Meister der Variation im Barock für Sopran- und Al : Duette

Meister der Variation im Barock für Sopran- und Al : Solowerke mit Continuo

Chaconne per archi : for junior string orchestra or two violins and violoncello or violin, viola and violoncello

Kocsár composed the Chaconne for three-part string ensemble in 1996. Originally a popular Baroque musical form, the chaconne is characterized by a set of ground-bass variations. In Kocsár's piece the 23-bar theme is followed by nine variations of diverse characters. The composition lasts about nine minutes and is rounded off with a recapitulation of the theme and a coda.

Chamber Music for/ Kammermusik für Violoncelli 4 : for 3 violoncellos

The series - after three volumes of quartets - continues with trios this time. In the trio by Haydn the three cellos take turns playing the leading part. A special feature of the Purcell Chaconne is the fact that the two parts above the 6-bar ostinato bass move in canon throughout the piece. All three Mozart works - the Canon inversus (mirror canon), the Canzonetta and the Adagio - are miniature masterpieces. The Elgar work: Salut d'amour, with which the volume ends, demands a slightly higher level of skill, but is a rewarding task for everyone who performs it.

15 Bagatelle per clarinetto solo

The first pieces among the 15 Bagatelles were written at the request of Béla Kovács. For his clarinet school he asked for little pieces that would introduce students to the typical innovations of the 1980s in notation (musical processes without bar- lines, asymmetrical repetition, the various means for notating free rhythm). The task continued to interest me, and I increased the number of pieces first to twelve, then to fifteen, so that from the simplest level to the intermediate stage students can find things to play. Depending on the students’ level of skill, the pieces can be performed as independent items and in any desired order. (Miklós Kocsár)

Dreizehn leichte Stücke für Kinderstreichorchester : Score with Downloadable Parts

Beethoven's piano pieces, that is two bagatelles and various variation series composed to themes by other composers form the basis of this volume. The style, tone and world of harmony of these short pieces and excerpts come surprisingly close to those of Beethoven's "great" works. In this way, children can get acquainted with and share the same musical experiences at a very young age that they will later enjoy as adults when listening to symphonic concerts.

Die Entführung aus dem Serail - Ausschnitte für

The editor of the new series introduced under the title "Opera Hits" has come up with a new idea: from operas an orchestra - in this case, a junior or non-professional string orchestra - should have a chance to play not only the overture or the orchestral interludes, but also the vocal numbers (arias, duets, etc.). The popular, well-known opera excerpts transcribed by András Soós should serve as attractive additions to the repertoire and be successful programme items for such ensembles.

Újesztendőt köszöntő : A Christmas Carol (Hungarian folksong)

The piece was written originally for equal voice choir in 1929. A mixed-choir adaptation was made in 1961 at the request of Oxford University Press. This appeared in print in the same year with an English text under the title A Christmas Carol in a collection of Christmas songs, as well as in a separate print. The musical material of the mixed-choir version largely follows the original. There is one essential difference in verse 5, beginning at bar 35 (Babe all holy) where the tenor solo appears with a delightful eight-bar countermelody not found in the original. Since this version only appeared in Kodály's lifetime with an English text, this has been retained, but we havealso provided the original Hungarian text upon which the equal voice version is based. Zoltán Kodály's complete choral works for mixed voices were published in a new, extended, edition in 2018 (Z. 6725 and Z. 6725A). This volume containing 51 compositions has been edited by the renowned conductor Péter Erdei, one of the most devoted interpreters of Kodály's choral works. The new edition takes into consideration the manuscript sources for the compositions housed in the Kodály Archives in Budapest. The publication features new, easily-legible music scores edited on uniform principles. For better readability, the new edition is printed in a slightly larger format than previous editions.The present publication is an offprint from the renewed edition of Kodály's complete choral works for mixed voices. It has the same format as the volume, and has been printed on excellent-quality pale-yellow paper.

Early Hungarian Dances from Gömör

The title of the suite Early Hungarian Dances from Gömör suggests the arrangement and harmonization of dance tunes, but this three-movement cycle is far more than that: in fact, the old court dances that provide the thematic material have been freely thought through and brought to completion. The composer has breathed new life into the 18th-century melodies, as Zoltán Kodály did with the Galanta and Marosszék dances, Antonin Dvo ák with Slav dances, and Johannes Brahms with those of Hungary. The chief virtues of the work are its colourful, varied instrumentation, the tasteful combination of its archaic style with the musical language of our day, and not least the fact thatits every bar is enjoyable to play and easy to listen to.

