Le Portrait de Daisy Hamilton, Op. 140. (Volume 3: Seven Pieces for Two Pianos)....(+)
Le Portrait de Daisy
Hamilton, Op. 140.
(Volume 3: Seven Pieces
for Two Pianos). By
Charles Koechlin
(1867-1950). Piano
Ensemble. 36 pages.
Schott Music #ED20262.
Published by Schott Music
Heartstrings 2 Pianos, 4 mains - Intermédiaire Alfred Publishing
By Beatrice A. Miller. For Piano. This edition: 2 copies included. Piano Duo (Tw...(+)
By Beatrice A. Miller.
For Piano. This edition:
2 copies included. Piano
Duo (Two Pianos, Four
Hands). Level:
Intermediate. Published
by Alfred Publishing.
2 Pianos, 4 Hands (Parts) SKU: HL.50600477 For Two Pianos. Compose...(+)
2 Pianos, 4 Hands (Parts)
SKU: HL.50600477
For Two Pianos.
Composed by Ferran
Cruixent. Piano Duet.
Classical, Contemporary.
Softcover. 64 pages.
Sikorski #SIK8807.
Published by Sikorski
(HL.50600477).
8.0x11.75x0.17
inches.
Ferran
Cruixent's
“Binary†was
commissioned by the ARD
International Music
Competition. The work is
dedicated to a 56k Modem
device. The world
premiere was given during
the course of the
competition on 8
September 2015 at the
Hochschule für Musik
und Theater (University
of Music and Performing
Arts) in Munich.
“Binary†for
two pianos is a
one-movement work,
inspired by the
composer's fascination
about the dangers in
human dependence in
technological business,
such as the obsession
about media in today's
mechanized and
computerized society. The
name Binary refers to a
digital representation of
text and data, whose unit
can take only two
possible states. Binary
code is a mathematical,
technological language,
developed by ourselves:
an organic language that
creates another to be
described and discovered
for itself. In this piece
the players are asked to
play in special
techniques, such as
“Cyber
Singingâ€
(introduced 2010 in
composer's symphonic work
“Cyborgâ€).
“Cyber
Singing†introduces
a new musical technique:
the audio file prepared
by the composer himself
is played by themusician
from his mobile phone, a
device commonly used for
other purposes. So, it
defines a new possibility
of interaction between
the composer and the
musician, attaining
genuine communication
itself.