This portrait of old New Orleans captures the lively and beautiful moods of this great city in its most elegant light. The engaging duo for two pianos/four hands alternates between a jazzy, upbeat style and lyrical warmth with a celebratory reference to 'When the Saints Go Marching In? for a final flourish. Includes two scores. / 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

Reynaldo HAHN (Caracas, Venezuela 1875 - Paris 1947) n'a que trois ans lorsque ses parents s'installent en France. Enfant prodige, il fait ses débuts à l'âge de six ans dans le célèbre salon de la princesse Mathilde, cousine de l'empereur Napoléon III ; il y chante des ai d'Offenbach en s'accompagnant au piano. Au Conservatoire où il entre à dix ans, il est l'élève de Decombes, Lavignac, Dubois et surtout Massenet qui sera pour lui un ami et un protecteur. Son ?uvre est principalement tournée vers la musique vocale : mélodies, opérettes, opéras. On lui doit aussi de nombreuses musiques de scène, des concertos, pièces instrumentales et de musique de chambre. / Classique / Partition /

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

George Gershwin's Three Preludes are arranged for piano duet (1 piano 4 hands) by the master arranger Eugénie Rocherolle making them fully accessible for intermediate-level pianists. The distinct combination of classical and jazz elements makes the preludes an essential part of any pianist's repertoire and now students of all ages can enjoy the full flavor of the pieces without the virtuoso technique usually required. This book-only collection is destined to become a staple of the piano duet repertoire for years to come!

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

Saint-Saëns a composé ces variations en 1874, sur la base du trio du troisième mouvement de la Sonate pour piano de Beethoven en mi bémol, op. 31, n o 3. Les huit variations ingénieuses, plus fugue, presto, et les articles de coda constituent brillant écrit pour deux pianos. Cette édition inclut doigté éditoriale et pédale, ainsi que l'analyse de la forme. / 2 Pianos 4 Mains

Le Rondo en ut majeur, op. 73, est la troisième Chopin rondo composé. Il a été écrit à l'origine pour piano solo en 1828 lorsque Chopin était âgé de 18 ans. Il réarrangé pour deux pianos, quatre mains, la même année, mais il n'a pas été publié qu'après sa mort. Le rondo est écrit dans un style brillant salon et étincelante. Cette édition comprend une analyse de la forme ainsi que le doigté éditoriale. / 2 Pianos 4 Mains

Concertino in Dance Styles is a work in three movements that highlights skills in articulations, dynamics, tempo, and mood. From the joyous first movement to the mysterious second movement, followed by a delightful jig for the third movement, this piece provides unique technical challenges, harmonic variety, and stylistic moods. The second piano part can be played by a teacher, older sibling, parent, or grandparent---making this piece a recital showstopper! / 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

for Piano and Orchestra-The seven years that the Spanish composer Falla spent in Paris (from 1907 to 1914) marked a turning point in his compositions. His encounter with contemporary French Impressionist music made a big impact on him. From then on itwas to leave its mark on his oeuvre which was otherwise inspired by Spanish folk music. It was thanks to the advice of the pianist Ricardo Viñes and the composer Isaac Albéniz that Falla decided to expand his ?Nocturnes? for solopiano of 1909 into a three-part symphonic suite for piano and orchestra. He finally completed it in 1915 and named it ?Noches en los jardines de España? (?Nights in the gardens of Spain?). Yuja Wang kindly provided fingerings forthe solo piano part of de Falla?s enchanting musical evocation of his Andalusian homeland.

La grande sonate en Ré majeur pour deux pianos K. 448 est bien entendu le fleuron absolu de cette édition «Urtext». Le premier mouvement s?élance comme une ouverture d?opéra avec tambours et trompettes l?Andante est un superbe et unique dialogue entre les deux pianos et le grandiose rondo final sonne comme un concerto pour piano sans orchestre. Dans cette édition Henle se trouve encore une autre ?uvre importante en l?occurrence sous sa forme originale de 1783 la fugue grave en Ut mineur pour deux pianos K. 426 sur laquelle plane encore l?esprit de Händel ou de Bach. Mozart la publia peu de temps après dans une version à quatre voix pour cordes en lui ajoutant une magnifiqueintroduction adagio composée pour l?occasion. Pour la présente édition cette dernière a été retranscrite à son tour pour deux pianos par le formidable musicien Franz Beyer qui a en outre produit une version exécutable pour deux pianos du «Larghetto et Allegro» en Mi bémol majeur (absent au catalogue Köchel) dont on ne possède que des fragments. L?exécution de toutes les ?uvres réunies dans ce volume requiert l?acquisition de deux éditions.