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Müller-Schubert: Der Leiermann für 2 Sinusgenera

Müller-Schubert: Der Leiermann für 2 Sinusgenera

The piece was written in 2003, commissioned by the Budapest Spring Festival. The process of the work follows the line of the composer’s personal interpretation of the original poem. In this song the original dark, grim ending appears as a sort of cathartic dénouement. The theme is love versus mortality. The work is a kind of wholly composed song written in the 21st century: its form derives basically from the text. The narrator begins the story in Sprechgesang and in the final lines of the poem tries to sing in a normal singing voice. This acoustic line is followed by the merging of the sinus tones into the clarinet parts. Thus, basically, a peculiar change of toneintroduced for dramatic purposes constitutes the essence of the song. First performance: March 2003.

SEK 256.00
1

Sinfonie Nr. 8 F-Dur

Sinfonie Nr. 8 F-Dur

The autograph manuscript bears evidence that the symphony was completed in October 1812, merely five months after the seventh one. It was first performed in a concert given of Beethoven's works in Vienna, on February 27, 1814. Although the musicians and the critics immediately recognized its exceptional values, the 8th symphony took longer to gain popularity than its predecessors. Schumann reported as late as 1840 that this magnificent work was undeservedly seldom performed in concerts. The score was printed parallel with the orchestral parts by S. A. Steiner of Vienna in 1816. Apart from some obvious printing errors which are not listed here the various editions do notshow any significant deviations. There is only one ambiguous note we have to comment on: the final G of the first clarinet at the end of the middle section (bar 78) of the Menuetto movement. This apperars in contemporary parts either as a two-line or a three-line note.

SEK 127.00
1

Kinderlieder aus 23 Ländern für Akkordeon : Selected and arranged by Vas Gábor

Kinderlieder aus 23 Ländern für Akkordeon : Selected and arranged by Vas Gábor

From the very beginning - we might use this expression borrowed from Microcosmos to describe this volume of selections from Gábor Vas’s most successful children’s song arrangements, ranging from the simplest, single-line harmonization to page-long little compositions that presuppose deeper knowledge, and providing accordion students with several years’ supply of showy and enjoyable performance pieces. The volume includes such popular melodies as "Sur le pont d’Avignon", "Goodbye, winter", the German "Cuckoo" and the Polish song "The cuckoo is singing".

SEK 216.00
1

Spiel-Platz - Klavierstücke für Kinder : Compiled and edited by Sármai József, Tóth Péter

Spiel-Platz - Klavierstücke für Kinder : Compiled and edited by Sármai József, Tóth Péter

This attractive volume contains easy piano pieces written for music school students by thirteen present-day Hungarian composers. The majority of these miniature, two- or three-line compositions can be played even by beginners, and the technically most difficult works can also be tackled after three or four years’ study. Not only the title-page but the colourful illustrations that accompany the individual pieces also help to arouse the children’s interest and stimulate their imagination ("Teddy’s dreaming of raspberries", "Little chicks", "Chasing", "Tag", etc.).

SEK 137.00
1

Duets for descant recorders : from the Children's and Female Choruses

Duets for descant recorders : from the Children's and Female Choruses

The Children’s and Female Choruses were composed in a single burst of creative activity at the zenith of Bartók’s career, in the summer of 1935, between such masterpieces as the String Quartet No. 5 and the Music for Strings, Percussion and Celesta. These short choral pieces are based on folk texts that Bartók further polished and stylized. The music, however, is wholly the composer’s own, although it frequently includes motifs, rhythmic formulas and line structures reminiscent of Hungarian folk songs. Both editions contain nine of the two-part pieces of the set, transcribed idiomatically but faithfully for descant and treble recorders, respectively.

