Choral Works : Clothbound in Slipcase

Based on the Béla Bartók Complete Critical Edition (Z. 15009), these three cloth-bound volumes in slipcase include Bartók's complete choral works. The lyrics in this Urtext edition are in the original languages and in the translations authorized by the composer. Literal English translations are provided in the appendix, which also includes early and alternative versions of the works.The edition is complete with informative prefaces (in Hungarian, English, and German) and detailed Editorial Comments (in Hungarian and English). The Comments give an overview of the textual, folk-music, and compositional sources, and provide detailed information on the performance practice of Bartók's choral works. The edition has been printed on high-quality and environmentally-friendly paper.The three volumes are also available in paperback (Z. 20035, 20036, 20037). Separate editions of each work included in these volumes are also available.

Triptichon - in Memoriam Ildiko Vékony

The work was composed in memory of the Hungarian cimbalom player Ildikó Vékony, who died in an accident in autumn 2009. It is based on an earlier piece for solo cimbalom Slow and Brisk (Sáry László: Dance music, Z. 14263) dedicated to her and played several times and also recorded by her. The first and third parts of the composition are variants of each other. Between these two parts there is a slow, richly ornamented movement with freely moving rhythms, in which the often broken melodies of the viola da gamba (or violoncello) appear as reminiscences.The piece was premiered in Budapest on 4th December 2011 by Nóra Kallai (viola da gamba) and András Szalai (cimbalom).

Officium Breve in memoriam Andreè Szervanszky

The premiere of the so called 'third string quartet' composed in 1988/89 was given on the 1989 Witten Festival in the rendering of the Auryn Quartet.

Zoldtán Kodaály, in retrospect

The work was composed to the poems by the Hungarian contemporary poet Dezs Tandori. It was premiered on June 1. 1984 in London, performed by BBC Singers, conducted by John Poole. The eight movements are arranged in three inner cycles. Because of thecomplex divisi situations and the double choir stting the work requires sixteen singers for each voice range; hence the number of singers required is 4 x 16 = 64.

Lebenslauf Op 32 : in Preparation

The work was composed in 1992 for the 85th birthday of Kurtág's teacher, Sándor Veress. The ensemble of instruments is unusual: two basset horns and two quarter-tone pianos (the well-known predecessor of the latter is Charles Ives' Three Quarter-Tone Pieces for two pianos). The special tuning in this case is not that the tonality moves in an ultra-chromatic direction, rather that it makes the contours more nebulous, somewhat incomprehensible and dreamlike, and especially that the two wind instruments align themselves with the normal pitch of the piano.

Lightshadow-Trembling : for solo clarinet (in Sib)

Gergely Vajda composed Lightshadow-trembling at the age of 20 in 1993. Being a clarinettist, he was interested in the possibilities of both traditional and modern ways of playing. Noise elements and sometimes imitations of the sound of folk instruments (bagpipe, reed-pipe) appear in this spectacular concert piece.

An Evening In The Village - Violin & Piano

An Evening in the Village was composed in 1908 as no. 5 of the Ten Easy Piano Pieces. It has become one of Bartók s favorite works, which the composer himself was fond of playing at recitals. As he explained in an American interview, it was an original composition that is ... with themes of my own invention but ... the themes are in the style of the Hungarian-Transylvanian folk tunes. There are two themes. The first one is a parlando-rubato-rhythm and the second one is more in a dance-like rhythm. The second one is more or less the imitation of a peasant flute playing. Bartók also orchestrated the piece in 1931 as no. 1 of Hungarian Sketches.

An Evening In The Village/Slovak Peasant's Dance

Both pieces in the present volume are transcriptions from Bartók s Ten Easy Piano Pieces, a series composed for pedagogical purposes in 1908. Their themes are reminiscent of Hungarian and Slovak folk songs, although they are not authentic folk melodies. As Bartók explained in an American interview, An Evening in the Village was an original composition that is ... with themes of my own invention but ... the themes are in the style of the Hungarian Transylvanian folk tunes. There are two themes. The first one is a parlando-rubato-rhythm and the second one is more in a dance-like rhythm. The second one is more or less the imitation of a peasant flute playing. AnEvening in the Village has become one of Bartók s most popular works, which the composer himself was fond of playing at recitals. In 1931 he also orchestrated it as no. 1 of Hungarian Sketches.

Strafe mich nicht in deinem Zorn

Lajos Huszár composed his motet for mixed choir Strafe mich nicht in deinem Zorn commissioned by the town of Debrecen for the 26th Béla Bartók International Choir Competition in 2014. The composer says about his work: ''This choral work is the closing piece of a series for mixed choir consisting of three motets in German. The text is from the Bible as translated into German by Martin Luther (parts of Psalms 6 and 7), supplemented by a few words of a chorale. Its style is based on modal key systems and it adapts throughout to the singing voice.''

Kodály's Principles in Practice

From the list of contents of the book: Extracts from statements and observations on music education made by Zoltán Kodály, Historical roots of Hungarian music education in other European pedagogical systems, The role of singing and folk-song, Arrangement by age-groups, The teaching of specific elements (form, harmony, transposition, writing), The Kodály method applied to the teaching of instruments.

