1.001 resultat (0,16526 sekunder)

Visa alla filter

Märke

Butik

Pris (EUR)

Visa alla

Nollställ filter

Produkter
Från
Butiker

Variations of a Double

Variations of a Double

Variations on a Double is a real musical leviathan: almost an hour long, it is a sound-monstrosity that makes exceptional demands of the performers, and is the product of an unusual degree of fusion of the clarinet with the piano. Composed in 2005 for Csaba Klenyán and Gábor Csalog, the work interprets the meaning of the musical “double” in an unconventional way: in it there is not a union of two independent instrumental characters, each with its individual identity - as in a grandiose sonata: instead, its artistic form tends in exactly the opposite direction. A single, monodically conceived unit of musical material passes over and over again through the doubling: they do not formtwo parts, yet do not unite in unison, but present the split face of a single endless - fragmented and episodic - monologue, like Siamese twins. Beware, this is only for the musically mature!

SEK 682.00
1

A Desert March... Für Klavier

A Desert March... Für Klavier

A Desert March is a protest march and a requiem for European musical culture. This seemingly endless march carries with it subdued or disfigured Western art music quotations (Brahms, Schubert, Beethoven, Bartók, Janácek, Satie). Iconic items such asBeethovens Ode to Joy (now the hymn of the European Union) and the United States national anthem appear in numerous, often distorted forms as if molten metal ransacked by the military machine of the relentless march. Yet this monumental work strivesfor a state of calm and ultimate balance.

SEK 256.00
1

A magyar nepzene

A magyar nepzene

Kodály summarized the significance of folk music in the preface to the first edition of this publication: ''It is such an integral part of the life of a healthy nation that we find it everywhere: it is present in art, in public education, in the manifestations of social life. It is always a sign of the stagnation of national life when folk music is pushed into the background in some way. One of the most important guidelines for learning about Hungarian folk music today is Kodály's summarical study. In a short summary, it explores the most important features, problems and origins of Hungarian folk music. It describes different genres, types, and occasions for folk songs and folkdance music while also addressing the matter of collecting folk music. The overall usefulness of the study was greatly enhanced by the example library compiled by Lajos Vargyas and first printed within the 1960 edition.

SEK 360.00
1

Spanische Tänze für Violine mit Klavierbegleitung : Malague a

Spanische Tänze für Violine mit Klavierbegleitung : Malague a

Pablo de Sarasate (1844-1908) was a Spanish violinist and composer. As a feted virtuoso he travelled the world for a decade giving concerts, and in 1886 he performed in Budapest. He composed many works for himself with piano or orchestral accompaniment, to enrich his repertoire. These virtuoso pieces most often contain typical Spanish melodies and rhythms. The Spanish Dances were commissioned from him by the German publisher Fritz Simrock, a few years after Brahms' Hungarian Dances. The set of Spanish Dances consists of eight pieces, published two at a time in four volumes from 1878 to 1882. The first volume contained the Malague?a (published here) and the Habanera, and wasdedicated by Sarasate to the Hungarian violinist living in Germany Joseph Joachim.

SEK 157.00
1

Männerchöre : a cappella

Männerchöre : a cappella

'In publishing this collection of choral works we think with gratitude of our fellow countryman, Ferenc Liszt, one of those who have energized Hungarian musical life. We are conscious of a great debt, which we would like to repay at least in part. We are obliged to do so by Hungarian, European and universal musical culture, but perhaps even more by respect for Hungarian traditions and our duty to preserve them. Hence this publication, the seven works in which are appearing now in print for the first time in Hungary, and for the same reason this collection contains a complete list of Liszt's choral works.' (Miklós Forrai, Budapest, spring 1959)

SEK 226.00
1

Promenade : Classical variations on a march theme

Promenade : Classical variations on a march theme

At the turn of the 19th-20th century every town in Europe and overseas with any pretensions to style created in its centre a promenade, a street or square where people could stroll and meet. At a prominent spot on each promenade a music pavilion was erected, and nowadays nostalgia is causing these to be found again in more and more communities. There in the afternoons military, firemen's and student bands played music by Lehár, Fu ik and Sousa. Waltzes, marches and pleasant, bittersweet melodies reminiscent of what are seen as the happy, peaceful days before the First World War and the worldwide Great Depression.

