Samson François crée son concerto le 24 juillet 1951 au Festival d'Aix-en-Provence*, avec l'orchestre de la Société des Concerts du Conservatoire, sous la direction d'Ernest Bour. La même année à Paris, il le joue avec le même orchestre, dirigé par Georges Tzipine, à qui il écrit : « Je vous dois un des plus beaux souvenirs de ma vie d'artiste ... »*Œuvre majeure de Samson François, composée de deux parties enchaînées, elle se développe selon une esthétique très personnelle qui n'est pas celle du concerto classique. « La véritable influence concernant son écriture est celle du jazz. Il n'a pas une forme de concerto à proprement dit, c'est une sorte d'improvisation à la fois du piano et de l'orchestre. »*L'écriture pianistique, en fusion avec les couleurs de l'orchestre, exploite au maximum les possibilités sonores et techniques de l'instrument. On ressent la griffe d'un musicien en pleine maturité, qui nous plonge dans une alchimie sonore. Elle laisse à l'interprète une grande liberté d'expression. Pour Samson François : « Le piano n'est pas ! 'instrument le plus noble du monde, mais le plus essentiel. » Ici, il devient exutoire; le compositeur dialogue avec lui-même et nous dévoile ses états d'âmes.Ce concerto pour piano n'a pas été redonné en concert depuis 1951. Le seul enregistrement pour le disque est celui de Samson François et Georges Tzipine en 1953. À ce titre, la présente édition revêt un caractère historique. Je suis particulièrement heureux de la soutenir pour porter l'œuvre à la connaissance du plus grand nombre.Frédéric Demoulin* Livre de Maximilien François : Samson François, Histoires de ... Mille Vies, Éditions Bleu Nuit Éditeur, France, 2002.Toutes les citations sont de Samson François.Partition et matériel d'orchestre en location. / Piano / Billaudot

Sous-titré 'Les Mystères de la Lumière', le compositeur déclare que cet ouvrage tente de faire revivre l'ancienne pratique de l'écriture musicale basée sur la structure du Rosaire. L'exemple le plus célèbre est la collecte du Rosaire (ou mystère) Sonates pour violon de Heinrich Biber, écrit dans la fin du 17e siècle. Concerto MacMillan est basé sur un ensemble de cinq méditations introduite par Jean-Paul II en 2002, les mystères lumineux. En dépit de cela, plutôt que d'être dévotion l'avancement des travaux en quasi-dramatique de la mode, pas trop éloigné dans le concept d'un poème symphonique. Commandée par Osmo Vänskä et l'Orchestre du Minnesota, à l'occasion du centenaire de l'Orchestre, et le premier effectué avec le soliste Jean-Yves Thibaudet en Avril 2011. / Piano Et Orchestre

For The Left Het For Piano et Orchestra. Par RAVEL MAURICE. 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 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 evolution from Ravel's autograph working copy to the first printededition. The piano reduction in our edition contains both Ravel's and Wittgenstein's fingerings. 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. 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 thework's evolution from 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 pages Piano reduction with separate Urtext solo part enclosed Full score & parts (BA7881) and two-Piano reduction (BA7881-90) available for sale./ Répertoire / Piano et Orchestre

Par TURNAGE MARK-ANTHONY. This work was commissioned by the Rotterdam Philharmonic Orchestra in honour of Silvia Tóth and dedicated to Hans Werner Henze. It was composed in 2012?13 and first performed on 10 October 2013 at De Doelen, Rotterdam, Netherlands, by Marc-André Hamelin (piano) with the Rotterdam Philharmonic Orchestra, conducted by Yannick Nézet-Séguin. This 20 minute work is formed of three movements and explores a wide range of moods and textures. Suitable for advanced standard performers. / Date parution : 2022-10-12/ Répertoire / Orchestre et Piano

Par PROKOFIEV SERGEI. Interestingly there are two different versions of Prokofiev’s second piano concerto, the first written between 1912 and 1913, the second written in 1923. However, during the Russian Civil War, the original manuscript of the Concerto was destroyed in a fire in Prokofiev’s apartment in St. Petersburg. In 1923 he recreated the score from memory, effectively composing the second edition of the work, which was very different. Prokofiev wrote to a friend: I have so completely rewritten the second concerto that it might be considered the fourth (his third piano concerto having been written in the meantime). At the time of composition, the concerto's wild temperamentleft some exalted, whereas others were horrified by the jarring and at the time futuristic sound. Today, however, it is generally recognised as a masterpiece and is one of the most virtuosic works in the piano concerto repertoire. Available here is the Hawkes Pocket Score edition (No. 877) of Prokoviev’s virtuosic Piano Concerto No. 2 in G minor Op. 16, and is ideal for study and perusal usage. / Hawkes Pocket Scores HPS 877 / Répertoire / Piano et Orchestre

per Pianoforte ed Orchestra (2019). Par FRANCESCO FILIDEI. Imprimé à la demande, délai 2-3 semaines / Date parution : 2023-06-01/ Répertoire / Orchestre et Piano