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

Référence unique par son ISBN 9790044005819 cette partition musique de Liszt Franz n'est autre que VALSE DE MEPHISTO EXTRAIT DE FAUST DE LENAU POUR 2 PIANO qui a été composée pour 2 Pianos. Les droits d'auteur de cette partition de musique de style Classique se trouvent chez les éditions Durand. La référence catalogue de cette oeuvre est DC01066500. / 2 Pianos / Partition

Piano 2 et 4 mains / Pièces faciles / BACH CPE : Fantaisie / BEETHOVEN : Danses - Bagatelle / CIMAROSA : Sonate en ré mineur - Sonate en sol mineur / CIPOLLI : Menuet / COUPERIN : Le berger / DVORAK : Danse slave (4 mains) / GLINKA : L'hirondelle / HASLINGER : Sonatines / HAYDN : Danse allemande / KRINBERGER : Menuet / KOUZNETSOV : Dans la grotte / LULLY : Menuet / MOZART : Valse en sol majeur / SCHUBERT : Ecossaise - Valse op.50 / TCHAIKOVSKY : Prière du matin op.39 - La sorcière - Chanson bavaroise / TELEMANN : Rigaudon / TURK : Allegro

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)

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 /

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

Alexander Rosenblatt, ville née à Moscou en 1956, a complété son piano et ses études de composition au conservatoire de renom de sa maison. Dans ses compositions, il combine des éléments classiques avec des éléments de jazz, pour former un mélange original de styles, un langage très musical caractéristique. Il se fit un nom en tant que pianiste, notamment dans le duo de piano avec O. D'amortissement, un genre qui alors lui a valu un grand succès comme artiste créateur ainsi: En 2001, il a remporté un prix spécial pour son 'Modern Piano Duet au Concours international de composition à Tokyo.En Rosenblatt sa 'Carmen Fantaisie' utilise des thèmes de l'opéra de Bizet dans une manière habile et plein d'esprit, avec des rythmes jazzy et piquant les harmonies surprenantes - feux d'artifice de virtuosité pour deux pianos. / 2 Pianos

Pour Deux Pianos-At the time Reynaldo Hahn (1874-1947) tackled music for two pianos Belle Époque salons were already vying for this gifted 17-year-old who had made himself known by publishing a song whose success was going to be crowned by a place in posterity: Si mes vers avaient des ailes. Dated 1891 the Scherzo lent surprises with its very title a veritable oxymoron since the scherzo is normally distinguished by its rapidity. From it the composer kept only the three-beat rhythmic pattern and the tripartite structure (ABA) with B serving as a trio. Previously unpublished this expressive dance with its moderate tempo had its world premiere recordingby Leslie Howard (with Mattia Ometto) who prefaced the present publication. Built on an improvised theme while dusk was wrestling with night the Caprice mélancolique of 1897 takes the form of a waltz-fantasy in quadruple time its originality being heightened by the contrasting central part. The moving triptych Pour bercer un convalescent dedicated in 1915 by Private Reynaldo to 'Henri Bardac sergeant in the 306 th infantry seriously wounded at the battle of the Aisne' combines modesty and melancholy with infinite delicacy: its healing powers are of all times.

Dvorák, Antonín Concerto for Piano and Orchestra G minor op. 33 B 63 - New Urtext edition of Dvorák?s only piano concerto - Commentary on performance practice by Czech pianist Ivo Kahánek (Eng/Cz/Ger) - Piano reduction by Karel ?olc adapted to fit this new edition Edition no. BA 10420-90 ISMN 9790260108394 Composed in 1876, Dvorák?s only piano concerto has been overshadowed by his other two concertos, for violin and violoncello, respectively. Performers and editors have often attempted to upgrade this pianistically unassuming work by adding stylisations of their own. Our Urtext edition revaluates the sources, frees the work from subsequent interventions and presents it to full advantage in its authentic form. The principal source of our new edition is the first complete print issued by the publisher Hainauer in 1883, which has been meticulously collated with the autograph. The anonymous original piano reduction is so full of mistakes that editor Robbert van Steijn decided instead to present the version by Karel ?olc.