M.Regtien  °  Solo´s, Duo´s, Trio´s / Piano
Bassoon Cello Guitar Harp Piano
Spinet Violin

"The Nemirovsky Grand Sonata" - 2008

    The Grand Nemirovsky Sonata,the by the composer regarded first mature large scale work for piano solo, is dedicated to Shachar Nemirovsky († 14-12-2007) who's firstname as a S-H-A-C-H-A-R motive formed a compositional base for part 4 and 5.
    • Part 1
      • Part 1 researches the limits of coorperation between left and right hand. In the first few minutes - apart from some obvious excerpts - the left hand seems to accompany the right hand melody, but in fact the notes are randomly chosen by the composer. What then gives the illusion they are bounded? Why - if the notes are random - the whole does not sound out of tune?
      • The melody also has its pecurilarities: is it improvised? It is in an improvised style but quickly enough it evolves beyond that with it's strict rhytm and structure.
      • At one third clusters are explored, later in combination with a boogie-like bassline. Again, some parts might sound improvised, but listening carefully to the bassline will reveal the impossibility of that. Then tempo is speeded up and finally a lengthened thruly improvisational (right hand) part is deployed.
      • Part one finishes with some motive repititions of the opening minutes and the chorallike intermissions.
    • Part 2
      • The fast and metricly strict part 2 is inspired by Beethoven's 2nd part of the 9th symphony.
      • As in part 1 this part also researches coorperation between the two hands and improvisational effects. The middle part for example deploys the same technique as the opening bars of the first part: a accompaniment seemingly independant of the melodic content.
    • Part 3
      • If part one surprisingly did not sound 'out of tune,' this part surely does!
      • "Somebody to Love" by Queen is sacrificed on the altar of out-of-tuniness! A private joke of the composer in the category 'How Far Can You Go.'
    • Part 4
      • a minimal-like piece based on the S-H-A-C-H-A-R motive
    • Part 5
      • A left hand blues again based on the S-H-A-C-H-A-R motive recapulates the essence of the Nemirowsky Sonata: in what degree the left and right hand do cooperate in terms of metrum, rhytm and pitch to create an integral piece? Or as stated in the part 3 comment: how far can you go?



"The Grodis Sonata" - 2006
piano solo

    The 14 part Grodis Sonata has been written for Mr.David Grodis, a gifted pianist originating from Rochester, New England (United States) currently residing in Amsterdam.

    Each part is written in the style of a different composer, starting of with J.S.Bach ending with the composer himself.

    Below the samples of:
    • Part 1
    • - J.S.Bach
    • Part 9
    • - Bartók
    • Part 2
    • - Scarlatti
    • Part 11
    • - Penderecki
    • Part 5
    • - Chopin
    • Part 12
    • - Glass
    • Part 7
    • - Joplin
    • Part 13
    • - Gorecki
    • Part 8
    • - Satie
    • Part 14
    • - Regtien





"Vier dagsoepen / Four Soups of the Day"
piano quattremain

    Each Soup is transformed in a delicious soundscape.Bon appetit!

  • Part 1 : "Zware Bruinebonensoep"
  • Part 2 : "Heldere Kippensoep"
  • Part 3 : "Soep met dikke ballen" (reused in part 4 of "The Symphony of WorldLeaders")
  • Part 4 : "Koninginnesoep"




"Leuke mopjes liggen niet voor het oprapen" /
"Nice tunes do not grow on trees"
piano solo