2 pianos (4 hands) - difficult

SKU: HL.49019723

For two pianos. Composed by Peteris Vasks. This edition: Saddle stitching. Sheet music. Piano. Softcover. Composed 1977. 32 pages. Duration 10'. Schott Music #ED21404. Published by Schott Music (HL.49019723).

ISBN 9790001188074. UPC: 888680039219. 9.25x12.0x0.107 inches.

This piece dates back to Vasks' Sturm and Stress period and was premiered in 1977. Freely notated over long passages, it uses both commonly notated passages and symbols as well as clusters. Vasks uses this wide range of modern piano technique for an expressive performance of both pianists. The performers have to cope with eruptions of powerful sounds and passages of great softness, while excitement alternates with contemplation.

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 Singing” (introduced 2010 in composer's symphonic work “Cyborg”). “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.