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Drei Volkslieder aus dem Komitat Csík

Drei Volkslieder aus dem Komitat Csík

An ABRSM syllabus title 2014-21, Grade 6.From 1906 on Béla Bartók was collecting folksongs on a regular basis. It was in 1907, during his first collecting trip to Transylvania, that he jotted down those three melodies in Gyergyóteker patak, Csík, which he both provided with piano accompaniment (From Gyergyó) and arranged for solo piano (Three Hungarian Folksongs from Csík) in the same year. The melodies were played by a ''sixty-year old man'' on a peasant flute.

SEK 147.00
1

Kontrabassschule I

Kontrabassschule I

In handing over therewith this Part I of my Double-Bass Method to my teacher colleagues and their students I wish to express my belief of having set down an adequate material with a view to the objects of the first year of study, aiming at gradual d evelopment based on the mastery of such essential factors as (1) the theoretical and practical knowledge of the positions, (2) the sureness in the positions, and (3) the correct execution of shifts. Lajos Montag (1962)

SEK 355.00
1

The Golden Key - Der goldene Schlüssel : Sixteen little piano pieces - Sechzehn Klavierstücke für Anfänger

The Golden Key - Der goldene Schlüssel : Sixteen little piano pieces - Sechzehn Klavierstücke für Anfänger

The Hungarian composer and piano teacher wrote a number of highly popular educational and performace pieces for children. In this work the well-known composer presents the events of a story by the brothers Grimm in the form of very easy piano pieces. This unusual, incomplete story has inspired an unusual musical work: the young players can make up titles for the last eight pieces, and they are also encouraged to note down their thoughts and feelings inspired by the music, or express them in drawings, in the score.

SEK 167.00
1

Volksmusik fuer Hirtenfloete

Volksmusik fuer Hirtenfloete

This collection of melodies offers a selection of the most attractive recorder tunes from the folk music of the Carpathian Basin, and also provides some insight into Romanian recorder music. Performances by folk musicians on the 6-hole folk recorder have been preserved on sound recordings and noted down by scholars. On this basis the editor has made practical transcriptions, in simplified notation. Material of this nature has up till now been unavailable to students and performing artists using modern wind instruments. This collection of unusual, nobly simple melodies and complex, virtuoso pieces is equally suitable for teaching purposes and for enlarging the repertoire ofinstrumental artists.

SEK 226.00
1

Sinfonie Nr. 3 Es-Dur : Eroica'

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.'

SEK 147.00
1

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

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.

SEK 226.00
1

Französische Suiten BWV 812-817 : BWV 812-817

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.

SEK 216.00
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

Suite : for Concert Band

Suite : for Concert Band

István Bogár's series of movements intended for youngsters is colourfully instrumented, evocative music, rich in melodic invention: in character it is most closely akin to Tchaikovsky's Nutcracker ballet music. In the opening movement (Little march), little boys wearing paper shakos on their heads and carrying wooden swords play at soldiers. The following movement, Humming, is the only movement in the suite that is calm and in odd-numbered rhythm: in it the children gather flowers in their little baskets, and meanwhile hum pleasant tunes. The third movement is a funny game, with its tempo sometimes speeding up, sometimes slowing down, but by the end really going wild.The titleof the finale is Game of tag. The tiny formal sections and interludes in this lively, cheerful music are linked together by a recurring rondo theme, and the chase ends with a brief coda.

SEK 1624.00
1

Harold en Italie (Berlioz) und andere Werke

Harold en Italie (Berlioz) und andere Werke

Volume 9 in the series of Supplements is mainly devoted to hitherto unpublished or inaccessible works. Apart from the piano score of the Berlioz symphony it contains smaller-scale late masterpieces (Excelsior!, Resignazione), the Album leaves written in Woronince in 1847, the large-scale but unfinished and not fully worked out Figaro and Don Juan fantasia, incorporating several Mozart themes, the piano piece No.1 in A flat major, two unpublished works incorrectly identified up till now by the special literature, the Maometto fantasia and the Siege de Corinthe (both transcriptions of Rossini works), and the volume also includes three other unpublished works (the Piano piece in Fmajor, the Cavatina from Robert le Diable by Meyerbeer, and Freudvoll und leidvoll, written down for Pauline von Iwanowska. The Prefaces preceding the scores, which give very accurate, detailed information about the genesis of the works, make interesting reading in themselves,

SEK 558.00
1

Gedenkblätter - Miniaturen

Gedenkblätter - Miniaturen

This selection is intended to reveal a less-known aspect of the genius of Franz Liszt, the greatest pianist of the 19th century: as a master of piano miniatures. While his large-scale works written over many years show Liszt as a striving composer for whom the creative process was difficult, at the same time, hidden in the shadow of the monumental peaks, the 'moments musicaux' tend to capture him in the process of improvisation, at the moment when a compositional idea flashed into his mind and was first noted down. The miniatures that feature in our selection trace his creative path through six decades (1827-1885), from his youthful testing of his wings right up to his finalfarewell. The manuscript of any piece that did not later become part of a cycle or the starting-point for a larger-scale composition generally remained in the mists of obscurity as a treasured memento preserved by one of his pupils or admirers.

