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--INSTRUMENTS--
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ALTO
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CORNET
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--INSTRUMENTS--
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ALTO
AUTOHARPE
BANJO
BASSE
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BOUZOUKI
CHORALE - CHAN…
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2 Pianos, 4 mains
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1
Waltz from Sleeping Beauty, for 2 pianos
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2 Pianos, 4 mains
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AVANCÉ
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Classique
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Pyotr Tchaikovsky
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Richard Simm
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Waltz from Sleeping Beauty, fo
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Richard Simm
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SheetMusicPlus
2 Pianos,4 Hands,Piano Duet - Level 5 - SKU: A0.1074261 Composed by Pyotr Tchaikovsky. Arranged by Richard Simm. Classical,Romantic Period. Score. 14 pa...
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2 Pianos,4 Hands,Piano Duet - Level 5 - SKU: A0.1074261 Composed by Pyotr Tchaikovsky. Arranged by Richard Simm. Classical,Romantic Period. Score. 14 pages. Richard Simm #678551. Published by Richard Simm (A0.1074261). In this well-loved waltz by Tchaikovsky, the composer once again brings life, magic and colour to a famous fairy tale. It is a grand, bright and optimistic item, coming near the beginning of the ballet and before the dramatic conflict with the forces of evil at the heart of the story. As usual, Richard Simm's arrangement for 2 pianos is intended for concert performance by advanced pianists, but the delightful results will certainly repay the practice involved.
$8.95
INITIATE, Between the Octaves - A Piano Duo Suite (Movement 1 of 7)
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2 Pianos, 4 mains
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AVANCÉ
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Classique
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dislocation I mean a degree of
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Jenni Roditi
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INITIATE, Between the Octaves
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Jenni Roditi
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SheetMusicPlus
Instrumental Duet,Keyboard - Level 5 - SKU: A0.1497831 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 24 pages. Jenni Roditi #1074235. P...
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Instrumental Duet,Keyboard - Level 5 - SKU: A0.1497831 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 24 pages. Jenni Roditi #1074235. Published by Jenni Roditi (A0.1497831). For Piano Duo - 2 pianos/4hands. Initiate, Between the Octaves, the opening piece in the suite, is a sparky, rhythmic and post-modern hoquet, of some wit and almost perpetual bounciness. A ricocheting of quickly contrasting dynamics with occasional switches to distant moments. Three big plunges into legato emotional flow, release the popping bubbles of the fiery staccato material. A short final chorale settles and grounds the quick cuts, swoops and build ups that have propelled the whole piece. Names of all the movements in the suite Between the Octaves in the right order are Initiate, Surrender, Thread, Curve, Encircle, Ritualise, Ignite. The whole suite follows a long line from movement 1 to movement 7. However, individual pieces are well suited to be played alone too. Piano Duo is ideally two Steinway grands, otherwise, whatever is available. An enjoyment of the tensions and relationships generated between the two instruments: grand-upright, upright-electronic keyboard is to be explored as a positive. Each piece creates its own world in the suite and can be part of smaller subgroups taken from the suite, in any combination, but the order of the pieces needs to be maintained if more than one is played. Here is a taste of the background to the musical world of this 53 minute compositional suite. During a reflective time I read the following: The whole philosophy of dharma art (Buddhist art) is that you don't try to be artistic, but you just approach objects as they are, and the message comes through automatically. (Chogyam Trungpa Rinpoche, from 'True Perception The Path of Dharma Art.' Shambhala 2008, p.133.) The 'objects as they are' became the 'octaves as they are'. As the pieces were composed the octaves had a centring and clarifying role that allowed other material to circulate around or play against them. They acted as pivots, repetitions, drones, ostinati, pointillist nodes, pedals, melodic features, struts, harmonic turnpikes, breathing spaces, bass lines: musical imperatives. The octaves called the musical shots most of the time. When the music pulled a semitone up or down and away from the octaves (as it did quite often) it was especially telling in the context of the ringing spaces the octaves were creating. I became interested in the subtle dislocation that two pianos could provide. By dislocation I mean a degree of tension between the natural acoustics of the two instruments in the room and the players idiosyncrasies as musicians.  The whole point of this work was to examine the nature of my syntax, grammar, and compositional thinking. The title demanded one thing above all: what notes am I going to use between these octaves?? My choice of notes was derived in most instances from the tempo, pitch, and rhythm of the initial octaves at the beginning of each piece alongside the individual word titles that I set out to explore as musical images. The audio was developed from Sibelius software, via MIDI to Logic samples of a Steinway grand piano.
