This piece was composed in 1998 by John Adams. It is an expressive and brilliant work for Two Pianos and Four hands that is energetic and resonant.

During his time Rachmaninov's Piano Concerto No.4 was continually dogged by criticism that it was work desperately seeking a style. Critics said the Fourth did not seem know where it was coming from or knew which way it was going. Concert goers who were swept away by the lyrical beauty of the Second and storming brilliance of the Third were expecting Rachmaninov's Fourth Concerto to have that similar emotional impact. Nevertheless there is a wonderful rhythmic tautness to this outstanding piece. The finale contains some of the Fourth's most attractive music. This particular work is a reduction for 2 pianos where the music's potency isn't compromised by it's lack ofan orchestra.

34 miniatures for piano. Par HILLER WILFRIED. In a film portrait of dancer, painter and sculptor Antje Tesche-Mentzen, I learned that in former times she was a proficient pianist. When she told me that she intended to begin playing again, I promised to compose her a cycle for her new beginning: 34 miniatures, some of them with a direct connection to her paintings and sculptures. The main part of Kosmos was composed in 2014, 400 years after Albrecht Dürer created his copperplate engraving ‘Melencolia I’, in which a magic square appears. In a magicsquare, numbers are arranged in a grid so that their sum in each column, row, and the two diagonals is the same number. In the square I have chosen, the magic number is 34. Wilfried Hiller/ Répertoire / 2 Pianos

2 Exemplare zur Auffuhrung notig. Par ZIMMERMANN BERND ALOIS. In January 1964 Bernd Alois Zimmermann interrupted the completion of his opera Die Soldaten [The Soldiers] in order to rearrange his orchestral work Dialoge for two pianos. Monologe resulting therefrom takes up the original material but develops it towards a different direction: Zimmermann‘s collage technique based on quotations extends over the entire musical setting so that it is not only Mozart (Piano Concerto in C major KV 467) who has his say but Beethoven, Messiaen and Bach as well. 'Monologe – this is a piece for two pianists; real monologues of these pianists who, though simultaneously,[…] do not always play at the same 'time'; […] losing themselves in their 'own thoughts', as it were.' (Zimmermann)/ Répertoire / 2 Pianos

Fantasie über das Rondo aus der Klaviersonate in A-Dur KV 331 von Wolfgang Amadeus Mozart. Par SAY FAZIL / CETINER YUDUM (Arr.). The final movement of the Sonata in A major KV 331 by Wolfgang Amadeus Mozart, the Rondo Alla Turca, is one of the most famous piano pieces of all time. Once only familiar to musical experts, later a universal piece for all piano pupils, its opening melody is now even omnipresent as an alienated sinus tone-like mobile phone ring tone. Fazil Say's arrangement, originally created as an effective encore, follows on from this popularity. After the first eight bars have been presented in original form, typical elements of jazz superimposed on the still recognisable classical foundations can be discovered, such as syncopation of the top notes and ornamentation through chromatic blue notes, embedded in the at times frenzied chains of semiquavers. In the spirit of the work's improvisatory character, Say likes to perfom his Alla Turca Jazz in different combinations, for example accompanied by jazz singers of with orchestra. It may appear strange that Fazil Say, who was born in Turkey and - when not on tour - is still resident in that country, does not bring back Mozart's interpretation of genuine Turkish music closer to its own roots, particularly as many of his compositions such as Black Earth or the Violin Sonata are characterised by a subtle amalgamation of the Classical-Romantic tradition, Turkish folk music and elements of jazz. In a further Mozart arrangement, the ballet music Patara premiered in Vienna in 2006, composed on the basis of the Rococo-like theme from the first movement of the same A-major Sonata (wich enjoys almost as great popularity as the Alla Turca theme), Say utilised the connection which was absent in Alla Turca, albeit in the opposite direction. In the ballet music, the piano symbolises Western culture and the Ney flute Oriental culture, communcated atmosperically by austere percussion instrumentation and soprano vocalisation. / Date parution : 2021-12-09/ Répertoire / 2 Pianos

The New Robert Schumann Edition (RSA) is intended as a historico-critical edition of the collected works. They will be carefully studied and prepared according to present-day musicological and editorial techniques and presented in their entirety. Drafts, sketches and fragments, in short, everything that has come down to us as being authentically by Schumann and which, in most cases, has been deliberately preserved by him, will be brought together, evaluated as to its importance and documented in some form or other in the edition of the complete works.It is the aim of the edition to reproduce authentic texts which - having corrected scribal, copying and printing errors and eradicated later additions and other textual corruptions - will approach as closely as is possible the intention of the originals.The critical edition will form the basis of accurate performance material for Robert Schumann's work. / 2 Pianos 4 Mains

New Liszt Edition III Vol. 1. Par LISZT FRANZ. Composed in 1834, Liszt's Grand duo is based on material from three pieces from the first book (op. 19b) of Mendelssohn's Songs without Words (no. 1 in E major, no. 6 in G minor, and no. 3 in A major). While Liszt made an almost literal transcription of the first piece, he gave the second and third pieces a much freer arrangement, in the style of concert paraphrases. The large-scale concert piece was premiered by Liszt and Chopin on Christmas Day 1834 in a salon in Paris. The Grand duo was not published in Liszt's lifetime, and has survived as a draft. Schubert's Fantasy in C major (also known as the 'Wanderer' Fantasy) was a defining musical experience for the young Liszt. He arranged this masterpiece of Romantic piano literature for piano and orchestra in 1851, at the beginning of his Weimar period, and it was premiered by Julius Egghard in Vienna in December of that year. By 1855, Liszt had transcribed this arrangement for two pianos, because it was played on 22 October 1855 at a concert held in Weimar in honour of his birthday. With the version for piano and orchestra, Liszt attuned the fantasy to the requirements of the concert hall, reinforcing the orchestral effects inherent in Schubert's composition. His aim with the two-piano version was to achieve a similarly grand effect in spaces too small for an orchestra. The arrangement for piano and orchestra appeared in print in 1857, followed by the two-piano version in 1862. This volume comes complete with a detailed preface in English, German, and Hungarian containing new research findings, several manuscript facsimiles, and a critical report in English. / Date parution : 2023-03-11/ Répertoire / 2 Pianos