Early Hungarian Dances from Gömör

The title of the suite Early Hungarian Dances from Gömör suggests the arrangement and harmonization of dance tunes, but this three-movement cycle is far more than that: in fact, the old court dances that provide the thematic material have been freely thought through and brought to completion. The composer has breathed new life into the 18th-century melodies, as Zoltán Kodály did with the Galanta and Marosszék dances, Antonin Dvo ák with Slav dances, and Johannes Brahms with those of Hungary. The chief virtues of the work are its colourful, varied instrumentation, the tasteful combination of its archaic style with the musical language of our day, and not least the fact thatits every bar is enjoyable to play and easy to listen to.

Parallel Movements : für vier Instrumentengruppen

Each part may be performed by four to eight instruments, which are all capable of sustaining a note with identical intensity. The written notes can only be read is treble clef but can be placed anywhere in the register. The composition of the groups of instruments within the individual parts should always be varied both as far as the setting and the proportion of the high, middle and low instruments within one and same part are concerned. The various groups may also consist exclusively of wind or string instruments. It is extremely important to precisely keep the durations and the dynamics. For the duration of a note all factors must remain identical. Accidentals always governonly the note they preceed (even within one bar).

Quintetto d'ottoni

In this work parallel chords, i.e. one of the most significant technical ordering devices of the composer come into full display. The part of the 2nd trumpet starts, for example, with consecutive fourths and a similar arrangements can be encountered in the ensemble of the three other instruments as well. Later on thirds step into the role of fourths. Following the homophonic motion there is a music texture with solo accompaniment. The novelty coming in with the final movement is the effect produced by alternating bars.

Just a song for male voice and piano

The song was written in 2003, after the composer’s spells of work with Tom Bogdan. The piece is dedicated to him and to Meredith Monk, in whose ensemble Tom Bogdan regularly appears: as a performer he has also taken part in several works by Monk. The song begins in passacaglia form, as a kind of quest for an answer, seeking the perfect solution. In the light of the failure of this to come about, the second part explains the futility of the search. First performance: March 2003.

Freie Bearbeitungen 13

Series I of the complete edition, launched in 1970 (original two-hands piano works, volumes 1-18), was completed in 1985, and with the publication of this volume Series II (transcriptions of works by other composers, volumes 1-24) has come to an end. The works contained in this volume are from Liszt's so-called 'late' period. This publication is available in two versions: bound in blue linen, or in grey boards. Only the former version contains the descriptions of sources and the critical notes.Territorial restrictions may apply. Please ask before ordering.

European Journey

László Zempléni, the author or reviser of a large number of pedagogical volumes published by EMB, has this time arranged European folk songs for young band. The following songs feature in the volume: "Laß' doch meine Jugend" (German), "My native land (Irish), Ah mon beau château" (French), "Kom, skal i klippe" (Norwegian), "Moj llokumja me sheqer" (Albanian), "Ma come balli bella bimba" (Italian) and "Az oláhok, az oláhok" (Hungarian). The pieces can be performed as a coherent series or separately, and conductors can select from them to form 2-, 3- or 4-movement groups.

Drei Stücke für Klavier zu vier Händen op. 12

The works of Carl Goldmark (1830 -1915) are undeservedly neglected nowadays by concert organizers, not only his most famous opera The Queen of Sheba and a number of his orchestral works but also his chamber and piano works and his songs are almost completely unknown. Thus these three pieces for piano four hands come as a virtual novelty: only one (old) edition of them exists, the composer?s manuscript is kept in the Széchényi Library, Budapest. These moderately difficult, effective concert pieces can be successfully performed by the most advanced music school students.

Trompetenschule I

The first volume of the present trumpet tutor comprises the teaching material for the preparatory and first grades of the music schools. It consists of two parts: in the first pupils learn the range of sound prescribed in the curriculum whereas in the second they continuously acquire the prescribed scales and rhythm formulae. Since musical training is laid special emphasis on, only children's songs, folk-songs and some pieces of art music have been included, i.e. whenever possible melodies that pupils have already come to learn previously at school apart from the explicitly functional studies.

...Couple égyptienne en route vers l'inconnu... : for upright piano (con supersordino) or pianoforte

The two piano pieces were inspired by a statue which can be seen in the Egyptian Collection of the Louvre in Paris. The full-length portrait of the couple holding hands was carved in wood by the unknown master more than 4000 years ago (i.e. between 2350-2200, the time of the VIth dynasty's reign). We don't know who they are, where they come from, and we also don't know where they are going. All we see is that they belong together. And in Kurtág's music we can now also hear their quiet footsteps…

European Journey

László Zempléni, the author or reviser of a large number of pedagogical volumes published by EMB, has this time arranged European folk songs for young band. The following songs feature in the volume: "Laß' doch meine Jugend" (German), "My native land (Irish), Ah mon beau château" (French), "Kom, skal i klippe" (Norwegian), "Moj llokumja me sheqer" (Albanian), "Ma come balli bella bimba" (Italian) and "Az oláhok, az oláhok" (Hungarian). The pieces can be performed as a coherent series or separately, and conductors can select from them to form 2-, 3- or 4-movement groups.