$20.00
Germaine Tailleferre: Trois Études for two pianos
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2 Pianos, 4 mains
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AVANCÉ
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achieving the physical decline
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Germaine Tailleferre
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Germaine Tailleferre: Trois &E
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Musik Fabrik Music Publishing
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SheetMusicPlus
Instrumental Duet Instrumental Duet,Piano - Level 5 - SKU: A0.534483 Composed by Germaine Tailleferre. 20th Century,Concert,Standards. Score and parts. ...
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Instrumental Duet Instrumental Duet,Piano - Level 5 - SKU: A0.534483 Composed by Germaine Tailleferre. 20th Century,Concert,Standards. Score and parts. 65 pages. Musik Fabrik Music Publishing #3534799. Published by Musik Fabrik Music Publishing (A0.534483). This work was written in the first months of 1942 while Tailleferre was living in Grasse, in the socolled« Free Zone » of occupied France during the Second World War and was completed just asTailleferre was forced to flee France with her daughter. As the wife of Jean Lageat, who had been thesecretary of the French socialist Léon Blum during the « Front Populaire » period just before the Warand who was at that time in the US working against the Vichy Government, and as someone who wasnot unvocal about her political views, this could not have been a comfortable situation. Tailleferre left arecord of what she experienced during this period in an article written for the American music journal «Modern Music » which she wrote shortly after arriving in America in the Spring of 1942 :« Notwithstanding their staunch spirit of resistence, the people under German rule today areincreasingly bowed down under their burdens. By achieving the physical decline of the French, theNazis hope that spiritual collapse will ensue. However, after two years of quasi-famine, France remainspround and great, although the necessity of liberation grows daily more urgent.....For an artist to workunder these conditions is almost impossible. The mere effort of subsisting wastes time and absorbsenergy ; The means to work are also lacking.....Musical composition is made practically impossiblethrough lack of music paper. For more than a year, I sought in vain to find paper in Lyon, Marseillesand Nice on which to copy an orchestral score...Two years of experience under German rule havetaught me that all expressions of pride, dignity, spirit , aspiration of the human will can be made onlyclaudestinely. It is a historical truth that the human mind makes its greatest progress under freedom ».Under such circumstances, it is a miracle that this work exists at all. The three movement work wasdedicated to the famous Marguerite Long, for whom Tailleferre had already written several short worksfor piano solo, and François Lang, a pianist who was closely linked with the Group des Six and whohad performed in the première of the 1934 Concerto Grosso for Two Pianos, 8 Solo Voices, SaxophoneQuartet and Orchestra and for whom Tailleferre wrote two cadenzas for concerti by Mozart and Haydn.The work opens with sunny, optimistism in a mood similar to the opening movement of the ConcertoGrosso, but quickly the mood changes to more dramatic themes. The second movement seems tosubjectively express a rupture with the past and a tragic melancholy. The final third movement isextremely dramatic and almost frightening with it’s force.When Tailleferre left France in the Spring of 1942, having been warned by a neighbor that she wasgoing to be arrested if she didn’t leave immediately, she left the score in a two-piano version, probablydue to the fact that there was no music paper to be had to copy the score. When she returned to Francein 1946, she learned that François Lang had been deported to Auschwitz where he died. Musical life inFrance had been completely changed by the War years. Tailleferre put the work aside and forgot aboutit, perhaps wanting to forget the hardships that she had lived through and the loss of many of her friendsassociated with these years.Tailleferre's version for two pianos is published by Musik Fabrik and the work may be performed inthat version. It is clear however, that the work was intended to be orchestrated and the editors hope thatthe present orchestration will allow the work to finally be presented as Tailleferre conceived duringsome of the darkest years of the Twentieth century.
