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Drei alte Inschriften op. 25

Three old inscriptions, Op. 25 to a Hungarian folk text, words on a Transylvanian mangle and the epitaph of a young German girl in a Hungarian village cemetery, for soprano and piano (in Hungarian and German), 1986-1987.

Something Round für 25 Streicher : für 25 Streicher

25 English Canons

Something Like : für 25 Streicher

25 Etüden für Gitarre op. 60

Skizzen op. 9-b

The work was composed in 1908-1910. 'Bartók may have chosen to call these sketches because most of the pieces are indeed like a painter's sketch for a later, larger work: quickly executed creative works, capturing the magic of the moment.' (HCD 32525 Bartók New Series Vol. 25, László Somfai)

Le quattro stagioni op, 8 no. 4 L'inverno RV 297 : no. 4 L'inverno RV 297 (F.I. No. 25, P.V. 442)

New edition printed on quality creamy paper.

Ausgewählte Etüden für Flöte I : Selected Studies for Flute 1

The three volumes contain 176 studies by 25 composers. The selection was made according to technical usefulness and musical value. The studies follow in order of the grade of difficulty and are grouped around certain problems. All three volumes can be applied as supplementary material to any flute tutor. Their use should be determined by the progress of the student and not by the class he attends. We recommend the first volume (Z. 8591) for beginners, the second (Z. 8592) one for advanced students on the lower level, the third (Z. 8593) for intermediate students.

Zehn leichte Klavierstücke

'The Ten Easy Pieces - with a 'Dedication' as an eleventh - are a complement to the Bagatelles. The former were written with pedagogical purposes, that is, to supply piano students with easy contemporary pieces' wrote Bartók in the foreword to a planned American edition. This was his first piano series to be published with detailed fingering and pedalling indications, as he had done with the works of Bach, Beethoven, Mozart etc. in what are known as his performing editions of classical piano music.' (HCD 32525 Bartók New Series Vol. 25, László Somfai)

Ausgewählte Etüden für Flöte III : Selected Studies for Flute 3

The three volumes contain 176 studies by 25 composers. The selection was made according to technical usefulness and musical value. The studies follow in order of the grade of difficulty and are grouped around certain problems. All three volumes can be applied as supplementary material to any flute tutor. Their use should be determined by the progress of the student and not by the class he attends. We recommend the first volume (Z. 8591) for beginners, the second (Z. 8592) one for advanced students on the lower level, the third (Z. 8593) for intermediate students.

Ausgewählte Etüden für Flöte II : Selected Studies for Flute 2

The three volumes contain 176 studies by 25 composers. The selection was made according to technical usefulness and musical value. The studies follow in order of the grade of difficulty and are grouped around certain problems. All three volumes can be applied as supplementary material to any flute tutor. Their use should be determined by the progress of the student and not by the class he attends. We recommend the first volume (Z. 8591) for beginners, the second (Z. 8592) one for advanced students on the lower level, the third (Z. 8593) for intermediate students.

Concerto in re maggiore per flauto ed orchestra

Already during his lifetime Rössler-Rosetti enjoyed great popularity. His operas and symphonies achieved great success, most of them appeared in printing. His Requiem was first performed at Prague at a memorial festival dedicated to Mozart. He composed several concertos for piano, violin, violoncello, flute, clarinet, bassoon, corno and various ensembles. Out of his 14 flute concertos the here published Concerto in D major is to be found on page 25 of the thematic catalogue Breitkopf supplement XII (1778). The contemporary handwritten orchestral parts of the work are preserved at the King Stephen Museum at Székesfehérvár. It got into the possession of the Museum in 1951 with therich book- and music-collection of the family Verebi-Végh.

Concerto in sol maggiore per flauto ed orchestra

Already during his lifetime Rössler-Rosetti enjoyed great popularity. His operas and symphonies achieved great success, most of them appeared in printing. His Requiem was first performed at Prague at a memorial festival dedicated to Mozart. He composed several concertos for piano, violin, violoncello, flute, clarinet, bassoon, corno and various ensembles. Out of his 14 flute concertos the here published Concerto in G major is to be found on page 25 of the thematic catalogue Breitkopf supplement XII (1778). The contemporary handwritten orchestral parts of the work are preserved at the King Stephen Museum at Székesfehérvár. It got into the possession of the Museum in 1951 with therich book- and music-collection of the family Verebi-Végh.