Freie Bearbeitungen 13 : II-13

Series I of the complete edition, launched in 1970 (original two-hands piano works, volumes 1-18), was completed in 1985, and with the publication of this volume Series II (transcriptions of works by other composers, volumes 1-24) has come to an end. The works contained in this volume are from Liszt's so-called 'late' period. This publication is available in two versions: bound in blue linen, or in grey boards. Only the former version contains the descriptions of sources and the critical notes.Territorial restrictions may apply. Please ask before ordering.

Early Hungarian Dances

The composer wrote of his work as follows: In the music of Hungary, folk songs are manifestly of great importance, on the other hand our ancient airs and dances play a modest role. For this work I have been influenced by dances of the 17th century, written by unknown amateurs in a relatively simple style. Most of these dances were recorded between the 14th and 18th centuries under the usual form of tablature notation. My interest in this music was first captured in the 1940s. I was so fascinated that I decided to give these melodies new life. I fitted the little eight-bar dances together into ternary and rondo forms, and leaning on early Baroque harmony and counterpoint, Iattempted a reminiscence of that atmosphere of the provincial Hungarian Baroque.

Early Hungarian Dances

The composer wrote of his work as follows: In the music of Hungary, folk songs are manifestly of great importance, on the other hand our ancient airs and dances play a modest role. For this work I have been influenced by dances of the 17th century, written by unknown amateurs in a relatively simple style. Most of these dances were recorded between the 14th and 18th centuries under the usual form of tablature notation. My interest in this music was first captured in the 1940s. I was so fascinated that I decided to give these melodies new life. I fitted the little eight-bar dances together into ternary and rondo forms, and leaning on early Baroque harmony and counterpoint, Iattempted a reminiscence of that atmosphere of the provincial Hungarian Baroque.

Rumänischer Tanz für Orchester

'Bartók wrote 'Two Rumanian Dances' for piano, op.8a in 1909-1910 and arranged the first of the pair for orchestra in time for a concert on 12 February 1911. The highly positive reviews of the premiere describe the dance as brilliantly orchestrated, bizarre in its harmonies, and orgiastic in its conclusion. The A sections of its ABA form insistently repeat a four-bar theme that is itself composed of internal repetitions. Bartók maintains interest in the material by varying the orchestration, and, in the final section, with sudden breaks and changes in tempo. The slow middle section has a more vocal and impassioned emotional quality than the mechanistic dance that surroundsit. Bartók wrote in 1931 that although the work was inspired by Rumanian folk music, the themes were entirely his own.' (HCD 32506 Bartók New Series Vol. 6, David E. Schneider)

Sinfonie Nr. 8 F-Dur

The autograph manuscript bears evidence that the symphony was completed in October 1812, merely five months after the seventh one. It was first performed in a concert given of Beethoven's works in Vienna, on February 27, 1814. Although the musicians and the critics immediately recognized its exceptional values, the 8th symphony took longer to gain popularity than its predecessors. Schumann reported as late as 1840 that this magnificent work was undeservedly seldom performed in concerts. The score was printed parallel with the orchestral parts by S. A. Steiner of Vienna in 1816. Apart from some obvious printing errors which are not listed here the various editions do notshow any significant deviations. There is only one ambiguous note we have to comment on: the final G of the first clarinet at the end of the middle section (bar 78) of the Menuetto movement. This apperars in contemporary parts either as a two-line or a three-line note.

Sinfonie Nr. 3 Es-Dur : Eroica'

The original manuscript of the work has been lost, but a copy with corrections in the composer's hand, dating presumably from 1804, has come down to us. Beethoven added the following comment on the title page: 'geschrieben auf Bonaparte', which lends authenticity to the familiar story that oroginally the composer had named the symphony after Napoleon Bonaparte, but when he learnt that the revolutionary whom he idolized had let himself crown emperor, he tore off the cover page of the score in disillusion and rage, and changed both its title and dedication in the following way: 'Sinfonia EROICA, composta per festeggiare il sovvenire d'un grand' uomo, e dedicata a Sua AltezzaSerenissima il Principe di Lobkowitz.'