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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 Tenth volume is divided into two parts: In the first half, earlier, hitherto unpublished pieces line up from Suite, written in 1943, to the 1980s, providing insight into the development of Kurtág's musical language.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.

DKK 245.00
1

Quartette für Holzbläser - Quartets for Woodwinds

Quartette für Holzbläser - Quartets for Woodwinds

In this volume the compiler's aim has been to offer young woodwind players the most colourful selection possible of pieces of differing character from different musical periods. The same quest for variety is observable in the instrumentation as well: roughly half the material in the volume can be performed without oboe and/or bassoon and also in the remaining pieces, with two exceptions, the oboe can be replaced by a flute or clarinet.

DKK 221.00
1

Melodie

Melodie

In 1952, one of the most prolific years of his life, Pál Járdányi composed his Vörösmarty Symphony, several choral works and a chamber piece for music education. During this period, he also wrote the piece Melody for cello and piano. The pure, almost romantic beauty of the composition evokes the memory of the youthful Adagio of Zoltán Kodály, almost as if it would be Járdányi's echo to the piece sounding about half a century later.This publication is part of the curriculum of elementary arts education.

DKK 118.00
1

Hummel: Leichte Klavierstücke

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.

DKK 150.00
1

Missa Pannonica Op.96

Missa Pannonica Op.96

Vocal music, especially church music, has always played an important role in the oeuvre of the extremely versatile composer Sándor Szokolay (1931-2013). He left behind four complete mass settings among these Missa Pannonica , written for six-part mixed choir, was composed in 1987 for the Tomkins Vocal Ensemble conducted by János Dobra. János Malina praised the nearly half-hour, large-scale and virtuosic work as follows: "The mass is an outstanding achievement within Szokolay's sacred music oeuvre. It is a composition with extremely rich musical contents, and it is impressively spontaneous and powerful, combining a broad range of styles, traditions, and influences in a veryoriginal way."

DKK 181.00
1

Sideways Air on a Black Hole for Clarinet in Sib : Konzertstück. Solo

Sideways Air on a Black Hole for Clarinet in Sib : Konzertstück. Solo

The composer writes the following about this work: 'As if we could only walk sideways in a tilted force field, Petruska-Harlequin in my piece evokes waltz fragments on a capsized 'Titanic', or Berlioz's Romeo und Juliet. Vertiginous chromatic martellato-staccato sequences keep tearing apart the clarinet's virtuosic aerial gymnastics interspersed among the fragments and half-heard wisps of sound. We suddenly find ourselves now in the depths, now in the highest regions, sidelong, as if all these fragments of musical memories were dancing on the edge of the event-horizon of a black hole...' This work, dedicated to the clarinettist Csaba Klenyán, was composed in 2002 inSaskatoon (Canada).

DKK 118.00
1

Die zweite Hälfte des 18. Jahrhunderts

Die zweite Hälfte des 18. Jahrhunderts

The series 300 YEARS OF FLUTE MUSIC was compiled with the history of music and the instrument in mind. The Early Baroque (Z. 13533) presents the beginnings, the Italian Baroque (Z. 13534) collates the Mediterranean style with the German, French and Netherlandish art of The High Baroque (Z. 13535). The volume entitled The Second Half of the 18th Century (Z. 13536) illustrates the end phase of the Baroque as well as the rise of Classicism. The Vienna Classics (Z. 13537) draws on the works of the "three great masters" only. The two volumes of Romantic Flute Virtuosos (Z. 13538 and Z. 13539) contain works by German and French composers.

DKK 142.00
1

Flötenvirtuosen der Romatik II

Flötenvirtuosen der Romatik II

The series 300 YEARS OF FLUTE MUSIC was compiled with the history of music and the instrument in mind. The Early Baroque (Z. 13533) presents the beginnings, the Italian Baroque (Z. 13534) collates the Mediterranean style with the German, French and Netherlandish art of The High Baroque (Z. 13535). The volume entitled The Second Half of the 18th Century (Z. 13536) illustrates the end phase of the Baroque as well as the rise of Classicism. The Vienna Classics (Z. 13537) draws on the works of the "three great masters" only. The two volumes of Romantic Flute Virtuosos (Z. 13538 and Z. 13539) contain works by German and French composers.

DKK 189.00
1

Saltus Hungaricus

Saltus Hungaricus

The second half of the 18th century, for the people of East Central Europe, was the time of the awakening of national consciousness. The leading force in the Hungarian enlightenment, the lesser nobility, also regarded as important the national character of the country's culture. A valuable kind of national music was the Hungarian dance music that flourished in the 18th century. The greater part of the repertoire naturally perpetuates the 'Hungarian-style' pieces from the previous centuries (appearing in foreign collections too described as hungaricus, ungaresca, saltus hungaricus or Ungarischer Tanz), but beside these we can encounter contemporary European dances and entertaininginstrumental pieces in almost every style.