$32.95
"Lullaby" from An Icelandic Suite
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2 Pianos, 4 mains
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AVANCÉ
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Richard Simm
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Richard Simm
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"Lullaby" from An Ic
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Richard Simm
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SheetMusicPlus
2 Pianos,4 Hands,Piano Duet - Level 5 - SKU: A0.1130804 Composed by Richard Simm. Arranged by Richard Simm. Chamber,Classical,Folk,Multicultural,Traditi...
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2 Pianos,4 Hands,Piano Duet - Level 5 - SKU: A0.1130804 Composed by Richard Simm. Arranged by Richard Simm. Chamber,Classical,Folk,Multicultural,Traditional,World. Score. 3 pages. Richard Simm #731074. Published by Richard Simm (A0.1130804). This innocent title belies another sad tale of Iceland's desperate and often tragic past, with battles against Nature at her most harsh, and the need to survive uppermost in everyone's thoughts. There are two well-known melodies to the lullaby, which was also used in a play about a kind of Icelandic Robin Hood, but the arranger found this one particularly beautiful.
$4.95
Piano Concerto No. 5, for Full Orchestra and Piano Soloist, Two Pianos/Four Hands
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2 Pianos, 4 mains
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AVANCÉ
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James Nathaniel Holland
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Piano Concerto No. 5, for Full
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James Nathaniel Holland
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SheetMusicPlus
2 Pianos,4 Hands,Piano Duet - Level 5 - SKU: A0.1287203 Composed by James Nathaniel Holland. 21st Century,Contemporary. Score. 72 pages. James Nathaniel...
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2 Pianos,4 Hands,Piano Duet - Level 5 - SKU: A0.1287203 Composed by James Nathaniel Holland. 21st Century,Contemporary. Score. 72 pages. James Nathaniel Holland #878214. Published by James Nathaniel Holland (A0.1287203). TWO PIANOS/FOUR HANDS (Piano 2 is Orchestral Reduction)  The fifth of 21st century, Moonlight on the Seas, American composer James Nathaniel Holland’s Piano Concertos.  This colorful piece evokes moonlight and the sea. Movement one evokes a tempestuous storm with crashing and churning waves against the rocky coast.  Movement is maritime serenity and three returns to tempestuous emotions. (License or permission to perform may apply.)Instrumentation:  Fl 1.2., Ob, EH, Cl Bb 1.2., Bsn 1.2., Hrn 1.2.3., Tpt 1.2.3., Trom 1.2., Tba, Timp, Perc. (Cymbal w/soft mallet, Crash Cymbals, Splash cymbal,Snare, Bass Drum, Glockenspiel ) PIANO SOLOIST, Hrp., StringsTwo Pianos/Four Hands, Full Score only, and Full Score with Instrument Parts, all sold separately.Total Duration:  Approximately 30 minutes.
$13.99
Studies No. 6 & 7
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2 Pianos, 4 mains
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AVANCÉ
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Methodes Etudes
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Conlon Nancarrow
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Studies No. 6 & 7
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Schott Music - Digital
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SheetMusicPlus
Transcribed for two pianos by Thomas Ades. Composed by Conlon Nancarrow (1912-1997). This edition: Sheet music. Downloadable. Duration 14 minutes. Sch...
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Transcribed for two pianos by Thomas Ades. Composed by Conlon Nancarrow (1912-1997). This edition: Sheet music. Downloadable. Duration 14 minutes. Schott Music - Digital #Q40444. Published by Schott Music - Digital
Nancarrow's music for player piano with .acrobatic complexity .that sounds .hardly performable has been known for more than four decades. The traditional notation is replaced by the accurate manual punching of individual holes in player piano roles, thus enabling multi-part sounds and rhythmic counterpoints in irrational relations which could never be played so accurately by human performers.
Fortunately, Nancarrow's less complex studies are again and again arranged for a wide variety of live instrumentation. The arrangement for two pianos by the renowned British composer and conductor Thomas Adè.s (*1971) presents the ideal opportunity for every experienced pianist to not only listen to the studies but to play them as well.
$48.99
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