SEK 1128.00
1

Promenade : Classical variations on a march theme

Promenade : Classical variations on a march theme

At the turn of the 19th-20th century every town in Europe and overseas with any pretensions to style created in its centre a promenade, a street or square where people could stroll and meet. At a prominent spot on each promenade a music pavilion was erected, and nowadays nostalgia is causing these to be found again in more and more communities. There in the afternoons military, firemen's and student bands played music by Lehár, Fu ik and Sousa. Waltzes, marches and pleasant, bittersweet melodies reminiscent of what are seen as the happy, peaceful days before the First World War and the worldwide Great Depression.

SEK 177.00
1

L'ombre sur les structures pliees (Hommage a Pie

L'ombre sur les structures pliees (Hommage a Pie

The piece was written in honour of Pierre Boulez's 75th birthday. Besides the title, put together like a mosaic from three Pierre Boulez pieces entitled Dialogue de l'ombre double, Structures, and Pli selon pli, the homage-character of the piece is also indicated by the Reihe used as a base, originating from the composition entitled Structures. The passage-titles of the form made up of seven sections and the character of the musical material of the individual sections all point to pieces by Boulez though they do not contain a single actual quotation from them. The piece is a one-movement chamber concert in which two emphatically polyphonous clarinet parts play aleading role alongside a string quintet. During concert performances, it is an essential element of the piece that the musicians playing the clarinet parts constantly change their position.

SEK 256.00
1

Újesztendőt köszöntő : A Christmas Carol (Hungarian folksong)

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.

SEK 67.00
1

10 canzoni a 4 : Tastenmusik aus dem 16. und 17. Jahrhundert

10 canzoni a 4 : Tastenmusik aus dem 16. und 17. Jahrhundert

Ottavio Bariola was a famous Milanese organist in the late 16th century. Only a relatively small number of his works is known to survive, among them a collection of ricercares and canzonas. The present edition offers a selection of ten pieces of the latter collection. In agreement with their genre the compositions are strictly polyphonic in structure. In this edition the works are included in a four-part setting with consistent part-writing. Due to their volume and grade of difficulty the pieces are not meant for concert hall performance in the first place but for enriching the repertoire of church organists and lovers of early music.

SEK 147.00
1

Turot Eszik A Cigany

Turot Eszik A Cigany

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 completechoral works for mixed voices. It has the same format as the volume, and has been printed on excellent-quality pale-yellow paper.(Hungaroton HCD 32364)

SEK 67.00
1

Four Dirges op. 9-a

Four Dirges op. 9-a

'This music, moving even in its bleakness, is characterised by the complete absence of ornamentation. The arc of all four pieces [1. Adagio, 2. Andante, 3. Poco lento, 4. Assai andante] is similar: after beginning softly they reach a fortissimo climax, then sink back into numbing grief. Only the decidedly important melodic and harmonic elements are heard, pared down, occasionally reinforced with octave doubling. In the Adagio of the Second Piano Concerto Bartók was to return to this peculiar piano instrumentation. The lyricism and Hungarian turns of phrase of the second movement differ a little from the series: he orchestrated it with the title 'Melody' in 1931 as thecentral piece of the five-movement 'Hungarian Sketches'.' (HCD 32525 Bartók New Series Vol. 25, Somfai László)