SEK 147.00
1

Two Dirges : for soprano and chamber ensemble to poems by Sándor Weöres

Two Dirges : for soprano and chamber ensemble to poems by Sándor Weöres

Unusual in Maros's ?uvre are Two Dirges (1962?63) for solo soprano and chamber ensemble, as vocal composition was not a central interest of his. This song cycle with instrumental accompaniment comes right before the great stylistic change found in the Euphonies, and sheds sensitive light on the composing directions he was considering. The cycle, set to verses by Sándor Weöres, recalls ancient rituals, whose musical portrayal is helped by arrestingly strong use of percussion to show the primitive side of such music. Meanwhile the vocal line brings out the melodic traits of Hungarian folk song. (Anna Dalos)

SEK 147.00
1

Duets for treble recorders : from the Children's and Female Choruses

Duets for treble recorders : from the Children's and Female Choruses

The Children’s and Female Choruses were composed in a single burst of creative activity at the zenith of Bartók’s career, in the summer of 1935, between such masterpieces as the String Quartet No. 5 and the Music for Strings, Percussion and Celesta. These short choral pieces are based on folk texts that Bartók further polished and stylized. The music, however, is wholly the composer’s own, although it frequently includes motifs, rhythmic formulas and line structures reminiscent of Hungarian folk songs. Both editions contain nine of the two-part pieces of the set, transcribed idiomatically but faithfully for descant and treble recorders, respectively.

SEK 147.00
1

Irrlichtspiel für Violine und EnsZle

Irrlichtspiel für Violine und EnsZle

Three compositions which belong together were written by Tihanyi in 1991-1992: Winterszenen, Nachtszene (night Scene) and Irrlichtspiel (Will o the wisp). The Irrlichtspiel composition for violin solo and 19 instruments ensemble, came out of thenotes for the song entitled Irrlicht in the fifth scene of Winterszenen (...this composition exactly follows the musical process of Winterreise by Schubert...). Here, the starting point was the refrain-like, pregnant rhythm motive, attached to thepiano introduction of the Schubert song. At the end of the first part called Prelude, a miniature exposition prepares for the five developments. Their titles are: Adagio, Capriccio, Monolog,Pantomime and Postludio. World première: Budapest, 30 April,1996. Ildikó Line - violin, Budapest Sinfonietta, conducted by Gergely Vajda.

SEK 256.00
1

Kinder- und Frauenchöre

Kinder- und Frauenchöre

'Bartók's two- and three-part choruses for children's and female voices, is his best-known choral cycle worldwide. His encounter with folk texts was the direct source of inspiration for his writing of vocal music. He marked the selected texts, in many cases refining them, and even later, during the compositional process, altered them further, mainly for rhythmic reasons. The titles of the final texts he either coined himself, referring to the folk custom conjured in the piece or the mood, or he used the first line of the folk verse as a title. Only a few of the folk verses are children's songs or songs for games: most of them have serious, grave contents, and are not only forchildren.' (HCD 32523 Bartók New Series Vol. 23, Csilla Pintér)

SEK 163.00
1

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

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)

SEK 395.00
1

Jatekok - Games - Spiele 10 : Tagebucheintragungen, persönliche Botschaften

Jatekok - Games - Spiele 10 : Tagebucheintragungen, persönliche Botschaften

The piano series entitled Games, written from 1973 onwards, was conceived as a piano method. As the years went by, the series lost its didactic character, at it came to be seen as a document from Kurtág's workshop, offering a key to his grander symphonic, chamber and vocal works as well. Tenth volume is divided into two parts: In the first half, earlier, hitherto unpublished pieces line up from Suite, written in 1943, to the 1980s, providing insight into the development of Kurtág's musical language. The second half includes pieces composed between 2002 and 2011. The movements, often aphorismic in their briefness, hide associations with various aspects of European music history. Many of them are hommage or in memoriam pieces, or subjective personal messages to friends, colleagues, and beloved family members - and thereby to all music-loving people. This publication is printed on high quality, durable paper made from renewable raw materials in an environmentally friendly way.

SEK 305.00
1