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One-minute Short Stories

Ein Abend am Lande für Oboe und Klavier

An Evening in the Village was composed in 1908 as no. 5 of the Ten Easy Piano Pieces. It has become one of Bartók's favorite works, which the composer himself was fond of playing at recitals. As he explained in an American interview, it was ''an original composition that is ... with themes of my own invention but ... the themes are in the style of the Hungarian-Transylvanian folk tunes. There are two themes. The first one is a parlando-rubato-rhythm and the second one is more in a dance-like rhythm. The second one is more or less the imitation of a peasant flute playing.'' Bartók also orchestrated the piece in 1931 as no. 1 of Hungarian Sketches.

An Evening In The Village - Violin & Piano

An Evening in the Village was composed in 1908 as no. 5 of the Ten Easy Piano Pieces. It has become one of Bartók s favorite works, which the composer himself was fond of playing at recitals. As he explained in an American interview, it was an original composition that is ... with themes of my own invention but ... the themes are in the style of the Hungarian-Transylvanian folk tunes. There are two themes. The first one is a parlando-rubato-rhythm and the second one is more in a dance-like rhythm. The second one is more or less the imitation of a peasant flute playing. Bartók also orchestrated the piece in 1931 as no. 1 of Hungarian Sketches.

Ein Abend am Lande

An Evening in the Village was composed in 1908 as no. 5 of the Ten Easy Piano Pieces. It has become one of Béla Bartók s favourite works, which the composer himself was fond of playing at recitals. As he explained in an American interview, it was ''an original composition that is (...)with themes of my own invention but (...) the themes are in the style of the Hungarian-Transylvanian folk tunes. There are two themes. The first one is a parlando-rubato-rhythm and the second one is more in a dance-like rhythm. The second one is more or less the imitation of a peasant flute playing.'' Bartók also orchestrated the piece in 1931 as no. 1 of Hungarian Sketches. Thetranscription for violoncello and piano was made by László Mez and Imre Mez .

Ruralia Hungarica op. 32-c

Ruralia Hungarica was originally a five movements cycle of piano pieces (Op. 32/a) composed in 1923 on Hungarian folk songs, dedicated to Dohnányi’s mother. In 1924, five movements of the piano cycle was orchestrated (Op. 32/b), the orchestral version was premiered under the baton of the composer on 14 September 1924, in Pécs (South Hungary). Ruralia Hungarica was one of Dohnányi’s favorite works. He often performed both the version for piano and the one for orchestra, and he composed other versions, too: three movements for violin and piano (Op. 32/c) and one movement for violoncello and piano (Op. 32/d).

Ruralia Hungarica op. 32-d

Ruralia Hungarica was originally a five movements cycle of piano pieces (Op. 32/a) composed in 1923 on Hungarian folk songs, dedicated to Dohnányi’s mother. In 1924, five movements of the piano cycle was orchestrated (Op. 32/b), the orchestral version was premiered under the baton of the composer on 14 September 1924, in Pécs (South Hungary). Ruralia Hungarica was one of Dohnányi’s favorite works. He often performed both the version for piano and the one for orchestra, and he composed other versions, too: three movements for violin and piano (Op. 32/c) and one movement for violoncello and piano (Op. 32/d). (Hungaroton HCD 31835)

Ruralia Hungarica

Ruralia Hungarica was originally a five movements cycle of piano pieces (Op. 32/a) composed in 1923 on Hungarian folk songs, dedicated to Dohnányi s mother. In 1924, five movements of the piano cycle was orchestrated (Op. 32/b), the orchestral version was premiered under the baton of the composer on 14 September 1924, in Pécs (South Hungary). Ruralia Hungarica was one of Dohnányi s favorite works. He often performed both the version for piano and the one for orchestra, and he composed other versions, too: three movements for violin and piano (Op. 32/c) and one movement for violoncello and piano (Op. 32/d).

An Evening In The Village/Slovak Peasant's Dance

Both pieces in the present volume are transcriptions from Bartók s Ten Easy Piano Pieces, a series composed for pedagogical purposes in 1908. Their themes are reminiscent of Hungarian and Slovak folk songs, although they are not authentic folk melodies. As Bartók explained in an American interview, An Evening in the Village was an original composition that is ... with themes of my own invention but ... the themes are in the style of the Hungarian Transylvanian folk tunes. There are two themes. The first one is a parlando-rubato-rhythm and the second one is more in a dance-like rhythm. The second one is more or less the imitation of a peasant flute playing. AnEvening in the Village has become one of Bartók s most popular works, which the composer himself was fond of playing at recitals. In 1931 he also orchestrated it as no. 1 of Hungarian Sketches.

