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Spanish Guitar Music - Spanische Gitarrenmusik

Spanische Tänze für Violine mit Klavierbegleitung : Malague a

Pablo de Sarasate (1844-1908) was a Spanish violinist and composer. As a feted virtuoso he travelled the world for a decade giving concerts, and in 1886 he performed in Budapest. He composed many works for himself with piano or orchestral accompaniment, to enrich his repertoire. These virtuoso pieces most often contain typical Spanish melodies and rhythms. The Spanish Dances were commissioned from him by the German publisher Fritz Simrock, a few years after Brahms' Hungarian Dances. The set of Spanish Dances consists of eight pieces, published two at a time in four volumes from 1878 to 1882. The first volume contained the Malague?a (published here) and the Habanera, and wasdedicated by Sarasate to the Hungarian violinist living in Germany Joseph Joachim.

The final journey to the poem by Juan Ramon Jimene

The work (dating from 1992), similarly to the earlier composition entitled Journey to Ixtlan, was composed by Sáry to the poem 'El viaje definitivo' by the famous Spanish poet Juan Ramón Jiménez, this time with the original Spanish text. The performers at the premiere in Budapest in 1993 were Adrienn Csengery, Gergely Ittzés, Sándor Nagy and Gábor Kósa.

Spanische Suite für Klavier op. 47

Isaac Albéniz (1860-1909), the renowned pianist and composer, was one of the most significant Spanish masters of the second half of the 19th century. Following studies in Paris and Brussels he went on a world tour and earned great success as a pianist. From 1880 onwards he belonged to Ferenc Liszt's circle and improved his piano technique as a pupil of the Hungarian master. Besides his operas, orchestral works and songs he also composed a considerable number of piano works. One of his most popular cycles for the piano is the Op. 47 Suite espagnola (1886), the movements of which he named after Spanish towns and provinces. The composition is thus an enthusiastic tribute to hishomeland: a fascinating embodiment of Spanish folk music elaborated with Lisztian virtuosity.

Spanish Renaissance Songs für Singstimme und Git : für Singstimme und Gitarre

Europäische Kinderlieder für Kinderstreichorcheste

These are easy arrangements for the same string ensemble (3 violin parts and one cello parts) as in other volumes in the series, and feature tunes familiar to and popular with children (German, Austrian, French, Russian, Slovak, Italian, Norwegian, Danish, Polish, Finnish, Irish, Moravian, Scottish, Flemish, Basque, Welsh, Serbian, Spanish and Hungarian melodies).

Europäische Kinderlieder für Kinderstreichorcheste

These are easy arrangements for the same string ensemble (3 violin parts and one cello parts) as in other volumes in the series, and feature tunes familiar to and popular with children (German, Austrian, French, Russian, Slovak, Italian, Norwegian, Danish, Polish, Finnish, Irish, Moravian, Scottish, Flemish, Basque, Welsh, Serbian, Spanish and Hungarian melodies).

Guitar Music for Beginners 2

As a sequel to the guitar volume of the successful series 'Music dor Beginners' the present selection for beginners offers easy and popular items from the output of Spanish, French, Italian, German and Hungarian masters including, among others, works by Fr. Tárrega, F. Sor, R. de Visée, L. Roncalli, F. Molino, H. Newsidler and Sebestyén Tinódi Lantos.

Etüden für Gitarre

Dionisio Aguado (1784-1849) was one of the most prominent Spanish guitar-players and composers of guitar works of his time. He lived and worked mainly in his native country. He enriched the classical guitar literature then emerging by numerous instructive works, among others by his "Método de guitarra" (published in Madrid 1825) in which he outlined and established the modern technique of the guitar. The present two-volume edition ( Vol. 1: Z. 12377, Vol. 2.: Z. 12378) contains the studies of Aguado's guitar method.

Etüden für Gitarre

Dionisio Aguado (1784-1849) was one of the most prominent Spanish guitar-players and composers of guitar works of his time. He lived and worked mainly in his native country. He enriched the classical guitar literature then emerging by numerous instructive works, among others by his "Método de guitarra" (published in Madrid 1825) in which he outlined and established the modern technique of the guitar. The present two-volume edition ( Vol. 1: Z. 12377, Vol. 2.: Z. 12378) contains the studies of Aguado's guitar method.

