord progressions. Yes, the music is transparent, accessible and unadorned with éclat. Your performances provide active enrichment to souls in need of elevation.
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