La Peri 2 Pianos

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 /

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

Composer Philip Glass returned to composition for chamber ensemble after several years of work for films ballet opera and solo instruments. Four Movements For Two Pianos was commissioned by hislong-time advocate the conductor and pianist Dennis Russell Davies and pianist Maki Namakawa and after the success of this piece at the Ruhr Piano Festival the pair decided to continue performing as a duo. The piece can belocated more at the classical end of Glass’ compositional spectrum retaining all the propulsive rhythms arpeggiation and repetitiveness that are the hallmarks of the composer’s work. American composerPhilip Glass is widely known as one of the most celebrated influential and prolific of the modern composers. He is frequently referred to as a minimalist though he prefers to call himself a composer of ‘music withrepetitive structures.’ His operas among them the renowned Einstein On The Beach are performed across the globe and he has created work for small and large ensembles film and experimental theatre and founded his ownperforming group The Philip Glass Ensemble.

As the 'social anchor' in middle-class homes of the 19th century the piano was simultaneously an elegant piece of drawing-room furniture a sign of bourgeois prosperity and a means of introducing the young to music and entertaining their elders. In this admirably balanced and leisurely account of the popular instrument the late internationally known concert pianist Arthur Loesser takes a 'piano's-eye view' of the recent social history of Western Europe and the United States.

from opus 170 - Edizione a cura di Luca Ciammarughi. Par CASTELNUOVO-TEDESCO MARIO. Mario Castelnuovo Tedesco composed 52 Greeting Cards for various instruments between 1953 and 1967, collectively catalogued as opus 170, which he developed in a non-systematic manner up to the year before his death. These pieces were conceived as gifts for his interpreters and students, whom the author meant to gratify with these pleasant little vignettes. Composed between 1953 and 1964, the 18 Greeting Cards for piano (17 for piano solo and 1 for two pianos) represent a point of equilibrium between experimentation and tradition. In the same series : Greeting Cards for guitar, critical edition by Frédéric Zigante (NR 141936)/ Répertoire / Piano

Arrangeur: Agnes Lakos. Pedal use is a fundamental part of expressive piano playing. But proper pedalling skills are not easy to acquire. Thus, it is important that piano students become acquainted with the use of the three pedals as early as possible. The stopgap Introduction to Pedalling is a collection of pieces adapted to all levels of manual dexterity, enabling learners to improve their mastery of both the musical function and technique of pedalling. The volume contains both individual and joint studies for the three pedals of modern pianos. In addition to ten selected pieces from Samuel Maykapar's Twenty Pedal Preludes (1937), Introduction to Pedal Studies includes keyboard music from four centuries, ranging from Johann Sebastian Bach to contemporary Hungarian composers. Pupils can thus encounter varying pedal marks from different periods. Of course, not all composers featured in the collection marked pedal use - in such cases, pedal signs were added by the editor. It is a recurrent question of interpretation whether pedals should be used in the music of earlier masters. The sound of the modern piano is far less vibrant and rich in overtones than that of the period instruments - thus, it is not Bach's music that necessitates pedal use so much as the piano itself. / Niveau : Facile à Intermédiaire / Pédagogie / Etude / Piano

for Piano and String Orchestra-Prolific and hard-working Swedish composer Lars-Erik Larsson composed this splendid set of Concertini as a reaction to the lack of performance pieces for amateur orchestras and their principal players. Written between 1953 and 1957 they demonstrate the influence on his compositions of Romantic composers rather than the more rigid and severe rules from other periods and requiring moderate skill these are practical and ultimately enjoyable pieces. Relatively unknown there has been little enthusiasm for this work outside Sweden perhaps considered too simple for most performing musicians though this is precisely the reason that they are so versatile andpleasurable. The longest and most elaborate of this set Concertino Nr.12 for Piano was originally composed for String Orchestra and Piano but has has been wonderfully arranged here for two Pianos including a reduction of the full orchestral score.

Trees Revisited was written for and premiered by Nigel Coxe in 1970. It belongs to a period when I was interested in borrowing quoting and referring to earlier music and styles (this period includes the Praeludiana for organ Scherzos for four pianos and Green and Pleasant for orchestra).

Prelude. Par WAGNER RICHARD. Avec le prélude aux meistersingers, nous publions aujourd'hui la deuxième des trois transcriptions de Wagner fait déjà légendaire par enregistrement 1973 de Gould. Gould a apporté 'Brillant contrepoint' de Wagner vie avec l'aide de la technologie de l'enregistrement, par superimposi / The Virtuoso Piano Transcription Series Band 6 / Répertoire / Piano ou 2 Pianos 4 Mains

Behind A Backyard for Soprano and Ten Instruments was composed by Bent Sørensen in 2013. Text by Tomas Espedal. Instr: 1 Flute1 Clarinet in Bb1 Alto Saxophone in Eb1 Trombone1 Percussion (1 player)Glsp. Vibr. Brake Dr. Cymb. (on table) Marim. Sand Pap. Bl. Table (wood)1 Guitar1 PianoSoprano1 Violin1 Viola1 Cello Sørensen's musical language is undeniably of the present day both aesthetically and technically. The music does however appear to be pervaded with memories wisdom ofexperience and old dreams of the inevitability of transitoriness and parting.