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

34 miniatures for piano. Par HILLER WILFRIED. In a film portrait of dancer, painter and sculptor Antje Tesche-Mentzen, I learned that in former times she was a proficient pianist. When she told me that she intended to begin playing again, I promised to compose her a cycle for her new beginning: 34 miniatures, some of them with a direct connection to her paintings and sculptures. The main part of Kosmos was composed in 2014, 400 years after Albrecht Dürer created his copperplate engraving ‘Melencolia I’, in which a magic square appears. In a magicsquare, numbers are arranged in a grid so that their sum in each column, row, and the two diagonals is the same number. In the square I have chosen, the magic number is 34. Wilfried Hiller/ Répertoire / 2 Pianos

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

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

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

Including The Sorcerer's Apprentice For Two Pianos-French composer Paul Dukas (1865 1935) was also a critic scholar and teacher. 'The Sorcerer's Apprentice' is his most famous creation and this original compilation of Dukas' Piano works ishighlighted by the world-renowned music that was based upon Goethe's Faust and inspired a memorable sequence from Disney's Fantasia. The two-Piano version that appears here was transcribed by the composer himself.Suitablefor intermediate and advanced pianists this collection features four additional pieces: Piano Sonata in E-flat minor; Prélude élégiaque; Variations Interlude and Finale on a theme by Jean Philippe Rameau; and Laplainte au loin du faun. Edited and introduced by renowned pianist Daniel Glover these works were reproduced from authoritative sources.

for Piano and Orchestra-Piano Concerto No.9 in E-Flat major K.271 - Jeunehomme.Piano Solo Oboe (2) Horn (2) Violin (2) Viola Violoncello Double bass.2-Piano reduction.The New Mozart Edition offers researchers a musicologically unimpeachable text based on all the available sources (first and foremost Mozart's autograph manuscripts). At the same time it also serves as an aid to authentic performances.BÄRENREITER URTEXT:In the international music world ?Bärenreiter Urtext? is synonymous with performing editions in which the musical text has been prepared using clearly formulated scholarly criticalcriteria. Editors which include prominent musicologists as well as musicians take all available sources into account thus guaranteeing an authentic musical text which represents the latest in musicological research.For Bärenreiter ?Urtext? is more than just a label it is also a pledge and a guarantee for sheet music performing editions that present the authentic text and the latest findings of scholarly research enabling musicians to get as close to the composer?s intentions as the surviving sources will allow. There are no arbitrary editorial additions and the quality of the musical text is matched by an appearance on the page that satisfies the most discerning eye.

This terrific English rhapsody for Orchestra from 1907 has been beautifully arranged for Two Pianos Four Hands by Philip Heseltine. Note that you will need two copies of this book if you want to perform this work.

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.

According to Mozart's own catalogue, K. 491 was completed on 24 March 1786 - it was Mozart's only piano concerto aside from K. 466 that was in a minor key. It was probably first performed two weeks later as part of an 'academy? at the Burgtheater in Vienna. Mozart was extremely pressed for time while composing this work, a fact that is shown both by the cursory way in which the autograph was written and by the repeated corrections. Unlike earlier publications, our edition contains the definitive version as in Mozart's manuscript. The piano reduction of our edition was undertaken by the celebrated pianist András Schiff, to whom we also already owe our reductions of the concertos K. 453, 467, 488 and 503 (HN 765, 766, 767 and 825). He also supplied the fingerings for the solo part, the cadenzas and the lead-ins. / Piano

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

An arrangement of Honegger's Trois Contrepoints for Piano Duet. Three short movements that reflect the polyphonic structures and textures of the contrapuntal tradition.