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Streichquartett Nr. 3 Op. 26

Requiem für einen Freund : Op. 26

Klaviersonaten in Einzelausgaben (Weiner) : op. 26, As-Dur

Marionetten op. 26 : Suite für Flöte, Violine, Viola, Violoncello und Harfe

Marionetten op. 26 : Suite für Flöte, Violine, Viola, Violoncello und Harfe

Französische Suiten BWV 812-817 : BWV 812-817

The most important and only autograph source of the French Suites, the Klavierbüchlein für Anna Magdalena Bach (1722) contains the first three suites in fragments only, and the sixth not at all. This is why the numerous copies which have come down to us, are of special significance. Among the copies of major importance is the manuscript which for a long time had been attributed to Bach, and which comprises the first for suites in full (Deutsche Staastsbibliothek, Berlin) as well as the copy by Gerber (1725-26) and the second volume of the Klavierbüchlein für Anna Magdalene Bach (1925). A few manuscripts originating from the circle of Bach's pupils should also be added tothem.

Albumblatt - öVarosligeti fasor 33.ö fuvolara es

Albumblatt - “Városligeti fasor 33” refers to the title of an unwritten piece that Dargay during his years at the Music Academy planned together with the composer Balázs Futó. The basic idea of the composition was that in the basement of the Béla Bartók college building at that address they would set up a tape-recorder and record the sounds filtering from the practice rooms, and making use of this recording they would write an electroacoustic piece. The work was never written: however, on the basis of memories and the experiences associated with the planning of the piece, a short composition did take shape… It had its premiere on September 26, 2006, performed by PéterFöldesi and Balázs Futó.

Via crucis

Via Crucis is one of the most outstanding religious masterpieces from Liszt s late creative period, and it depicts the story of the fourteen stations of Jesus' suffering. The work was not released during the composer s lifetime due to its unusual and daring new sonorities. Based on his own dating, Liszt completed the composing process on February 26, 1879 in Budapest. The piece was originally written as fifteen short movements for solo vocalists, choir, and organ or harmonium, and its text was compiled by Liszt's partner, Carolyne von Sayn-Wittgenstein, using biblical excerpts, two medieval Latin hymns and two German Lutheran chorales.This volume, edited by Imre Mezo, containsGerman, English and Hungarian prefaces, as well as critical notes in English, which reveal valuable details about the history of the work.

Fragments für Sopran solo op. 20 : nach Gedichten von A. József

For a Hungarian composer, writing music set to the poems of Attila József is no small feat. In this series, György Kurtág (* 1926) took on this immense challenge in a unique way even within his own oeuvre: the loneliness of the unaccompanied, single voice line simultaneously evokes the musical world of Hungarian folk songs or even 17th-century monody. The poems - rather the fragments, the seeds of poetry abandoned by the poet - capture strong, realistic images and human situations that are characteristic of Attila József. As he is wont to do with his compositions, Kurtág transforms these poetic images into equally unforgettable musical images, drawing an atmosphere ofcontemplation, despair, boredom, happiness, and fear of death with just a few sounds. This composition was premiered on October 26, 1982 in Budapest by Adrienne Csengery, the recipient of the work s dedication. (Hungaroton HCD 31821)

Sonata for Solo Violin (1947) : First edition

András Sz ll sy (1921-2007) was one of the most significant Hungarian composers of the second half of the 20th century, yet his oeuvre has not become as well-known as that of György Ligeti, two years his junior, or of György Kurtág, five years his junior. Sz ll sy did not compose many works and he was strict about which of them he would allow to go public. As a younger colleague of his once remarked: "He only composed his good works." Sz ll sy's Sonata for Solo Violin, which was written at the age of 26 and was publicly performed only in 2006, almost 60 years after its composition, fell victim to his self-criticism. Although the model of Bartók's Sonata for Solo Violin ofjust three years earlier was obviously on the young composer's mind, he was no epigone of the great master.