Suoni di tromba

Quartetto di tromboni

Sonetto 333 Di Petrarca

Due sonetti di Petrarca

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.

Tre Sonetti Di Petrarca : Années de Pelerinage

The New Liszt Edition (NLE) comprises ten series, the works being grouped according to genre and scoring. Series I (Works for piano solo) was completed as a joint publication of EMB and Bärenreiter-Verlag, Kassel, by 1985. From 1986 on, EMB continued to publish NLE alone, completing Series II (Free arrangements and transcriptions for piano solo) by 2005. In publishing Series I and II priority was given to the final version of the works: of earlier versions only those were published in the appendix that differed significantly from the final form. In 2005 a series of 15 supplementary volumes was launched with the aim of publishing earlier versions of the solo piano works thatdiffer less substantially from the final form: mainly those published by Liszt himself, but also some that remained in manuscript. In special cases more extensive fragments are also published in the supplementary volumes.

Raga di notte : für Violine und Orchester

Raga di notte : for violin and orchestra

Aria di coloratura per tuba solo : per tuba solo

Trii per 3 corni di bassetto : ovvero 3 clarinetti ovvero 2 clarinetti in Sib e corno di bassetto o fagotto o violoncello

Cadenze : Per Il Concerto per Pianoforte in Re Maggiore di Joseph Haydn

3 Trattenimenti per

Angelo Maria Fiore (c. 1660-1723), composer and virtuoso cellist, was the founder of the Piedmont school. In 1697 he was invited to the Accademia Filarmonica di Bologna as a rare cello player. During his lifetime his work entitled Trattenimenti di camera a due stromenti, violino e cimbalo o violino e violoncello was published by Bartolomeo Gregori in 1698, barely three years after the first cello sonatas to appear in print, the works of Giuseppe Jacchini. Three of the 14 Trattenimenti were written for cello and basso continuo, they form the contents of this volume. This edition is faithful to the text of the source, the archaic style of writing has been modernized, to make thescore, intended for practical (mainly pedagogical) purposes, easier to read.

Cantos para todos : Tre canti per soprano e sette strumenti sulla poesia di G. Millan

Cadenze : Per Il Concerto per Violoncello in Do Maggiore e Re Maggiore di Joseph Haydn

Concerto in fa maggiore La tempesta di mare per : per flauto, archi e cembalo RV 433 (F. VI. No. 12, P.V. 261)

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

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.'

Fantasie op. post., R.6 über Themen aus Mozarts F : über Themen aus Mozarts Figaro und Don Giovanni - Erstausgabe

Ferenc Liszt composed his Fantasy on themes from Mozart's two masterly operas Le nozze di Figaro and Don Giovanni by the end of 1842 or the beginning of January 1843 at the latest on the evidence that he played the piece in Berlin on 11th January 1843. The piece was not quite finished in manuscript, but the lacunae-the end of a brief transition in the closing section (bars 574-576) and the end of the work (bars 602-616)-are so insignificant that he probably tried out an improvised solution in performance. For reasons which have not come down to us Liszt never finished the manuscript and he does not seem to have played the work again.

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)

Freie Bearbeitungen 2

This volume marks the 40th volume of Liszt's published piano works for two hands. The free arrangements and fantasies created in the second half of the 1830s accurately represent the composing skills of the already mature, celebrated piano virtuoso that Liszt was by that time. The themes of Trois morceaux de salon (the first work of this volume) are derived from Swiss and Spanish melodies in the first two movements, respectively. The third movement, on the other hand, quotes Giovanni Pacini's opera Niobe. Following this ''trilogy'' melodies from Bellini, Donizetti, Meyerbeer, and Mercadante's major operas appear. Examples include reminiscences and fantasies based on Ipuritani, Lucia di Lammermoor, Les Huguenots, and Il giuramento. To the best of our knowledge, the latter has not appeared in print anywhere so far.

Concerto in la minore : per violoncello solo, con violini e basso continuo

The source of the present edition is preserved in the Archivio di Stato, Bologna. Editorial principles: In the score, the number of editorial interventions has been kept to a minimum. The original dynamic and expression markings are extremely few and far between, but precise. Only three dynamic levels are specified: forte, dolce ( = piano) and dolce assai ( = pianissimo). As regards expression markings we note the complete absence of the legato sign, though the appoggiatura, staccato, trill and two different types of bow-vibrato (both in association with dolce or dolce assai) can all be found. It is a well known fact that 18th century vibrato, obtained not by a movement of theleft hand but rather by a variation in the pressure of the bow, was an expressive effect to be used with discretion and not, as today, a constant means of sound production. Territorial restrictions may apply. Please ask before ordering.