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Reynaldo Hahn: Caprice Mélancolique Et Autres Pièces Pour Deux Pianos. Sheet Music for Piano(Duet)
16.99
Reynaldo Hahn: Caprice Mélancolique Et Autres Pièces Pour Deux Pianos. Sheet Music for Piano(Duet)
2 Pianos, 4 mains
Leduc, Alphonse
Pour Deux Pianos-At the time Reynaldo Hahn (1874-1947) tackled music for two pia...
(+)
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 Previously unpublished this expressive dance with its moderate tempo had its world premiere recordingby Leslie Howard (with Mattia Ometto) who prefaced the present publication.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.
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Tarik O'Regan: A Drifting Life: Piano Duet: Instrumental Work
8.99
Tarik O'Regan: A Drifting Life: Piano Duet: Instrumental Work
2 Pianos, 4 mains
-
Facile
Novello & Co Ltd.
'This work takes for its title that of the gegika novel by Yoshiro Tatsumi whic...
(+)
'This work takes for its title that of the gegika novel by Yoshiro Tatsumi which deals with the interconnected lives of two young brothers and their obsession with Japanese manga. They end up reading each other's attempts to write manga themselves and eventually form a collective. The idea of two children growing up whilst criss-crossing artistically fitted with my initial ideas for this work for two pianos commissioned by Cambridge Suzuki Young Musicians.'Tarik O’Regan May 2010
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Vivaldiana Op. 23 (CALLIGARIS SERGIO)
15.76
Vivaldiana Op. 23 (CALLIGARIS SERGIO)
2 Pianos, 4 mains
[Conducteur]
-
Intermédiaire
Ricordi
Divertimento su temi di Antonio Vivaldi per due pianoforti. Par CALLIGARIS SERGI...
(+)
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
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Monologe (ZIMMERMANN BERND ALOIS)
46.62
Monologe (ZIMMERMANN BERND ALOIS)
2 Pianos, 4 mains
Schott
2 Exemplare zur Auffuhrung notig. Par ZIMMERMANN BERND ALOIS. In January 1964 Be...
(+)
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
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Pyotr Ilyich Tchaikovsky: Piano Concerto In B Flat Minor: Piano Duet:
2 Pianos, 4 mains
[Partition]
Wilhelm Hansen
The second piano takes the part of the orchestra.
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Darius Milhaud: Scaramouche Op.165b: Piano Duet: Instrumental Work
17.99
Darius Milhaud: Scaramouche Op.165b: Piano Duet: Instrumental Work
2 Pianos, 4 mains
[Partition]
-
Intermédiaire/avancé
Salabert
pour deux pianos-Milhaud's Suite for two Pianos takes its name from the Theater ...
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pour deux pianos-Milhaud's Suite for two Pianos takes its name from the Theater Scaramouche which specialised in productions aimed at children. The pieces in this suite were written for the Paris International Exposition in 1937 by adapting melodies and music Milhaud had previously composed for production at the Theater.
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Dvorak A. - Concerto In G Minor Op.33 - 2 Pianos
36.90
Dvorak A. - Concerto In G Minor Op.33 - 2 Pianos
2 Pianos, 4 mains
Barenreiter
Dvorák, Antonín Concerto for Piano and Orchestra G minor op. 33 B 63 - New Urt...
(+)
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.
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Wolfgang Amadeus Mozart: Piano Concerto No.9 In E-Flat K.271 - Jeunehomme:
20.00
Wolfgang Amadeus Mozart: Piano Concerto No.9 In E-Flat K.271 - Jeunehomme:
2 Pianos, 4 mains
Barenreiter
for Piano and Orchestra-Piano Concerto No.9 in E-Flat major K.271 - Jeunehomme.P...
(+)
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.
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Beethoven L.v. - Konzert Nr.2 In B Op.19 - Piano Reduction
26.90
Beethoven L.v. - Konzert Nr.2 In B Op.19 - Piano Reduction
2 Pianos, 4 mains
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Beethoven, Ludwig van Concerto for Pianoforte and Orchestra no. 2 B-flat major o...
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Beethoven, Ludwig van Concerto for Pianoforte and Orchestra no. 2 B-flat major op. 19 Details Edition no.: BA 9022-90 ISMN: 9790006544141 Editor: Del Mar, Jonathan Arranger: Schelhaas, Martin Product format: Piano reduction, Part(s), Urtext edition Includes the following individual parts: Piano (2) Binding: Paperback Pages / Format: 46/35 S. - 31,0 x 24,3 cm Although the sources to Beethoven's piano concerto op. 19 are generally known, many misconceptions and misinterpretations are put right in this Bärenreiter Urtext edition. Up till now, no edition was based exclusively on the authentic sources. Previous publications tended to rely on earlier editions, such as the old Beethoven Complete Edition which in turn also did not take exclusively authentic sources into account. Jonathan Del Mar's scholarly-critical edition corrects misreadings of Beethoven's autograph which were already present in the first edition and had subsequently been incorporated into other editions of this work. ' First Urtext edition based on the authentic sources ' Numerous corrections in the orchestral parts ' Piano reduction with a separate solo piano part
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Beethoven, Ludwig Van : Concerto for Pianoforte and Orchestra no. 2 B-flat major op. 19
25.50
Beethoven, Ludwig Van : Concerto for Pianoforte and Orchestra no. 2 B-flat major op. 19
2 Pianos, 4 mains
[Partition]
Barenreiter
Although the sources to Beethoven's piano concerto op. 19 are generally known, m...
(+)
Although the sources to Beethoven's piano concerto op. 19 are generally known, many misconceptions and misinterpretations are put right in this Bärenreiter Urtext edition. Up till now, no edition was based exclusively on the authentic sources. Previous publications tended to rely on earlier editions, such as the old Beethoven Complete Edition which in turn also did not take exclusively authentic sources into account.'
Jonathan Del Mar's scholarly-critical edition corrects misreadings of Beethoven's autograph which were already present in the first edition and had subsequently been incorporated into other editions of this work.'
'
''First Urtext edition based on the authentic sources'
''Numerous corrections in the orchestral parts'
''Piano reduction with a separate solo piano part / [Concerto pour Piano et Orchestre N°2 Si bémol Majeur Opus 19 (Réduction Piano Parties séparées)] / Classique / Partition / Agrafé /
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Piano Concerto In C Minor K. 491
23.21
Piano Concerto In C Minor K. 491
2 Pianos, 4 mains
G. Henle
According to Mozart's own catalogue, K. 491 was completed on 24 March 1786 - it ...
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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
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