Starting the Piano : Introduction to tone and movement in modern music

Modern piano playing can be no more reduced to such technical and musical formulas as in the days of Liszt, Czerny or Dohnányi. The piano works of our contemporary composers do not demand the techniques of the classical scale, broken chords and series of parallel intervals: they are more inclined to demand from the performer a secure feeling for position, rich rhythmic imagination, a receptivity towards colour and dynamics which will become apparent in refined nuances of touch, the capacity for lightning adaptation in quickly changing ways of playing - in other words, a richness of colour in playing the instrument which was unimaginable in earlier times. For the carrying outof these demands increased training is required in the kinds of movement used in playing but well developed hearing is also important for the performer to be able to control the sounding variety.

Bassoon Concerto In A Minor VIII No.7

This publication is printed on high-quality, age-resistant, pale-yellow paper that is produced in an environmentally-friendly, climate-neutral manner using renewable raw materials.

Concerto in re maggiore per flauto ed orchestra

Already during his lifetime Rössler-Rosetti enjoyed great popularity. His operas and symphonies achieved great success, most of them appeared in printing. His Requiem was first performed at Prague at a memorial festival dedicated to Mozart. He composed several concertos for piano, violin, violoncello, flute, clarinet, bassoon, corno and various ensembles. Out of his 14 flute concertos the here published Concerto in D major is to be found on page 25 of the thematic catalogue Breitkopf supplement XII (1778). The contemporary handwritten orchestral parts of the work are preserved at the King Stephen Museum at Székesfehérvár. It got into the possession of the Museum in 1951 with therich book- and music-collection of the family Verebi-Végh.

Concerto in sol maggiore per flauto ed orchestra

Already during his lifetime Rössler-Rosetti enjoyed great popularity. His operas and symphonies achieved great success, most of them appeared in printing. His Requiem was first performed at Prague at a memorial festival dedicated to Mozart. He composed several concertos for piano, violin, violoncello, flute, clarinet, bassoon, corno and various ensembles. Out of his 14 flute concertos the here published Concerto in G major is to be found on page 25 of the thematic catalogue Breitkopf supplement XII (1778). The contemporary handwritten orchestral parts of the work are preserved at the King Stephen Museum at Székesfehérvár. It got into the possession of the Museum in 1951 with therich book- and music-collection of the family Verebi-Végh.

A furulya : A modern handbook in Hungarian

A modern handbook in Hungarian: basic reading on everything there is to know and all that is worth knowing about the recorder, with a wealth of illustrations and 20 full-page colour photo-montages of the most beautiful period and ancient instruments.

Bläserquintett

First published in 1957, this work has been reprinted multiple times and appears now as both a full score as well as the individual parts that comprise it. Endre Szervanszky (1911-1977) created this work during a creative period when the basic starting point for musical invention was Hungarian folk song. However, the demanding and expert reshaping of this musical material also characterized his musical creations. This quintet for winds has also earned recognition from instrumental musicians with its sophistication, intensity, superb instrumental arrangement, and classical four-movement structure.This publication is printed on high-quality, age-resistant paper that is producedin an environmentally-friendly, climate-neutral manner using renewable raw materials.

Sideways Air on a Black Hole for Clarinet in Sib : Konzertstück. Solo

The composer writes the following about this work: 'As if we could only walk sideways in a tilted force field, Petruska-Harlequin in my piece evokes waltz fragments on a capsized 'Titanic', or Berlioz's Romeo und Juliet. Vertiginous chromatic martellato-staccato sequences keep tearing apart the clarinet's virtuosic aerial gymnastics interspersed among the fragments and half-heard wisps of sound. We suddenly find ourselves now in the depths, now in the highest regions, sidelong, as if all these fragments of musical memories were dancing on the edge of the event-horizon of a black hole...' This work, dedicated to the clarinettist Csaba Klenyán, was composed in 2002 inSaskatoon (Canada).

Violoncello Music for Beginners 2 : Easy concert pieces in first position

The volumes of the series cover the entire music literature from the earliest centurties to our days. The material of the individual volumes containing short, easy pieces to be played in the first three-four years of studying the instrument has been compiled by accomplished music teachers. The majority of the contemporary works included in the volumes have been published in this series for the first time. An ABRSM syllabus title, 2010-16, Grade 2-3.

Passacaglia Achatio Mathe in memoriam : in memoriam

(Hungaroton HCD 31727)

Trombone ABC : For tenor trombone in B flat ( Pupil's book)

This volume in the ABC series continues the best traditions of conventional trombone teaching on the one hand and at the same time accommodates to present-day requirements and changing tastes. In concept and subject-matter it embraces the entire material for trombone teaching at the elementary level. It proceeds as far as the 7th position and provides learners with numerous studies, scale exercises and performance pieces. The pieces include many European folk melodies, extracts from classical works well adapted for the trombone, and a number of contemporary compositions written specifically for this instrument. The textual instructions are given in three languages:German, English and Hungarian.

Media Vita In Morte Sumus (In Memoriam Matyas Se

Concerto in la minore : per violoncello solo, con violini e basso continuo

The source of the present edition is preserved in the Archivio di Stato, Bologna. Editorial principles: In the score, the number of editorial interventions has been kept to a minimum. The original dynamic and expression markings are extremely few and far between, but precise. Only three dynamic levels are specified: forte, dolce ( = piano) and dolce assai ( = pianissimo). As regards expression markings we note the complete absence of the legato sign, though the appoggiatura, staccato, trill and two different types of bow-vibrato (both in association with dolce or dolce assai) can all be found. It is a well known fact that 18th century vibrato, obtained not by a movement of theleft hand but rather by a variation in the pressure of the bow, was an expressive effect to be used with discretion and not, as today, a constant means of sound production. Territorial restrictions may apply. Please ask before ordering.

Sperent in te

Missa in A

Divertimento in D