Piano 2 et 4 mains / Piano solo : Cache-cache (Tansman) Le jazz et la java (Nougaro/Datin) Valse (Schubert) What a wonderful world (Weiss/Thiele) The girl from Ipanema (Jobim) Norbu 'Himalaya' (Coulais) Prelude (Purcell) Bluesy rock (Bordier) Somewhere (Sondheim/Bernstein) Folksong (Grieg) Le sud (Ferrer) O que sera (Buarque) Concerto pour clarinette (Moazrt) Mackie the knife (Weill) Blue Bossa (Dorham) L'arcoä (Lecussant) I mean you (Monk) S'il suffisait d'aimer (Goldman) Isn't she lovely (Wonder) No woman no cry (Marley) Bluesette (Thielemans) Petite tarentelle (Tarenghi) Crazy boogie (Duflot-verez) Oh Happy day (Hawkins) Marche 'Casse noisette' (Tchaikovski) Piano 4 mains : A bicyclette (Lai/Barouh) Sables dorés (Guinot) Modulating rag (Cornick)

Par STEENHUYSE-VANDEVELDE CHRISTA. Christa Steenhuyse-Vandevelde has been teaching for over 30 years with unbridled enthusiasm and unparalleled creativity. Throughout her career she inspired more than a thousand piano students, which she brought into contact with masters from the past and the present. Christa's own compositions have a high romantic style with a flowing melody and a beautiful harmonic accompaniment. Christa Steenhuyse-Vandevelde has been teaching for over 30 years with unbridled enthusiasm and unparalleled creativity. Throughout her career she inspired more than a thousand piano students, which she brought into contact with masters from the past and the present. Christa's own compositions have a high romantic style with a flowing melody and a beautiful harmonic accompaniment./ Répertoire / 2 Pianos

Variations Nocturne & Finale On An English Sea-Song for Piano and Orchestra Op.60. Orchestral part arranged for a second Piano by David Lyon. After a brief introduction to the Orchestra the melody of an eighteenth century whalermen's ballad with verse and refrain 'Blow Ye Winds' is given out the verse by the Piano the refrain divided between Orchestra and Piano. Then follow thirteen variations the last three being pianistic etudes accompanied Orchestrally. The nocturne evokes the nostalgia of a long voyage and the finale the excitement dangers and glory of a triumphant chase. In these movements as well as in the variations the entiremusical material is derived from the basic theme. The work is designed as a virtuoso concert-piece for the pianist with supporting Orchestral flashes of colour and points of contrast.

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