Ein Abend am Lande - Tanz der Slovaken

Both pieces in the present volume are transcriptions from Béla Bartók s Ten Easy Piano Pieces, a series composed for pedagogical purposes in 1908. Their themes are reminiscent of Hungarian and Slovak folk songs, although they are not authentic folk melodies. As Bartók explained in an American interview, An Evening in the Village was ''an original composition that is [...] with themes of my own invention but [...] the themes are in the style of the Hungarian-Transylvanian folk tunes. There are two themes. The first one is a parlando-rubato-rhythm and the second one is more in a dance-like rhythm. The second one is more or less the imitation of a peasant flute playing.'' AnEvening in the Village has become one of Bartók s most popular works, which the composer himself was fond of playing at recitals. In 1931 he also orchestrated it as no. 1 of Hungarian Sketches. The transcription for clarinet and piano was made by the clarinettist Károly Váczi (1892-1976).

Brefs Messages (2011) Op. 47

Brefs Messages op. 47, for nine instruments was premiered by Ensemble Contrechamps on November 1st 2011 in Geneva. The work was commissioned by Contrechamps and dedicated to this ensemble and the conductor of the premiere Olivier Cuendet. Its first movement (Fanfare) was written specifically for Cuendet: the second one (Versetto: Temptavit Deus Abraham - apokrif organum) is dedicated to the Hungarian musicologist László Dobszay. As often in Kurtág's practice, the third and fourth movements are rescored version of earlier instrumental pieces: the former one (Ligatura Y) was originally a part of Games for piano, the latter one (Bornemisza: Az hit ...) derives from the Sayingsof Péter Bornemisza op. 7.Parts are available on hire (K-120).

Sonata per Violoncello Solo : In preparation

Ferenc Farkas (1905-2000) was one of Hungary’smost decisively important 20th-century composers.His musical profile combined Hungarian folkmusic, classical traditions, the melodiousness of the Mediterranean, and twelve-tone technique.

Preludium, Invocation, Postludium : Opus 54

The first and third movements are adapted from an earlier instrumental composition (Shadowplay), the second one originates from the Eight Invocations to the Lunar Phases. It was premiered on December 14, 2011 in Budapest.

Lagenwechsel-Übungen für Bratsche in der höheren A

This volume deals with one of the fundamental conditions of left-hand virtuosity, viz. the technique of position change. It is designed also to provide guidance to fingering, that extremely important aspect of this problem.

Chuang Tzu's Dream : for violoncello solo and ensemble (2008)

My composition Chang Tzu's Dream is a homage to the Chinese philosopher Chuang Tzu (4th century B.C.), who is one of the first important figures in Taoism. His work also influenced Chinese poetry and landscape painting. One of the earliest Chinese stories related to dreams tells of Chuang Tzu: in a dream he saw himself as a butterfly, then on awakening he could not decide if it was really he, Chuang Tzu, who had dreamt he was a butterfly, or whether now the butterfly was dreaming of being Chuang Tzu. Ever since I have been involved in music, I have always been fascinated by the variety of the world that can be created with sound. Is its true existence different from the materialworld? Can one be transformed into the other? These were precisely the questions I discovered in Chuang Tzu's dream. (Máté Bella)

Dance Music for Accordion : Seven original solo pieces

This album contains seven original compositions, one of each style of dance music that perfectly suits the accordion.They include a polka, waltz, and tango but also genres which are not played by many, such as foxtrot, jazz waltz, swing, and bossa nova. The pieces intend to achieve two goals. On the one hand, they are of an educational character: they aim to provide guidance for left-hand accompaniment in various musical styles, linking of chords, harmonizing the melody to be played by the right hand while achieving a rich sound.

Tonartübungen für Sopranblockflöte : mit Vortragstücken mit Klavierbegleitung

Gábor Kállay compiled for the second- and third-year flute students an original and extremely useful volume, in which one scale and chord breaking exercise each of almost all of the most frequent scales of the Baroque era, an original study and one (or two) Baroque suite or sonata movements are included with piano accompaniment. The selection focuses not only on skills to be acquired in the various keys but on the most varied musical problems (rhythm formulas, dynamics and articulation, etc.) as well. The music is accompanied by the piano accompaniment of the Baroque pieces.

