Trios for Two Violins and Cello : Musica da Camera

This volume in the 'Musica da Camera' series offers a selection of music for two violins and cello from the two hundred years extending from François Couperin to Edward Elgar. The technical demands of the works range from easy to moderately difficult, but the easier pieces are also musically valuable, so that even the more experienced ensembles can enjoy playing them. Not only the first violin but the second violin and also the cello is frequently given a solo role. We recommend this volume to youngsters learning music and to music-lovers actively involved in chamber music.

Da capo (2014) : for cimbalom or marimba and ensemble

The meaning of "da capo" is to return to the beginning and start again. A musical process, which reaches somewhere but does not end, beginning again and again in a different way, from different basic material throughout nine stages, evolves from the starting tune. The initial tunes come from Mozart's notebooks. They are fragments, ideas for themes, which in their majority or not in the outlined form did not result in finished compositions. Péter Eötvös presents these tunes to listeners in a clearly recognisable way but he immediately develops and transforms them. Mozart's themes are almost immediately remodelled in the chamber ensemble, the instruments of which were stillunknown in the 18th century, and the musical journey is made especially adventurous in that the solo (whether played on the cimbalom or the marimba) is presented by a musical instrument which cannot have been used in the 18th century.

Simphonia Da Chiesa

Musica da camera

Concerto classico per orchestra da camera : per orchestra da camera

Musica Da Camera Nr 2

All'antica für Viola da gamba (Violoncello) und : für Viola da gamba (Violoncello) und Cembalo (Klavier)

Concerto da camera : für 12 Musiker

Musica Da Camera Für Violine, Violoncello Und Kl

Sonate D-Dur Für Viola Da Gamba (Bratsche, Violo

Musica da camera : für Kontrabass, Flöte, Schlagzeug und Klavier

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

12 sonate per violino e basso continuo I-B op. 5

The present edition contains Twelve Sonatas for Violin Solo and Basso Continuo, Op. 5 by Arcangelo Corelli. The first part of the series (Z. 12050: Sonatas No. 1-3, Z. 12051: Sonatas Nos. 4-6) comprises church sonatas (sonate da chiesa), while the second one (Z. 12265: Sonatas Nos. 7-12) chamber sonatas (sonate da camera). The present edition is based on the first edition of the work published in Rome in 1700.

12 sonate per violino e basso continuo II op. 5

The present edition contains Twelve Sonatas for Violin Solo and Basso Continuo, Op. 5 by Arcangelo Corelli. The first part of the series (Z. 12050: Sonatas No. 1-3, Z. 12051: Sonatas Nos. 4-6) comprises church sonatas (sonate da chiesa), while the second one (Z. 12265: Sonatas Nos. 7-12) chamber sonatas (sonate da camera). The present edition is based on the first edition of the work published in Rome in 1700.

12 sonate per violino e basso continuo I-A op. 5

The present edition contains Twelve Sonatas for Violin Solo and Basso Continuo, Op. 5 by Arcangelo Corelli. The first part of the series (Z. 12050: Sonatas No. 1-3, Z. 12051: Sonatas Nos. 4-6) comprises church sonatas (sonate da chiesa), while the second one (Z. 12265: Sonatas Nos. 7-12) chamber sonatas (sonate da camera). The present edition is based on the first edition of the work published in Rome in 1700.

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

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).

Old Bockhampton Tunes on poems by Thomas Hardy for

Ádám Kondor compiled this series from poems written by Thomas Hardy after the age of 70, when the poet was mourning the death of his wife. According to the composer, he was fascinated by the figure of the rather cynically morose old poet... In his decision to have a solo violin accompany the singer he was influenced by references, in biographies of Hardy, to the poet's father's passionate violin-playing. Bockhampton is Hardy's birthplace.

Gitarrentrios

The new volume in the Musica da camera series has been compiled for a relatively rare type of ensemble, three guitars. This collection spanning the 16th-19th centuries contains not only madrigals by Luca Marenzio, two Bach chorales and SchumannsTräumerei, but also transcriptions of popular pieces by many other composers (including Händel, Haydn, Schubert and Grieg), enabling music-school guitar students to play familiar, enjoyable works that they have heard performed by otherinstrumentalists.

Stabat Mater : for soprano and baritone solo, mixed choir and orchestra

Miklós Kocsár set Jacopone da Todi's Latin hymn to music in 2007. The composition is for soprano, baritone solo, mixed choir and orchestra. The nearly 20-minute-long monothematic work of one movement presents the suffering and reconciliation of Mater Dolorosa with variational technique and colourfully alternating choir and solo textures. Using the score, which includes the vocal parts, Stabat Mater can be performed with not only orchestral but also piano or organ accompaniment.

Quartette für Flöten : zum Teil mit Altflöte (Sol)

Editio Musica Budapest is launching a new series entitled Musica da camera. As its very general title indicates, the publishers' intention is that the volumes in this series, which is designed specifically for music school students, will include works composed for chamber ensembles of every kind, from the trio to the sextet. The first two volumes contain mostly transcriptions for three and four flutes respectively, selected from every period of music history from the late Renaissance to the present day.

Flötenduos für Anfänger II

The collection of flute duos covers all instrumental eras of the history of music starting from Jacopo da Bologna to Tchaikovsky. To make the volume more comprehensive, the editor added the arrangement for two flutes of some popular operatic and instrumental melodies such as the paraphrases of 'Don Giovanni' and 'Carmen' and the arrangement of the nocturn from 'A Midsummer Night's Dream'. Well-known and unknown melodies, fugues, dance and character pieces provide possibilities for pleasant and high-level common music making.

Trios für Flöten

Editio Musica Budapest is launching a new series entitled Musica da camera. As its very general title indicates, the publishers' intention is that the volumes in this series, which is designed specifically for music school students, will include works composed for chamber ensembles of every kind, from the trio to the sextet. The first two volumes contain mostly transcriptions for three and four flutes respectively, selected from every period of music history from the late Renaissance to the present day.

Music for Christmas - Weihnachtsmusik - pour Noël : with optional combinations of instruments - mit variabler Besetzung

The volumes of the Ad libitum series contain duos, trios and quartets of easy, medium and advanced levels of difficulty, which are playable with various combinations of instruments. Ad libitum Family Edition volumes are recommended mainly for families or groups of friends where at least three people play an instrument. Each of the pieces included can be performed using flexible instrumentation, whether there are three, four or even five persons who would like to play together. This volume contains the finest of easily playable pieces for Christmas and Advent. Some can include a singer, so that a vocal part appears with the instrumental ones.

Positions pour baryton et clarinette

Linked to expressive, passionate verses by Albert Ehrenstein (1886?1950) is a quiet meditation by an unknown 16th-century English poet on the relationship between music and the night. Two languages, two epochs and two diametrically different concepts of poetry are brought together in an inspired way in this song-cycle, Schubertian in its intimacy yet truly postmodern. The earlier version of the work, since withdrawn, was written for tenor, that version was heard at a number of concerts and on recordings, performed by Tamás Bubnó and Lajos Rozmán. The composer decided, however, that it was better to rework the piece for a deeper-voiced singer, thus ten years after itspremi?re it has now been given its final form.