Konzert (E-Dur) für Flöte, Streicher und Cembalo

The only Flute Concerto in E major by Georg Philipp Telemann (1681-1767) survives in a manuscript score copied by Johann Christoph Graupner in about 1740. The manuscript is preserved in the Hessische Landes- und Hochschulbibliothek in Darmstadt. The original title of the work reads: Concerto, a Flaut Tr. 2 Violin, Viola e Cembalo (Teleman). Territorial restrictions may apply. Please ask before ordering.

Sonata per tromba e pianoforte K 293b (302)

The edition is a transcription for trumpet and piano of the two-movement sonata for violin and piano in E flat major by W. A. Mozart, written in Mannheim at the beginning of 1778 and published as op. 1, no. 2 in Paris in the same year.

Maestro e scolaro - vierhändige Etüden für Klavier

Piano students can most easily get to know and enjoy chamber music through four-hands playing. It is no accident that this volume makes reference to the title of Haydn's famous piece Il maestro e lo scolare, since the four-hands etudes it contains provide opportunities for teacher and pupil to make music together. The teacher can always play the more difficult part (this is sometimes the 'Secondo', sometimes the 'Primo') and the student the easier one.

Sonata per flauto e cZalo (pianoforte)

As sources for this present edition served the manuscript marked Mus. ms. Bach St. 296 held in the Staatsbibliothek Preussischer Kulturbesitz at Berlin. The original title reads: Sonata / a / Flauto Traverso / e / Cembalo Concertato / di / J. C. Bac h. Our edition follows closely the manuscript except for the arrangement according to present-day notation (use of accidentals, the addition of slurs to tie the appoggiatura to the main note, etc.). Obvious errors are listed in the Critical Notes. Sl urs have been but in square brackets. The basso continuo marked in the original by figuring is given here in small print. György Orbán

Concerto in re minore per fagotto, archi e cZalo : per fagotto, archi e cembalo RV 481 (F.VIII. No. 5, P.V. 282)

The source of the present edition of the Bassoon Concerto in D minor by Antonio Vivaldi (1678-1741) is the Collected Works of Vivaldi edited by Malipiero, published in 1949 by Ricordi. The title of the original score is "Concerto in Re minore per fagotto, archi e cembalo": the original setting: Fagotto, Violini I-II, Viole, Violoncelli, Contrabassi, Cembalo. The arrangement for bassoon and piano is kept in accurate conformity with the musical text of the score, the continuo part - however - has been more freely adapted (of course within the possibilities of baroque style).

Concerto in la minore per oboe, archi e cZalo RV : per oboe, archi e cembalo RV 461 (F.VII. No. 5, P.V. 42)

The source of the present edition of the Oboe Concerto in A minor by Antonio Vivaldi is the Collected Works of Vivaldi, edited by Malipiero, published by Ricordi 1955. The title of the original score is "Concerto in La minore per oboe, archi e cembalo": the original setting: Oboe, Violini I-II, Viole, Violoncelli, Contrabassi and Cembalo. The arrangement for oboe and piano is kept in accurate conformity with the musical text of score, the continuo part - however - has been more freely adapted (of course within the possibilities of baroque style). The piano part contains the entire orchestral material in the Tutti-s, thus the soloist is not obliged to play all the Tutti parts.However, in Movement I and III the first and last Tutti may never be omitted by the performer.

Sonata per flauto e arpa : per flauto e arpa

Andante e vivace

Sonatina e variazioni

Sonate e-Moll

This sonata transcribed for bassoon and piano was accomplished by its composer sometimes around 1720 for the series Essercizi musici, composed for viola da gamba with continuo. The viola da gamba, an old-time string instrument, is only seldom played in our days. Thus, it is indeed justified to rescue the beautiful and suitable pieces of its literature for the sake of more frequent performances. To transcribe the viola da gamba part in its completeness would have caused unsurmountable difficulti es in the technique of wind instruments. Thus, in the transcription some sections of the part are performed by the accompanying piano, however, it has been always kept in mind that thecomposition and its form should not be possibly harmed. Consideri ng the requirements of a modern edition, several marks of phrasing and all the dynamical signs have been added to the original Ottó Oromszegi

Introduzione e Rondo

Waldhornkonzert E-Dur

Enigmi e disegni

Ludi spaziali per pianoforte e nastro : per pianoforte e nastro

Suite G-Dur für Flöte : Transkription der fünf Sätze aus der Französischen Suiten E-Dur, BWV 817

With its homophonic character the E major French suite stands out among Bach?s works for keyboard instruments ? it cannot be ruled out that individual movements or even the whole work may originally have been written for another instrument. It is this peculiarity that has been exploited by the internationally well-known baroque flutist Benedek Csalog in transcribing for flute five suitable movements of this suite (Allemande, Courante, Sarabande, Bourrée, Gigue). In making the transcriptions he took as his starting-point the German flute music of the 1720s and 1730s, and the flute-playing practice of that period.

Metamorfosi (II) : per flauto (grande e alto in sol) e nastro

Largo e Allegro deciso

Parlando, giusto e corale

METHODIK BD 3 (E)

Dalok Ady E. verseire

Nicolae Bretan (1887-1968) was a great singer and composer who had the keys to create great lieder. He understood that the imagery of poetry deeply stirs the subconscious, that verbal images must be weighed and translated with precise yet unmeasurab le artistry into rhythm and harmony. Given songs that penetrate the listener's psyche, that arouse the listener's humanity, that increase the listener's sense of beauty, the singer has munch of his work already done for him. And the singer who sings Bretan is far ahead on the pathways to his audience's mind and heart. The listeners sense new doors onto vistas of order and beauty, torment and calm. This release of energy withinthe audience is the secret of art. Art is eternity's dialogue in whic h the listener participates, which the listener fills in with his own emotion, his own experience... Frederica von Stade

Fényességén E Mai Napnak

Occhi dolci e soavi

Sonata in fa maggiore per tromba e pianoforte : per tromba e pianoforte

Tre pezzi op. 14e per violino e pianoforte : per violino e pianoforte

Concerto No. 4 per clarinetto e violino (o due c : per clarinetto e violino (o due clarinetti) soli e orchestra