SEK 226.00
1

Recorder Music for Beginners 1 : For Descant Recorder - Für Sopranblockflöte

Recorder Music for Beginners 1 : For Descant Recorder - Für Sopranblockflöte

The present collection has been compiled for descant recorder. This instrument was ousted from use in the age of the Viennese Classics, and it has regained its rights only in the present century. This explains why the collection comprises-in addition to new Hungarian music-almost exclusively Renaissance and Baroque works. As it is well known, the masters of old times put down their works only "in outline", and the music has to be reconstructed by a practised performer. This collection is intended to help in assimilating the spirit of these old styles. All the old works are given here in both their original and ornamented variants. The ornamentations have been taken over fromcontemporaneous arrangements, and where none were available, we worked them out on the basis of contemporaneous performing practice. All the solutions serve only as suggestions: with his expanding stylistic knowledge the student himself should also boldly invent and extemporize ornamentation!

SEK 305.00
1

Serenade for horn and chamber ensZle

Serenade for horn and chamber ensZle

In view of its arrangement Serenade, written for horn and chamber orchestra of fourteen instruments, may be regarded as a chamber concert. The one-movement piece written on command of horn player László Rákos is at the same time related to the notturno music of the 18th-19th centuries. It is a character piece in which a subdued, subtle irony makes itself felt alongside the characteristically night-time atmosphere. The solo role of the horn is obvious throughout, though the initial impetus is not sustained, and in the course of the movement the instrument falls silent. The instruments of the accompanying group join in with the horn in three ways: the clarinet, the English horn,the bassoon, the viola, the violoncello play the melodies of the horn, delicately repeating them, supplementing them or slowing them down, the flute, the violin, the trumpet and the double bass counterpoint the horn?s solos or hold dialogues with it, the third group ? the harp, the guitar, the vibraphone, the

SEK 256.00
1

Suite : for Concert Band

Suite : for Concert Band

István Bogár's series of movements intended for youngsters is colourfully instrumented, evocative music, rich in melodic invention, in character it is most closely akin to Tchaikovsky's Nutcracker ballet music. In the opening movement (Little march), which is in trio form, little boys wearing paper shakos on their heads and carrying wooden swords play at soldiers. The following movement, Humming, is the only movement in the suite that is calm and in odd-numbered rhythm: in it the children gather flowers in their little baskets, and meanwhile hum pleasant tunes. The third movement (Funny game) is an exciting little three-part form including variations. It is a funny game, withits tempo sometimes speeding up, sometimes slowing down, but by the end really going wild. The title of the finale is Game of tag. The tiny formal sections and interludes in this lively, cheerful music are linked together by a recurring rondo theme, and the chase ends with a brief coda.

SEK 256.00
1

Free Arrangements and Technical Exercises : Suppl.16

Free Arrangements and Technical Exercises : Suppl.16

Supplementary Volume 16 of the New Liszt Edition contains free arrangements and technical exercises. In the first section can be found early versions of three arrangements. The first consists of the first and intermediary versionsof a transcription of Die Rose, a song Schubert composed to a poem by Schlegel. The arrangement of the second movement of Berlioz's Harold Symphony also draws on literary inspiration: Lord Byron's (1788-1824) narrative poem ChildeHarold's Pilgrimage (1812-18) was a literary experience Liszt shared with Berlioz. The fantasy on themes from Bellini's opera La sonnambula [The Sleepwalker] (here the first version of 1842, and the second version dating from thefollowing decade are given) is important in music history because it was while he worked on this (and other operatic fantasies) that Liszt developed a new concept of the form, which took shape in more complex and more concentratedfantasies than before. Particularly interesting material can be found in the appendix. In addition to sketches and drafts for arrangements of Spanish themes, there are three sources published here for the first time, which shedlight on technical aspects of Liszt's piano teaching.These are three sets of exercises: the first written by Liszt himself for Valérie Boissier in 1832: the second a copy in an unidentified hand from the same period orslightly later: and finally the third which was noted down in 1871 by Henri Maréchal in Rome based on the composer's dictation.This latest volume of the New Liszt Edition includes a detailed preface in German, English, andHungarian containing new research findings, together with five manuscript facsimiles and critical notes. Simultaneously with the cloth-bound Complete Edition, a practical paperback version has been published, the contents of whichare identical to those of the hardcover edition, minus the inclusion of critical notes.

SEK 453.00
1

Free Arrangements and Technical Exercises : Complete Edition

Free Arrangements and Technical Exercises : Complete Edition

Supplementary Volume 16 of the New Liszt Edition contains free arrangements and technical exercises. In the first section can be found early versions of three arrangements. The first consists of the first and intermediary versions of a transcription of Die Rose, a song Schubert composed to a poem by Schlegel. The arrangement of the second movement of Berlioz's Harold Symphony also draws on literary inspiration: Lord Byron's (1788-1824) narrative poem Childe Harold's Pilgrimage (1812-18) was a literary experience Liszt shared with Berlioz. The fantasy on themes from Bellini's opera La sonnambula [The Sleepwalker] (here the first version of 1842, and the second version dating from the following decade are given) is important in music history because it was while he worked on this (and other operatic fantasies) that Liszt developed a new concept of the form, which took shape in more complex and more concentrated fantasies than before. Particularly interesting material can be found in the appendix. In addition to sketches and drafts for arrangements of Spanish themes, there are three sources published here for the first time, which shed light on technical aspects of Liszt's piano teaching. These are three sets of exercises: the first written by Liszt himself for Valérie Boissier in 1832; the second a copy in an unidentified hand from the same period or slightly later; and finally the third which was noted down in 1871 by Henri Maréchal in Rome based on the composer's dictation. This latest volume of the New Liszt Edition includes a detailed preface in German, English, and Hungarian containing new research findings, together with five manuscript facsimiles and critical notes. Simultaneously with the cloth-bound Complete Edition, a practical paperback version has been published, the contents of which are identical to those of the hardcover edition, minus the inclusion of critical notes.

SEK 1277.00
1