Journey to Ixtlan to a fragment of the poem by Jua

This composition for soprano and chamber ensemble was inspired by the incomparably beautiful poem El viaje definitivo by the Spanish poet Juan Ramón Jiménez, who was awarded the Nobel Prize for literature in 1956 (the German translation of the poemis included in the score). The piece can be performed by several possible ensembles: 1) soprano and 12 stringed or 12 wind instruments, 2) soprano and 8 stringed or 8 wind instruments - playing parts I-VIII, 3) soprano and 4 stringed or 4 windinstruments - playing parts I-IV. The work was premiered in 1982 in Budapest by the New Music Studio Ensemble, conducted by Albert Simon.

16 Sonatas ' Hits and Rarities'

Besides Bach, Domenico Scarlatti is the other Baroque composer whose keyboard works sound really well on the modern piano also. The editor of this volume has chosen sixteen pieces from the 555 surviving single-movement keyboard sonatas by Scarlatti. This compilation designed to offer a representative selection gives a taste of the incredibly rich world of Scarlatti's sonatas in terms of their character, structure and keyboard techniques: they include lyrical Andantes and powerful, etude-like, whirling Allegros, pieces inspired by Spanish folk music and guitar-playing, as well as sonatas that anticipate the Viennese classical style. Apart from the composer himself, they sharejust one other characteristic: as far as their technical demands are concerned, not one of them is of more than moderate difficulty.

Freie Bearbeitungen 2

This volume marks the 40th volume of Liszt's published piano works for two hands. The free arrangements and fantasies created in the second half of the 1830s accurately represent the composing skills of the already mature, celebrated piano virtuoso that Liszt was by that time. The themes of Trois morceaux de salon (the first work of this volume) are derived from Swiss and Spanish melodies in the first two movements, respectively. The third movement, on the other hand, quotes Giovanni Pacini's opera Niobe. Following this ''trilogy'' melodies from Bellini, Donizetti, Meyerbeer, and Mercadante's major operas appear. Examples include reminiscences and fantasies based on Ipuritani, Lucia di Lammermoor, Les Huguenots, and Il giuramento. To the best of our knowledge, the latter has not appeared in print anywhere so far.

A Panorama of Songs 1A : Easy songs from four centuries in six languages for high voice

A Panorama of Songs fills a want that has been felt for decades. A selection of songs in six European languages from the 16th to the mid-20th century encompassing every musical period, it seeks to help beginner-level students of voice teachers and répétiteurs, and foremost the singers themselves. The series brings a breath of fresh air and new works to the conventional Lied repertoire, truly offering a new panorama. Using the means of modern technology it also provides immense help in learning and performing the songs. The three volumes of the series are arranged by level of difficulty, and all of them are available for high and low voices ("a" volumes for high voices, "b" volumes for low voices). Each volume is a complete unit in itself, including all six languages (English, French, German, Italian, Russian, and Spanish) and presenting a cross-section of styles from the early Baroque to the 20th century. Interpretation of the songs is facilitated by literal English and Hungarian translations of their texts, and the reading of the Cyrillic script is assisted by transliteration (again in English and Hungarian). Ornamentation suggestions for the performance of the Baroque works are also included. The printed music is accompanied by additional useful material to help the learning process, available online at www.emb.hu/downloads. The website contains the piano accompaniments of all of the songs, as well as all the original texts recited by native speakers.

A Panorama of Songs 3A : Easy songs from four centuries in six languages for high voice

A Panorama of Songs fills a want that has been felt for decades. A selection of songs in six European languages from the 16th to the mid-20th century encompassing every musical period, it seeks to help beginner-level students of voice teachers and répétiteurs, and foremost the singers themselves. The series brings a breath of fresh air and new works to the conventional Lied repertoire, truly offering a new panorama. Using the means of modern technology it also provides immense help in learning and performing the songs. The three volumes of the series are arranged by level of difficulty, and all of them are available for high and low voices ("a" volumes for high voices, "b" volumesfor low voices). Each volume is a complete unit in itself, including all six languages (English, French, German, Italian, Russian, and Spanish) and presenting a cross-section of styles from the early Baroque to the 20th century. Interpretation of the songs is facilitated by literal English and Hungarian translations of their texts, and the reading of the Cyrillic script is assisted by transliteration (again in English and Hungarian). Ornamentation suggestions for the performance of the Baroque works are also included. The printed music is accompanied by additional useful material to help the learning process, available online at www.emb.hu/downloads. The website contains the piano accompaniments of all of the songs, as well as all the original texts recited by native speakers.

