Dance Music (1987-2000)

Sonata per Violoncello Solo : In preparation

Ferenc Farkas (1905-2000) was one of Hungary’smost decisively important 20th-century composers.His musical profile combined Hungarian folkmusic, classical traditions, the melodiousness of the Mediterranean, and twelve-tone technique.

Schattenwelt, Schlachtfeld acht Duos für Klarine

The set of eight short duets entitled Schattenwelt, Schlachtfeld was composed in 1999 and was influenced by the extraordinary clarinet-playing of Barbaros Erköse (Istambul). Employing simple stage movements as well, this composition mobilizes considerable emotional energies, which if the performance is sufficiently concentrated can have a cathartic effect. The work was given its premiere in Budapest in May 2000 by Lajos Rozmán and Andrea Várhegyi.

Piccola Musica Di Concerto Für Streichorchester

This is one of the best-known and most frequently performed works of Ferenc Farkas (1905-2000). It was written in 1961 for 4-part string orchestra (with an ad libitum double bass part), and can be performed by a string quartet. The secret of the popularity of this 4-movement composition, which follows the structure of the classical symphonies, is probably to be found in its transparent sound, the clarity of its form and its fresh, vigorous character.

Zwei Sonatinen

Ferenc Farkas (1905-2000) wrote his two sonatinas in 1930-31 for two outstanding violinists of his generation: György Hannover, who died young, and Ede Zathureczky, who was to have a bright career. The composer, who was studying in Rome at the master class of Ottorino Respighi at that time, fills the easy-to-understand works with neoclassical themes, sometimes showing the characteristics of Hungarian folk music. At the same time, he provides performers with the opportunity to display their expressiveness and virtuosity.

Serenade für Bläserquintett

Ferenc Farkas (1905-2000) most popular piece appears here in a new format: the publication folder contains both the individual parts and the score of the work. First published in the 1950s, this three-movement composition (Allegro - Andante espressivo - Allegro vivace) has - as the title suggests - a light, serenade-like tone. In particular, the dance-like final movement (subheaded with the word Saltarello ) is sure to find success with an audience.This publication is printed on high-quality, age-resistant paper that is produced in an environmentally-friendly, climate-neutral manner using renewable raw materials.

Arioso für Violoncello (Viola) und Klavier : für Violoncello (Viola) und Klavier

Arioso for cello and piano by Ferenc Farkas (1905-2000) is one of the composer s earliest-known compositions. He wrote the piece in 1926 during his student years, although it was originally intended to be the slow movement of a viola sonata which was never published. Only later did Farkas rework it as a stand-alone work for cello. The composition, like Kodály's Adagio which was published 20 years prior and also written for cello, focuses on the singing melody of the string instrument while simultaneously showing Farkas creative preference for Mediterranean colors and Latin proportion.

6 Sonatas for violoncello & piano/two violoncellos

English organist and composer James Hook (1746-1827) composed sonatas for cello in an elegant style which were first printed in 1783. Up until that time - to our knowledge - modern printing was not so easily accessible. These easy to intermediate-level sonatas can serve as suitable preparation for Boccherini pieces, and their elegant style and musical value make them appealing both for pupils and music lovers alike. The simple accompaniment was originally intended by the composer to be for another cello as an alternative, Árpád Pejtsik also created a piano accompaniment allowing these pieces to be used for concert performance.

Treble recorder ABC 1

Because students generally begin playing the treble recorder only after several years' study of the descant recorder, Treble Recorder ABC is not intended for beginners but presupposes a basic knowledge of musical concepts and instrumental technique. László Czidra (1940-2000), the Hungarian recorder player and teacher known all over the world, set three main educational objectives in compiling the volume: to enable students to acquire the transposing manner of reading of the instrument tuned to F: to give a systematic technical foundation: and to make the students acquainted, at least on the level of skills, with the ornamentation and variation practice of the Renaissance andthe Baroque, two eras providing the majority of the repertory for the instrument.

Französische Barockduette : für zwei Altblockflöten

In France at the beginning of the 18th century the transverse flute became very popular, and dozens of volumes of suites were published for one flute or more (with or without bass). On the title-page of many publications of that period the violin, oboe and recorder are mentioned as alternative instruments, on the recorder the pieces generally have to be played a minor third higher. This volume offers a selection of works by the best French wind composers (Hotteterre, Pierre Philidor, La Barre, Montéclair), transposed for the recorder. It includes Hotteterre's well-known D minor suite, as far as we know, this is the first printed edition in which the 'Passacaille' can be playedwithout page-turning.