Including The Sorcerer's Apprentice For Two Pianos-French composer Paul Dukas (1865 1935) was also a critic scholar and teacher. 'The Sorcerer's Apprentice' is his most famous creation and this original compilation of Dukas' Piano works ishighlighted by the world-renowned music that was based upon Goethe's Faust and inspired a memorable sequence from Disney's Fantasia. The two-Piano version that appears here was transcribed by the composer himself.Suitablefor intermediate and advanced pianists this collection features four additional pieces: Piano Sonata in E-flat minor; Prélude élégiaque; Variations Interlude and Finale on a theme by Jean Philippe Rameau; and Laplainte au loin du faun. Edited and introduced by renowned pianist Daniel Glover these works were reproduced from authoritative sources.

for Piano and Orchestra-Piano Concerto No.9 in E-Flat major K.271 - Jeunehomme.Piano Solo Oboe (2) Horn (2) Violin (2) Viola Violoncello Double bass.2-Piano reduction.The New Mozart Edition offers researchers a musicologically unimpeachable text based on all the available sources (first and foremost Mozart's autograph manuscripts). At the same time it also serves as an aid to authentic performances.BÄRENREITER URTEXT:In the international music world ?Bärenreiter Urtext? is synonymous with performing editions in which the musical text has been prepared using clearly formulated scholarly criticalcriteria. Editors which include prominent musicologists as well as musicians take all available sources into account thus guaranteeing an authentic musical text which represents the latest in musicological research.For Bärenreiter ?Urtext? is more than just a label it is also a pledge and a guarantee for sheet music performing editions that present the authentic text and the latest findings of scholarly research enabling musicians to get as close to the composer?s intentions as the surviving sources will allow. There are no arbitrary editorial additions and the quality of the musical text is matched by an appearance on the page that satisfies the most discerning eye.

'This work takes for its title that of the gegika novel by Yoshiro Tatsumi which deals with the interconnected lives of two young brothers and their obsession with Japanese manga. They end up reading each other's attempts to write manga themselves and eventually form a collective. The idea of two children growing up whilst criss-crossing artistically fitted with my initial ideas for this work for two pianos commissioned by Cambridge Suzuki Young Musicians.'Tarik O’Regan May 2010

There were two reasons behind Weber?s hesitation to perform his opus 79 known as 'Concert Piece' in public. As he wrote to the music journalist Friedrich Rochlitz experience had shown that concertos in minor keys were not aswell-received by the public. Furthermore he was worried that he would be misjudged as a 'musical charlatan' because while composing it he had had visions of a dramatic love story at the time of the crusades which had influencedthe character of the work. His concerns were superfluous; the effective virtuoso piece conquered the concert stages all over the world. It is now available for the first time as an Urtext edition. The world famous pianistMarc-André Hamelin provided the fingering.

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.

for the Left Hand for Piano and Orchestra Piano reduction and solo part-In 1929 Paul Wittgenstein a pianist and war veteran who lost his right arm in the Great War commissioned Maurice Ravel to write a concerto for him to perform. The result was one of Ravel’s most thrilling compositions and for Wittgenstein the most important of the many works he commissioned over the course of his career.This scholarly-critical edition of Ravel’s Piano Concerto For The Left Hand is based on previously inaccessible and unknown sources. The editor Douglas Woodfull-Harris was able to consult manuscripts in the private library of the Paul Wittgenstein Estate which allowed him to retrace the work’s evolutionfrom Ravel’s autograph working copy to the first printed edition.A source of key importance to our new edition is a handwritten French copy of Ravel’s own Piano reduction (the autograph is inaccessible) that he gave to Wittgenstein to facilitate rehearsing the work. This copy is the sole source reflecting Wittgenstein’s own interpretation and containing his changes to the final cadenza. It also helps us to understand omissions in the first edition of the score as well as the Piano reduction and enabled the editor amongst other things to correct a great many notes which could be found in previous editions including the solo Piano part.The Piano reduction in our edition contains both Ravel’s and Wittgenstein’s fingering. Also included is a solo part without fingering thereby giving pianists the opportunity to enter their own fingering after having studied those of Ravel and Wittgenstein.Score and orchestral parts in large format (25.5 x 32.5 cm)Includes source descriptions and a Critical Commentary with alternative readings (Eng)Informative Introduction on the work’s history and genesis (Ger/Eng/Fr)With facsimile pagesPiano reduction with separate Urtext solo part enclosedFull score & parts (BA7881) and two-Piano reduction (BA7881-90) available for sale

None other than András Schiff is collaborating with Henle Publishers for the edition of Mozart?s Piano concertos. His Piano reductions are aimed at amateurs rather than professionals; his fingerings forMozart?s solo part have been exquisitely fine-tuned and are inspiring; and where Mozart?s original cadenzas are missing Schiff?s stylistically perfected ones have been included. In so doing we aspire to set anew precedent. First and foremost Mozart?s handwritten scores have been consulted being the most important sources. Moreover we know today that in addition to Mozart?s own manuscripts early copies in parts andprints also contain important information regarding the musical text. A co-production with Breitkopf & Härtel Mozart?s Piano concertos are not only available as attractive and affordable Piano reductions there are alsoan accompanying Urtext conductor?s score orchestral parts and a study score.