A Panorama of Songs 1B : Easy songs from four centuries in six languages for low voice

A Panorama of Songs fills a want that has been felt for decades. A selection of songs in six European languages from the 16th to the mid-20th century encompassing every musical period, it seeks to help beginner-level students of voice teachers and répétiteurs, and foremost the singers themselves. The series brings a breath of fresh air and new works to the conventional Lied repertoire, truly offering a new panorama. Using the means of modern technology it also provides immense help in learning and performing the songs. The three volumes of the series are arranged by level of difficulty, and all of them are available for high and low voices ("a" volumes for high voices, "b" volumesfor low voices). Each volume is a complete unit in itself, including all six languages (English, French, German, Italian, Russian, and Spanish) and presenting a cross-section of styles from the early Baroque to the 20th century. Interpretation of the songs is facilitated by literal English and Hungarian translations of their texts, and the reading of the Cyrillic script is assisted by transliteration (again in English and Hungarian). Ornamentation suggestions for the performance of the Baroque works are also included. The printed music is accompanied by additional useful material to help the learning process, available online at www.emb.hu/downloads. The website contains the piano accompaniments of all of the songs, as well as all the original texts recited by native speakers.

A Panorama of Songs 2B : Easy songs from four centuries in six languages for low voice

A Panorama of Songs fills a want that has been felt for decades. A selection of songs in six European languages from the 16th to the mid-20th century encompassing every musical period, it seeks to help beginner-level students of voice teachers and répétiteurs, and foremost the singers themselves. The series brings a breath of fresh air and new works to the conventional Lied repertoire, truly offering a new panorama. Using the means of modern technology it also provides immense help in learning and performing the songs. The three volumes of the series are arranged by level of difficulty, and all of them are available for high and low voices ("a" volumes for high voices, "b" volumesfor low voices). Each volume is a complete unit in itself, including all six languages (English, French, German, Italian, Russian, and Spanish) and presenting a cross-section of styles from the early Baroque to the 20th century. Interpretation of the songs is facilitated by literal English and Hungarian translations of their texts, and the reading of the Cyrillic script is assisted by transliteration (again in English and Hungarian). Ornamentation suggestions for the performance of the Baroque works are also included. The printed music is accompanied by additional useful material to help the learning process, available online at www.emb.hu/downloads. The website contains the piano accompaniments of all of the songs, as well as all the original texts recited by native speakers.

A Panorama of Songs 3B : Easy songs from four centuries in six languages for low voice

A Panorama of Songs fills a want that has been felt for decades. A selection of songs in six European languages from the 16th to the mid-20th century encompassing every musical period, it seeks to help beginner-level students of voice teachers and répétiteurs, and foremost the singers themselves. The series brings a breath of fresh air and new works to the conventional Lied repertoire, truly offering a new panorama. Using the means of modern technology it also provides immense help in learning and performing the songs. The three volumes of the series are arranged by level of difficulty, and all of them are available for high and low voices ("a" volumes for high voices, "b" volumesfor low voices). Each volume is a complete unit in itself, including all six languages (English, French, German, Italian, Russian, and Spanish) and presenting a cross-section of styles from the early Baroque to the 20th century. Interpretation of the songs is facilitated by literal English and Hungarian translations of their texts, and the reading of the Cyrillic script is assisted by transliteration (again in English and Hungarian). Ornamentation suggestions for the performance of the Baroque works are also included. The printed music is accompanied by additional useful material to help the learning process, available online at www.emb.hu/downloads. The website contains the piano accompaniments of all of the songs, as well as all the original texts recited by native speakers.

A Panorama of Songs 2A : Easy songs from four centuries in six languages for high voice

A Panorama of Songs fills a want that has been felt for decades. A selection of songs in six European languages from the 16th to the mid-20th century encompassing every musical period, it seeks to help beginner-level students of voice teachers and répétiteurs, and foremost the singers themselves. The series brings a breath of fresh air and new works to the conventional Lied repertoire, truly offering a new panorama. Using the means of modern technology it also provides immense help in learning and performing the songs. The three volumes of the series are arranged by level of difficulty, and all of them are available for high and low voices ("a" volumes for high voices, "b" volumesfor low voices). Each volume is a complete unit in itself, including all six languages (English, French, German, Italian, Russian, and Spanish) and presenting a cross-section of styles from the early Baroque to the 20th century. Interpretation of the songs is facilitated by literal English and Hungarian translations of their texts, and the reading of the Cyrillic script is assisted by transliteration (again in English and Hungarian). Ornamentation suggestions for the performance of the Baroque works are also included. The printed music is accompanied by additional useful material to help the learning process, available online at www.emb.hu/downloads. The website contains the piano accompaniments of all of the songs, as well as all the original texts recited by native speakers.

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.

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.