Alte ungarische Tänze aus dem 17. Jahrhundert fü : für Bläserquintett

Ferenc Farkas (1905-2000) was one of Hungary's most important 20th-century composers. He studied with Leó Weiner and Albert Siklós at the Academy of Music in Budapest from 1922 to 1927, then continued his studies in Rome at the Accademia di Santa Cecilia with Ottorino Respighi. From 1935 he taught at the Higher Music School in Budapest, then at the Conservatory in Kolozsvár, and later at the Székesfehérvár Conservatory (he was also director of the latter two). In 1949 he was appointed teacher and later head of the department of composition at the Academy of Music Budapest. His oeuvre of more than 700 works comprises almost every musical genre. His technical virtuosity as acomposer and his knowledge of style won him international recognition.

Ballade

Ferenc Farkas (1905-2000) was one of Hungary's most important 20th-century composers. He studied with Leó Weiner and Albert Siklós at the Academy of Music in Budapest from 1922 to 1927, then continued his studies in Rome at the Accademia di Santa Cecilia with Ottorino Respighi. From 1935 he taught at the Higher Music School in Budapest, then at the Conservatory in Kolozsvár, and later at the Székesfehérvár Conservatory (he was also director of the latter two). In 1949 he was appointed teacher and later head of the department of composition at the Academy of Music Budapest. His oeuvre of more than 700 works embraces almost every musical genre. His technical virtuosity as acomposer, his knowledge of style won him international recognition. (Hungaroton HCD 31835)

Ungaresca

Hungarian-style dance music which flourished in the 16th and 17th centuries - generally referred to as ungaresca - represents a valuable part of European musical tradition. István Gy rffy's work (2007-2010) is a late successor of this tradition. It was written with the intention of embodying the eastern-central European tradition in order to present an alternative to the current fashions of music for wind instruments. The composer's approach to this style utilizes traditional forms of music. Both the first and third movements effectively optimize a concert band's tonal possibilities by using solos and small chamber groups in a varied manner. The slow and melodic second movementtransfers a characteristic playing technique of Hungarian instrumental folk music to the concert band.

Ungaresca

Hungarian-style dance music which flourished in the 16th and 17th centuries - generally referred to as ungaresca - represents a valuable part of European musical tradition. István Gy rffy's work (2007-2010) is a late successor of this tradition. It was written with the intention of embodying the eastern-central European tradition in order to present an alternative to the current fashions of music for wind instruments. The composer's approach to this style utilizes traditional forms of music. Both the first and third movements effectively optimize a concert band's tonal possibilities by using solos and small chamber groups in a varied manner. The slow and melodic second movementtransfers a characteristic playing technique of Hungarian instrumental folk music to the concert band.

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.

6 Trios Fur 2 Floten Und Basso Continuo 1

The present edition of the trio sonatas by Johann Ludwig Krebs (1713-1780) is based on pp. 113-158 of a contemporary copy of the trio sonata collection which is held in the Sächsische Landesbibliothek, Dresden, shelf-mark Mus. 1-Q-1. The common title at the beginning of the first trio reads: Sechs Trio a 2 Flauti e Basso. In spite of the consistent indication of instrument in the source the music material of the second flute part suggests an alternative use of instruments. Apart from the characteristic string turns occurring in some places mention should be made of the range of voice up to g of the first trio sonata if the/in first place and particulary of theconsistently applied double stops of the second melodic instrument in the first movement of piece No. 6. Territorial restrictions may apply. Please ask before ordering.

6 Trios Fur 2 Floten Und Basso Continuo 2

The present edition of the trio sonatas by Johann Ludwig Krebs (1713-1780) is based on pp. 113-158 of a contemporary copy of the trio sonata collection which is held in the Sächsische Landesbibliothek, Dresden, shelf-mark Mus. 1-Q-1. The common title at the beginning of the first trio reads: Sechs Trio a 2 Flauti e Basso. In spite of the consistent indication of instrument in the source the music material of the second flute part suggests an alternative use of instruments. Apart from the characteristic string turns occurring in some places mention should be made of the range of voice up to g of the first trio sonata if the/in first place and particulary of theconsistently applied double stops of the second melodic instrument in the first movement of piece No. 6. Territorial restrictions may apply. Please ask before ordering.