Hummel: Leichte Klavierstücke

Johann Nepomuk Hummel is a key figure of the transition period between Viennese classicism and Romanticism: a pupil of Mozart, a contemporary of Beethoven, and a model for the composers of the next generation, especially Chopin. He was not only a composer but also one of the greatest virtuoso pianists of that time, who gave enormously successful concerts all over Europe, and wrote one of the most important piano tutors of the first half of the 19th century (Ausführlich theoretisch-practische Anweisung zum Pianoforte Spiel). The majority of the pieces that feature in this collection are from that piano tutor.

Vocalise op. 34, no 14

Vocalise, for soprano (or tenor) voice with piano accompaniment, came into being in 1910 as the final piece in Rachmaninov's Op. 34 song series. Most of the songs were tailored to suit the personalities of various outstanding Russian singers (including Chaliapin), and dedicated to them. An interesting feature of Vocalise, which was written for the soprano Antonina Nezhdanova, is that, as its title indicates, the vocal solo has no text: the performer can sing it through on any one vowel of her choice. This song became one of the composer's most popular pieces, and countless arrangements have been made of it (for orchestra, for various chamber ensembles, for violin, for cello,for almost every kind of brass instrument, for clarinet, for guitar, for harmonica, even for cello orchestra!). One of the most successful transcriptions for solo piano, first published in 1981, is the work of the world-famous Hungarian concert pianist, conductor and composer, Zoltán Kocsis.

Echoes No. 4 : FOR FOUR hORNS

The noted Hungarian composer Miklós Kocsár (b. 1933) composed his Echoes series consisting of four pieces during the 1980s and 1990s. Written for one, two, three, and four horns respectively, each work effectively exploits the rich palette of sounds from horn ensembles of different sizes.

Echoes No. 3

The noted Hungarian composer Miklós Kocsár (b. 1933) composed his Echoes series consisting of four pieces during the 1980s and 1990s. Written for one, two, three, and four horns respectively, each work effectively exploits the rich palette of sounds from horn ensembles of different sizes.

Septett für Blechblasinstrumente

This colourful piece in one movement offers rare sound effects, the notation of which made the introduction of new kinds of signs necessary. The exact meaning of these signs enlarging the set of traditional notation devices is contained in the explanatory table. (Hungaroton HCD 31680)

edesanyam, te jo asszony Ungarische Lieder über

Similarly to the series of publications by Gábor Vas entitled Szól a nóta színe-java and his numerous more recent volumes of Hungarian popular songs, this one too contains songs for voice with piano accompaniment, including a violin part as well as the vocal part.

Lustige Trompeter - Merry Trumpeters : Fünf Trios für Trompeten - Five Trios for Trumpets

The trumpet trios, written principally for pedagogical purposes, to widen the chamber music repertoire, are at the same time excellent, effective concert pieces. They do not form a connected cycle, as desired, two, three or even just one of the trios can be performed.

Handshake After Shot : for 5 performers

Suggested instrumentation: two muted trumpets (sounded on both sides of the stage), an oboe (in the centre), an electric organ (background, centre) and a cardboard box (foreground, centre). "The memory I have is seeing Fellini's Clowns - Requiem for a Circus four times in succession in 1974. There are some allusions to the last scene of the film (where clowns are sending messages to each other by means of trumpets across an empty circus-ring, while the lights go out one by one) in Handshake after Shot. The piece was composed in 1977, it has been dedicated to the late Hungarian poet, János Pilinszky." - Gyula Csapó

Trios für Flöte, Cello und Klavier

The flute is one of the most popular music school instruments, so after his volume of trios for violin, cello and piano the composer and arranger András Soós has now produced one devoted to flute trios, his attractive compilation considerably widens the range of possibilities for music school chamber music. The greater part of the volume consists of easy transcriptions of well-known, popular piano pieces (Schubert Ländler, two Mazurkas and a Prelude by Chopin, pieces for children by Schumann, the Cradle Song and a waltz by Brahms and the Ave Maria by Saint-Saëns), as well an excerpt of Schubert's Rosamunde and a vocal duet by Mendelssohn.