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)

Two Rumanian Dances

Bartók wrote the first dance around the time of the Romanian movements of the 'Seven Sketches', after his first trip collecting Romanian folk music in July-August 1909. The second dance is the fruit of March the following year, and it was only after some time he decided they should be published as a pair. From the beginning, audiences were impressed by the first dance, in the composer's peculiar performance, with its initial drumming, and its driving rhythms. If less popular, compositionally the second dance is more original. He parades and varies his material in a chain form, and this too is reminiscent of the dances heard in the playing of Romanian Transylvanian villagemusicians, which in his scholarly work Bartók called 'motive dances.' (HCD 32525 Bartók New Series Vol. 25, László Somfai)

Zwei Bilder op. 10

'Composed in 1910, Bartók's 'Two Pictures' for orchestra, too, draws on Debussy and folk music. Indeed, the title itself is a reference to Debussy's famous piano cycle, 'Images'. The two movements, 'In Full Flower' and 'Village Dance' represent two Bartókian movement types. The first one is the delicate and intimate music of nature. Debussy's influence is most tangible here. The second movement, 'Village Dance' is only related to the previous movement through its tonal system. It is, rather, a sort of 'bone and muscle' music that belongs to the barbaro type of movements, and as such, consists of possibly the simplest elements. Long sections consist of the continual repetitionof a primitive motif. The work was first performed three years after its completion, on 25 February 1913, by the Budapest Philhamonic Orchestra, under the baton of István Kerner.' (HCD 32505 Bartók New Series Vol. 5, Virág Büky)

Drei Burlesken op. 8-c für Klavier

'Two pieces of scherzo character in triple time flank a slower movement in duple time. The first burlesque entitled 'Quarrel' is Márta's piece, Nov. 1908, is a dispute between two opposing characters, with grimaces and taunts. The second burlesque, with the subtitle 'Slightly Tipsy' or 'A bit drunk' is one of Bartók's ingenious programme music miniatures, with characteristic performance indications. The figure appearing in a stumbling rhythm begins to sing indifferently, then continues ruvido (coarsely). By the end of the middle section, to be played in dry tone, our hero collapses completely, and takes leave as a pitiful figure, like the wooden puppet after the dance in The WoodenPrince ballet. ...Finally, the titleless third burlesque, Molto vivo, capriccioso, also stimulates the imagination: one can detect in it the grotesque rush of the last bagatelle, 'My Dancing Sweetheart,' just like the Wooden Prince dance. (HCD 32525 Bartók New Series Vol. 25, László Somfai)

Trance - for violin solo and ensemble (2013)

Trance means an altered state of mind in which a person becomes capable of communicating with spirits by the means of a ritual. Echo like sounds have a significant role in the piece, they were achieved by aleatoric as well as metric materials. Our p rehistoric ancestors experienced echo as a side effect of rituals they performed, basically they heard the echo of their own voices but they believed these sounds came from their ancestors. As 2013 was the 90th anniversary of György Ligeti's birth, m y piece pays respect to his musical heritage. In this regard the piece references Ligeti's artistic aesthetics and in some cases uses direct musical quotations.(Máté Bella, 2013)Thework won first prize at the 2013 New Hungarian Music Forum In memoriam György Ligeti composer's competition in chamber music category. It was premiered by Katalin Kokas and the Hungarian Radio Symphony Orchestra conducted by Gergely Vajda on 25 September 2013 in Budapest.

12 Etüden op.6 (ex op.1) für Klavier : für Klavier

Liszt first composed these etudes at 14 years old in the year 1825. Just 25 years later, after being revised repeatedly, they appeared under the title of Transcendental Etudes (12 Études d exécution transcendante).This edition has found a place among the renewed publications in our Music Lesson series, and it features revised fingerings, performer s notes, and a preface all written by pianist Kornél Zempléni. He believed that Liszt s Op. 6 serves as the ideal introduction into the technique and musical elements needed for students to successfully study the Transcendental Etudes. Regarding the 12 Etudes for Piano, Zempléni had this to say: ''With this publication we hope tocontribute something both to the advancement of the young pianist and to the increased appreciation of Liszt s art.'' Liszt's 12 Etudes has been renumbered as his Op. 6 according to the most recent research, but in terms of content this publication corresponds with the volume which was formerly labeled as his Op. 1. (catalogue number Z. 766).