SEK 157.00
1

Dadamusik : Hommage a Kurt Schwitters & his Ursonate for string quartet

Dadamusik : Hommage a Kurt Schwitters & his Ursonate for string quartet

Máté Balogh's string quartet Dadamusik fits in well with the author's text-music in recent years. While Hemingway's Speech (2017), Kipling's Speech (2018), or Bahnmusik (2019) are exact representations of acoustic experiences, Dadamusik is a transcript of a senseless poem. Each sound in the composition is a musical representation of the meaningless poem Ursonate by Kurt Schwitters a Dadaist artist of the early 20th century. However, knowledge of the poem is not necessary to fully reception the piece. The text as an organizing structure participates in the formation of the piece: each moment is composed of elements of vowels (musical sounds) and consonants (various noises),expressed in a verbal recitation. Schwitters liberated the text from its exact meaning in his poem, while in Balogh's composition, elements of the spoken language are further abstracted, or resolved, in instrumental music, that is, in timbre. The work was commissioned by the Kunststiftung Nordhein-Westfalen and is dedicated to the Asasello Quartett.

SEK 484.00
1

Kammermusikschule für Streicher I Leichte Trios a : Leichte Trios aus vier Jahrhunderten

Kammermusikschule für Streicher I Leichte Trios a : Leichte Trios aus vier Jahrhunderten

At first sight, this publication appears to be a collectionof pieces, for the technical studies, not too attractive but so characteristic of tutors, are missing. Yet the selection of the works, their order according to the development of ensemble playing and the advice includeed after the foreword and containig proposals for the technica lrealization of ensemble playing in the case of certain typical pieces – these all make this publication a tutor.The works form a cross-section of a longer period of the history of chamber music and offer an insight into the different methods of composition.

SEK 608.00
1

Cantemus ! (A)

Cantemus ! (A)

The composer, choirmaster, musicologist and music educator Lajos Bárdos was born on the 1st of October 1899 in Budapest and studied composition with Zoltán Kodály at the Music Academy in Budapest. As choirmaster, he worked with the Palestrina Choir and the Cecilia Choir, which he united in 1941, thus founding the Budapest Choir. From 1928 until his retirement in 1966 he worked as a teacher of the Budapest Music Academy and taught several subjects. His compositional work, consisting mainly of choral works, comprises almost 600 pieces, but he has also composed chamber music.From 1918, Lajos Bárdos was president of the Hungarian Cecilia Society, participated in the direction ofthe Hungarian Singing Association, as well as the Bartók Association. In addition, he founded in cooperation with György Kerényi and Gyula Kertész in 1931, the magazine and the publishing company Magyar Kórus (Hungarian Choir).Lajos Bárdos has passed away on the 18th of November 1986 in Budapest. Territorial restrictions may apply. Please ask before ordering.

SEK 67.00
1

Just a song for male voice and piano

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.

SEK 137.00
1

Pataki diákdalok a 18. századból

Pataki diákdalok a 18. századból

The musical material for these pieces was taken from the 17th century Kulcsar Melodiarium (Sarospatak, 1770), Novak Melodiarium (Sarospatak) and Patak Melodiarium (1798). Both the Latin and the Hungarian versions of these short character pieces were set to music. The cycle provides a good picture of the lives of the maturing students.The tunes reflect the many bonds that tied 18th century Hungarian music to the European musical culture of the time, while they also show signs of typical Hungarian character.

SEK 75.00
1

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

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).

SEK 147.00
1

Partita D-Moll für Violoncello Transkription der : Transkription der Partita für Soloflöte a-moll, BWV 1013

Partita D-Moll für Violoncello Transkription der : Transkription der Partita für Soloflöte a-moll, BWV 1013

Flautists and recorder players have a predilection for playing the arrangements of J. S. Bach's cello suites for their instruments, due mainly to the monophonic manner of writing. Rezs Pertorini who, as a performer, is a specialist of Baroque and Classical music, chose an opposite approach: he transcribed for cello the only partita of the Baroque master written for flute without accompaniment. The transcription rendered in concerts with great success appears now also in print.

SEK 147.00
1