Gradus ad Parnassum

12 Etüden op. 35 (Violoncello II ad lib.) : (Violoncello II ad lib.)

12 Etüden op. 72 (Violoncello II ad lib.) : (Violoncello II ad lib.)

10 etudes melodiques op. 57 (Violoncello II ad li : (Violoncello II ad lib.)

Aria e rondeau für Klarinette mit Klavierbegleitun : Klavierauszug

This two-movement work was written in 2003 for an exceptionally talented pupil at the music school that bears the composer's name. The first movement is a song-like composition based on many sustained notes, the second movement is a cheerful, fast-moving piece. We recommend it to music school students in the upper year-groups. (With part for Si b clarinet)

Trio für 2 Violinen, Violoncello und Continuo ad : für 2 Violinen, Violoncello und Continuo ad. lib.

Aria di coloratura per tuba solo : per tuba solo

3 sonate : per flauto, pianoforte e violoncello ad. lib.

5 movimenti : für Klarinette, Streichorchester und Cembalo (ad lib. Klavier)

Suite A Deux Flutes Op. 2, No. 6 (B. C. Ad Lib.)

Komment und Zauberflöte für Mezzosopran : (ad lib.) Flöte, Violine, Cello und Klavier

The composer writes about his work: “The piece was written for the 2006 Spring Festival. The wording of the commission requested me to try to express what a Mozart opera means to our era. It was as a banner rather than as an internal motto that I used this one sentence: ‘Die Strahlen der Sonne vertreiben die Nacht, zernichten der Heuchler erschlichene Macht.’ (‘The rays of the sun expel the night and annihilate the power of the Deceiver’). At that time and in our day too, only as his last utterance in the final act can Sarastro announce this to the people gathered around him.”

J.M.W.'s merkwürdige Begegnung mit Romeo und Julia : für Cembalo oder Klavier und fünf Instrumente ad lib.

14 Bagatellen für Klavier op. 6

This is one of Bartók's most famous series of piano pieces, whose fame is probably greater than either its popularity with pianists, or the frequency with which it occurs on concert programmes. When it was written [in 1908] it triggered sensation and scandal in musical circles. The series as a whole (its Hungarian title was originally 14 zongoradarab [14 piano pieces], Bartók later converting to the use of the word bagatelle in Hungarian too) is not a true cyclic composition that can only be played in its entirety and with movements in the original order, but rather a more loosely ordered collection, an anthology. Some of the pieces belong together. But the varied succession oftempos and characters, the 'Gradus ad Parnassum' principle, generally proceeding from the easier towards the technically or musically more difficult, could also be a reason for the volume's ordering.' (HCD 32524 Bartók New Series Vol. 24, István G. Németh)