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

Divertimento su temi di Antonio Vivaldi per due pianoforti. Par CALLIGARIS SERGIO. Sergio Calligaris was born in Rosario (1941), Argentina. He is one of the last musicians to incarnate the traditional 19th century figure of pianist, teacher and composer, inaugurated at the beginning of the 19th century by Muzio Clementi and carriedon after that by a sequence of famous names that the history of music has handed down to us. As a pianist, he began to give public performances at the age of 13, making his debut in his home town Rosario. Following this success, he embarked upon an extremely busy career as a soloist, giving numerous recitals in Buenos Aires and other citiesin Argentina. He continued to take advanced lessons with eminent exponents of the most prestigious international piano schools. In 1974 he became an Italian citizen and settled in Rome, teaching piano as principal instrument at the S. Pietro a Majella StateConservatory in Naples, the Luisa DAnnunzio Conservatory in Pescara and the Alfredo Casella Conservatory in Aquila. As a composer, he began - at just 9 years of age - to study in the rigorous school of Paul Hindemith, under the guidance of Father Luis Machado, from whom he inherited a love of counterpoint and a strong taste for harmony. He took a diploma incomposition, counterpoint and fugue at the age of 16 at the Amigos del Arte Society in Rosario, going on in 1964 to do an advanced course in 12-tone counterpoint at the Cleveland Institute of Music. The catalogue of his compositions, which has nowreached Op. 55, encompasses a huge range of instrumental/vocal chamber music and symphonic works: a vast and articulated catalogue, in which Sergio Calligaris’s composition expresses its inspiration through the dramatic development of a dialecticalcontrast between the two natures of the composer’s personality - the elegiac and the dithyrambic - which confront and interact with each other giving rise to artistic outcomes of a deeply moving nature. / Niveau : Intermédiaire / Répertoire / 2 Pianos

Reproduced from the original 1942 publication, these are Rachmaninoff's Symphonic Dances, Opus 45, for 2 pianos, 4 hands, containing the complete score of both piano parts in one volume. Two copies are required for performance.

In 2012, I composed a set of variations (originally for orchestra and subsequently arranged for two pianos in 2013 ) based on one of Wagner's most inspired and haunting melodies, the 'alte Hirtenweise' [old shepherd's song], an extended cor anglais solo at the start of Act III of Tristan and Isolde. This seemingly simple, yet deceptively complex melody was my starting point for an expansive fantasy in which I explore the potential of the melodic elements for variational development. The individual motifs are transformed and reconstructed in eight extended movements making frequent use of polyphony and are repeatedly interrupted by the sounding of the original theme. The work concludes with a languid coda at a great distance from the themes of salvation and Liebestod. Stefan Heucke / 2 Pianos 4 Mains

Sonata for two pianos. Par HEINIO MIKKO. Mikko Heiniö's April evenings for black twins (2015), a sonata in five movements, is a virtuoso piece for pianos, inspired by evenings in the month of April. The twins here are identical, so in addition of being individuals they also form an orchestral super instrument. Duration: c. 15'. This product includes one playing score with both piano parts (sized B4, spiral bounding). / Date parution : 2022-12-12/ Répertoire / 2 Pianos

Par CROCKETT DONALD. The original Capriccio was commissioned in 2005 by the University of Southern California as a short piano concerto. Capriccio II is a response to, a re-thinking of, the original Capriccio, now for two pianos instead of piano and orchestra. The overall mood is one of joyous abandon, with fast, rather athletic music surrounding a central chaconne of lyric intensity. Capriccio II was completed in March 2016, with premiere performances by HOCKET in Fall 2016. / Date parution : 2022-02-17/ Répertoire / 2 Pianos

Par RACHMANINOV SERGEI / WARENBERG ALEXANDER (Arr.). What if the probably most popular symphony by Sergei Rachmaninoff were rewritten as a piece for piano and orchestra? This was the idea behind the 'adaptation' of Rachmaninoff's Symphony No. 2 into his Piano Concerto No. 5. All the while, the Russian pianist-composer Alexander Warenberg kept true to Rachmaninoff's style. However, the four movements of the symphony had to be adapted to the common three-movement form of the piano concerto by combining the second and third movements into one 'Adagio'. Warenberg's arrangement has meanwhile been performed many times. A recording with Wolfram Schmitt-Leonardy (piano) is available on Brilliant Classics. / Niveau : difficile / Date parution : 2023-05-06/ Répertoire / 2 Pianos

Written in 1979 after seeing an exhibition of Rothko's paintings in Cologne, Ø is one of Barry's earliest published works. Both piano parts are the same and the composer describes the work as 'an exploration of ornamentation (the bending of an existing melody) and an etude in co-ordination (the challenge of playing exactly together)'. / 2 Pianos

Two pieces from the score of the full-length ballet Edward II. The ballet iteslf was commissioned by the Stuttgart Ballet and completed in 1995. The first performance took place in Stuttgart in April 1995 and in the same year this arrangement for 2 Pianos of two scenes was commissioned by the Port Fairy Festival of Australia.The first pieces represents one of the lighter moments of the ballet and is based upon a set of dances at the French Court> The second piece is a reminder of the darker nature of the ballet as a whole expressing the lust for power as the Barons opposed to Edward II unite in anger at his behaviour.

An arrangement of one of the most famous Vaughan Williams works two Pianos by Maurice Jacobson.

Rhapsody in F Sharp was commissioned by the BBC Proms and first performed in the Royal Albert Hall on August 19th 1943. Written for solo Piano with Orchestra accompaniment it has been arranged here for twoPianos. Written with the wartime audience in mind it is unashamedly popular in style with a flashy virtuosity making it immediately accessible and entertaining. There is argument among scholars as to whether it should bereferred to in the Major or Minor key as it makes almost equal use of both starting in one and finishing in the other. Ernest J Moeran (1894-1950) was an English composer who followed the tradition of R. VaughanWilliams and John Ireland by collecting preserving and using many folk songs mainly from Norfolk Suffolk and Ireland.

Trascrizione Per Due Pianoforti Della Faintaisie Sur Des Motifs De L'Opéra 'La Sonnambula” Di Liszt. Par CORGHI AZIO. Italian / Niveau : Intermédiaire à Avancé / Date parution : 1905-07-08/ Répertoire / 2 Pianos

Traditional carols for piano duet arranged for easy piano by Carol Barratt. Suitable for pianists from grade one standard.

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