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

"Regtine Ragtime" - 1975 / 2024






"Piano Stellar Overdrive" - 2022
    "Piano Stellar Overdrive" is a 5 part piano solo composition, with emphasis on using the piano as percussion instrument.

    Playing instructions include: loud, very strict and tutti staccato.

    The piece aims to take playing metric (often simple) patterns to the next level in classical standards, like in house/dance music is commonplace.

    A seperate page is dedicated to this composition: Piano Stellar Overdrive






"Zo hoor ik het graag" - 2021
    "Zo hoor ik het graag! (That's the spirit!)" is a piano improvisation / composition which originated in the corona years 2020/21.

    A seperate page is dedicated to this composition: Zo hoor ik het graag!






"Präludium XIII, herijking 2019" - 2019
    In opdracht van pianiste Jacqueline voorheen Frederique voor het 24preludia project schreef Maarten Regtien een nieuwe prelude horend bij de fuga in FIS groot uit het 2e boek van het Wohltemperierte Klavier van Johann Sebastian Bach (1685 - 1750).

    Partituur - download:    


    A seperate page is dedicated to this composition: Präludium XIII, herijking 2019






"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





"Leuke mopjes liggen niet voor het oprapen" /
"Nice tunes do not grow on trees" - 1988(?)
piano solo







    "Vier dagsoepen / Four Soups of the Day" - 1984(?)
    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"