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

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.

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

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.

The Prelude Hymn And Toccata 1987 is dedicated to and was commissioned by the Nettle-Markham Piano Duo. It was the second work to have been written for them by the composer the first being the Sonata For Piano Duet Op.92. This twenty minute work begins with Leighton's typical preludial double-dotted rhythms and contrapuntal textures; it develops into dark passionate music and erupts into single and double cadenzas. The gentle Hymn is ushered in quietly and unfolds in long rhapsodic sections building up to more climactic cadenzas before dissolving gradually to an ethereal conclusion. The Toccata finale shows Leighton's masterly piano writing andcontrasts biting rhythmic motifs with sweeping yearning elegiac phrases.

The Parade of the Tin Soldiers is a jolly march composed originally for Piano and recorded many times over the decades. Each Christmas season at Radio City Music Hall in Manhattan the Rockettes perform a traditional danceroutine to the tune. Of particular charm is the moment near the end when the soldiers fall down in a long chromatic scale.Composer arranger conductor bandleader Kapellmeister Leon Jessel was active in his native Germany fromthe late 1800?s until the rise of Nazism ended his career in the 1920?s. Before that he had worked extensively as a musician and created Germany?s most beloved operetta Schwarzwaldmädel (Black Forest Girl) and others almost aspopular.

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

La partition Concerto (Piano Et Orchestre) de Brenta Gaston a été composée pour Piano 4 mains et Plus et plus particulièrement pour 2 Pianos (Réduction D'Orchestre). Cette partition musicale est éditée par une des nombreuses maisons d'édition française à savoir Leduc. Cette oeuvre musicale fait partie intégrante des oeuvres de style Classique. / 2 Pianos (Réduction D'Orchestre) / Partition

Oscar Strasnoy, invité d?honneur ? du 13 au 22 janvier 2012 ? au Festival de Création musicale de Radio-France (Théâtre du Châtelet), à la fois compositeur, chef d?orchestre et pianiste, est né le 12 novembre 1970 à Buenos-Aires.

Depuis ses études aux Conservatoires de Paris et Francfort, titulaire de nombreuses distinctions, il assume une carrière internationale. Auteur de nombreuses ?uvres scéniques, il a aussi écrit pour son instrument, entre autres, deux volumes intitulés : Bloc-notes d?Ephemera.

Le second propose Sept petites pièces pour deux pianos : Valse, Peri, Rock, Mélodie, Épisode, Pinball, Twist. À cause de sa lecture difficile et des débauches de jeux rythmiques complexes, chaque pianiste doit faire preuve paradoxalement à la fois d?une indépendance totale pour sa partie et d?une sujétion à l?autre. Sans sens inné du rythme : s?abstenir. « Petites pièces » certes, mais de grande exigence technique, permettant toutefois d?enrichir le répertoire pour 2 pianos.

in Lettre d'information de l'Education musicale , Edith Weber

/ Classique / Partition /

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

Reduction for 2 pianos-Written in 1901 this concerto is one of the most popular of all pieces of classical music and comes as part of Boosey & Hawkes excellent series of orchestral and piano reductions for 2 pianos.

Early Intermediate Level-Gillock's popular piano solo Carnival in Rio is now available for 2 pianos 4 hands! This recital pleaser is newly engraved and includes a duplicate insert for the 2nd piano. Key: G Major.

Musical Category : 2 pianofortischerzo d'apres une ballade de goethe transcription pour deux pianos par l'auteur

Ballet Suite-Cole Porter's only attempt at a “serious” composition came with the ballet score Within the Quota when Darius Milhaud suggested Porter as a composer to pair with his La Création du monde.Both pieces were rapturously received by the Parisian press at the October 1923 premiere at the Théâtre des Champs-Élysées. Cole Porter later believed the score to be lost. In 1970 the score was discovered at Yale from which William Bolcom and Richard Rodney Bennett created this two-Piano version.The ballet is about an immigrant to New York who encounters a seductive heiress atap-dancer a flapper a cowboy and a movie star beauty. Two copies needed for performance.