Gaston et les enfants' est un ballet pour enfants ou adolescents, associant la danse classique et la danse jazz. L'intrigue, très actuelle, réunit humour, charme, dynamisme et suspens. Le ballet comprend trois rôles principaux : Gaston, un bon vieux clochard, héros malgré lui d'une singulière aventure qui oppose Alice et Alex, chefs respectifs de deux bandes rivales, évoluant dans un décor évoquant un terrain vague en bordure de ville. La chorégraphie, laissée à la volonté des professeurs de danse ou des maîtres de ballet, est adaptable à chaque interprète. Le livret, clairement rédigé au fil de chaque numéro, fait partie intégrante de la partition. / 2 Pianos

from the Ballet Swan Lake op. 20. Par TCHAIKOVSKI PIOTR ILITCH. From The Ballet 'Swan Lake' Op. 20/ Répertoire / 2 Pianos

Par TAILLEFERRE GERMAINE. A work for Piano Duet dating from 1923, taking music from the eponymous ballet../ Répertoire / 2 Pianos

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)

Burlesque in vier Szenen-A terrific Piano Duet arrangement of Stravinsky's burlesque in four scenes based on the 1947 revised version. Originally completed in 1911 Petrouchka was the second of Stravinsky's great ballets and is one of the most famous ballet scores of the twentieth century equally at home in the concert hall as in the theatre. In this particular edition Stravinsky himself has reduced the complete orchestral part for Piano duet.

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.

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

Les deux pianos introduisent le motif bass un après l'autre. Chaque nouvelle entrée apporte une augmentation de tempo. Seulement quand ils jouent ensemble, cependant, est le véritable ' Vivace unleashed. Dès lors, c'est seulement dans les sections ' largamente ' et une section du milieu lyrique (cantabile) que la basse de course figure pauses pendant un certain temps. Le motif tisse son chemin à travers le cours de la ' Toccata ' comme un ' perpetuum mobile ', ce qui porte la superposition de plus en plus complexe à la structure du mouvement. Le compositeur letton Peteris Vasks a lui-même décrit comme ' un musicien de la périphérie ' en raison de ses origines géographiques et culturelles. Sa musique pleine de rigueur émotionnelle continue de lui apporter vers le centre de la composition contemporaine, comme est évident dans ses oeuvres de chambre instrumentale. / 2 Pianos

Par LACOTE THOMAS. En créant de nouvelles bifurcations à partir d'évènements du passé, l'uchronie, en histoire, en littérature, et dans d'autres arts narratifs, imagine des futurs non-advenus, mettant ainsi en perspective l'incertitude de notre propre présent. Les formes musicales des XVIIIe et XIXe siècles ont pu elles aussi donner à entendre différents futurs, ou différentes causes, d'une même situation musicale, à brève ou longue échéance. Ces Uchronies cherchent à renouer avec cette capacité qu'à la musique de démultiplier la flèche du temps, de tisser la réminiscence, l'attendu, l'imprévisible et l'inéluctable. Uchronies (I) et Uchronies (II) peuvent être enchaînées comme deux mouvements d'une même oeuvre, ou jouées séparément, ou encore disposées au sein d'un même programme, entrecoupées d'autres oeuvres. Ces deux volets sont pensés comme deux scénarios entrelaçant chacun prequel et sequel, transformations progressives, nouvelles causes et devenirs multiples d'idées musicales très contrastées. Malgré la grande diversité de leurs parcours respectifs, ils aboutissent tous les deux au même point d'arrivée apaisé./ 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

Beethoven, Ludwig van Concerto for Pianoforte and Orchestra no. 2 B-flat major op. 19 Details Edition no.: BA 9022-90 ISMN: 9790006544141 Editor: Del Mar, Jonathan Arranger: Schelhaas, Martin Product format: Piano reduction, Part(s), Urtext edition Includes the following individual parts: Piano (2) Binding: Paperback Pages / Format: 46/35 S. - 31,0 x 24,3 cm Although the sources to Beethoven?s piano concerto op. 19 are generally known, many misconceptions and misinterpretations are put right in this Bärenreiter Urtext edition. Up till now, no edition was based exclusively on the authentic sources. Previous publications tended to rely on earlier editions, such as the old Beethoven Complete Edition which in turn also did not take exclusively authentic sources into account. Jonathan Del Mar?s scholarly-critical edition corrects misreadings of Beethoven?s autograph which were already present in the first edition and had subsequently been incorporated into other editions of this work. ? First Urtext edition based on the authentic sources ? Numerous corrections in the orchestral parts ? Piano reduction with a separate solo piano part

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.