Dramatic and lyrical by turns this work displays Rachmaninov's keyboard characteristics: intense Russian flavor rich and bold sonorities compelling rhythmic drive and brilliant virtuosity. Rachmaninov shows here a very fine grasp of the medium of two pianos his haunting sense of melody and his richly harmonic and rhythmic foundation. Altogether it ranks as a very important contribution to two-piano literature. Arranged for 2 Pianos 4 Hands this edition includes two complete copies of the work.

Greg Anderson et Elizabeth Joy Roe sont peut-être le jeune duo le plus excitant effectuer aujourd'hui, offrant des concerts de musique classique adrenalized qui révolutionnent l'expérience du duo de piano pour le 21e siècle. Décrit comme 'Fred Astaire et Ginger Rogers transposée de la piste de danse au clavier' (Le Southampton Press) et 'la synchronisation intense de génie' (Thirdcoast Digest), Greg et Liz apporter leur camaraderie joyeuse et l'art raffiné de la scène de concert, auditoires éblouissants à travers le monde comme une équipe à quatre mains et deux pianos.Le Anderson and Roe Duos and Duets série comporte arrangements inspirants interprétée par le duo --- du réglages des mélodies d'opéra précieux aux pots-pourris de la musique de film populaire. Les pièces sont éditées avec doigté et d'autres directions qui facilitent la répétition et la performance, ce qui les rend accessibles pour faire avancer les étudiants ainsi que pour les concertistes.Trois Valses pour deux pianos: un pot-pourri de valses rendu célèbre dans les films de Disney combine astucieusement 'Chim Chim Cher-ee', 'Someday My Prince Will Come' et 'Gaston' dans une pièce de concert virtuose, qui culmine dans une finale showstopping que superpose les trois mélodies sur le dessus de l'autre. Techniques de jeu de piano étendues, telles que gratter les cordes à l'intérieur du piano et de jouer des groupes de notes avec le poing, ainsi que des morceaux de bravoure qui englobe l'ensemble des deux pianos font l'un des Anderson and Roe arrangements plus excitantes. / 2 Pianos 4 Mains

Requiem da Camera was the young composer's first extended work- only the instrumental prelude was performed during Finzi's lifetime. The piano duet arrangement of the Prelude by Finzi's friend and collaborator Howard Ferguson forms part of the manuscript vocal score of the Requiem and is dated 1924. Suitable for intermediate standard players. / 2 Pianos 4 Mains

Pour Deux Pianos-At the time Reynaldo Hahn (1874-1947) tackled music for two pianos Belle Époque salons were already vying for this gifted 17-year-old who had made himself known by publishing a song whose success was going to be crowned by a place in posterity: Si mes vers avaient des ailes. Dated 1891 the Scherzo lent surprises with its very title a veritable oxymoron since the scherzo is normally distinguished by its rapidity. From it the composer kept only the three-beat rhythmic pattern and the tripartite structure (ABA) with B serving as a trio. Previously unpublished this expressive dance with its moderate tempo had its world premiere recordingby Leslie Howard (with Mattia Ometto) who prefaced the present publication. Built on an improvised theme while dusk was wrestling with night the Caprice mélancolique of 1897 takes the form of a waltz-fantasy in quadruple time its originality being heightened by the contrasting central part. The moving triptych Pour bercer un convalescent dedicated in 1915 by Private Reynaldo to 'Henri Bardac sergeant in the 306 th infantry seriously wounded at the battle of the Aisne' combines modesty and melancholy with infinite delicacy: its healing powers are of all times.

Piano Reduction-A talented pianist and composer it stood to reason that Camille Saint-Saëns would engage with the Piano concerto genre early on particularly as in France the 'concerto brilliant' was very popular at that time.Saint-Saëns did indeed begin to compose his own concertos however; he gave a clear renunciation of the 'concerto brilliant' declaring instead that 'the solo part of a concerto must be set out and treated like adramatic role'. He realised this concept of a 'symphonic concerto'; in his Piano Concerto No.2 In G Minor composed in 1868.The solo part is technically very challenging and at the same time closely boundup with the Orchestra. Johannes Umbreit is responsible for the Piano reduction based on the composer's own version for Two Pianos; Pascal Rogé supplies the fingerings for the solo part.

Shostakovich's Op.6 is a suite for 2 Pianos in four contrasting movements paired in this edition with the Merry March. The pieces show the great Russian composer at his most accessible recalling the symmetrical rhythms of older classical works.

Piano reduction-According to Mozart?s own catalogue K. 491 was completed on 24 March 1786 it was Mozart?s only Piano concerto aside from K. 466 that was in a minor key. It was probably first performed two weeks later aspart of an ?academy? at the Burgtheater in Vienna. Mozart was extremely pressed for time while composing this work a fact that is shown both by the cursory way in which the autograph was written and by therepeated corrections. Unlike earlier publications this edition contains the definitive version as in Mozart?s manuscript. The Piano reduction of this edition was undertaken by the celebrated pianist AndrásSchiff to whom we also already owe our reductions of the concertos K. 453 467 488 and 503 (HN 765 766 767 and 825). He also supplied the fingerings for the solo part the cadenzas and the lead-ins.

In early 1729 Bach became director of the so-called »Scottish Collegium Musician« a music organization of students and local citizens. The remarkable results of this undertaking are the concertos for harpsichord. Today it is almost certain that practically all of these concertos were transcribed from concertos for melody instruments (mostly violin or oboe).When Johann Sebastian Bach created his six-part corpus of harpsichord concertos in 1738 (BWV 1052-1057) he gave pride of place to the Concerto in D minor BWV 1052. It has long been thought for good reasons that this piece was based on a lost violin concerto in the same key that he had already transcribed on twoprevious occasions.The second 'forerunner' of BWV 1052 is the present harpsichord concerto. It was first published by Wilhelm Rust in volume 17 of the old Bach Society Gesamtausgabe (1869) and given the number BWV 1052a in the Schmieder catalogue. Rust felt that Johann Sebastian Bach himself wrote out the principal source a set of orchestral parts preserved in the Berlin Staatsbibliothek under the shelf mark Mus. ms. St 350 and therefore treated the piece as an authentic early version of BWV 1052. Today however we know that the scribe was Carl Philipp Emanuel Bach who is generally also regarded as the work's author.Urtext of the New Bach EditionParts (BA5231) two-keyboard reduction (BA5231-90) and study score (TP410) format 22.5 x 16.5cm (all 6 concertos) available for sale