DKK 905.00
1

Frühbarock

Frühbarock

The series 300 YEARS OF FLUTE MUSIC was compiled with the history of music and the instrument in mind. The Early Baroque (Z. 13533) presents the beginnings, the Italian Baroque (Z. 13534) collates the Mediterranean style with the German, French and Netherlandish art of The High Baroque (Z. 13535). The volume entitled The Second Half of the 18th Century (Z. 13536) illustrates the end phase of the Baroque as well as the rise of Classicism. The Vienna Classics (Z. 13537) draws on the works of the "three great masters" only. The two volumes of Romantic Flute Virtuosos (Z. 13538 and Z. 13539) contain works by German and French composers.

DKK 166.00
1

Saltus Hungaricus

Saltus Hungaricus

The second half of the 18th century, for the people of East Central Europe, was the time of the awakening of national consciousness. The leading force in the Hungarian enlightenment, the lesser nobility, also regarded as important the national character of the country's culture. A valuable kind of national music was the Hungarian dance music that flourished in the 18th century. The greater part of the repertoire naturally perpetuates the 'Hungarian-style' pieces from the previous centuries (appearing in foreign collections too described as hungaricus, ungaresca, saltus hungaricus or Ungarischer Tanz), but beside these we can encounter contemporary European dances and entertaininginstrumental pieces in almost every style.

DKK 142.00
1

TAUSEND JAHRE CHORMUSIK

TAUSEND JAHRE CHORMUSIK

'This collection which comprises 143 choral works in 13 languages has been brought forth by the need of the Hungarian choirs for such publications. It leaves no doubt that it is but a drop in the sea even if it covers a period of two and a half millenia, works from an ode of the Hellenic Pyndar to present day compositions. The pleasure in singing together must reach back to older times yet, perhaps to the beginning of human existence. The earliest traces of polyphony can be come upon in the 9-10th centuries. The present compendium that concentrates on the golden age of choir music, the Renaissance derives its title from this period...' Miklós Forrai

DKK 205.00
1

Barockmusik für Kinderstreichorchester (erste Lage : für Kinderstreichorchester

Barockmusik für Kinderstreichorchester (erste Lage : für Kinderstreichorchester

Following the Renaissance volume, this time it is Baroque works (more precisely, transcriptions of Baroque vocal and instrumental works) that are presented in the Leggierissimo series, extending the repertoire of junior string orchestras. Roughly half of the selection consists of well-known pieces by the greatest composers of the period (Purcell: Dido and Aeneas, Rameau: Pi ces de clavecin, Händel: Water Music, Music for the Royal Fireworks, J.S. Bach: B major partita, C major orchestral suite), but works by composers less well known nowadays (for example, G. Böhm and J. C. F. Fischer) are also included, together with such unusual items as Polish, German and Hungarian dancesfrom 17th- and 18th-century Hungarian manuscripts: the Kájoni and Vietórisz codexes, and Eleonóra Lányi’s music book.

DKK 245.00
1

Freie Bearbeitungen 2

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.

DKK 1024.00
1

Spanische Suite für Klavier op. 47

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.

DKK 118.00
1

Sonata for Solo Violin (1947) : First edition

Sonata for Solo Violin (1947) : First edition

András Sz ll sy (1921-2007) was one of the most significant Hungarian composers of the second half of the 20th century, yet his oeuvre has not become as well-known as that of György Ligeti, two years his junior, or of György Kurtág, five years his junior. Sz ll sy did not compose many works and he was strict about which of them he would allow to go public. As a younger colleague of his once remarked: "He only composed his good works." Sz ll sy's Sonata for Solo Violin, which was written at the age of 26 and was publicly performed only in 2006, almost 60 years after its composition, fell victim to his self-criticism. Although the model of Bartók's Sonata for Solo Violin ofjust three years earlier was obviously on the young composer's mind, he was no epigone of the great master.

DKK 118.00
1

Konzert für Posaune und Orchester

Konzert für Posaune und Orchester

Frigyes Hidas (1927 2008), the last romantic as he half-jokingly labeled himself, was always drawn to brass instruments throughout his career. In addition to his numerous works written for wind ensembles, he has also composed several concertos for these instruments. Hidas Trombone Concerto (written in 1979 for Gusztáv Hona) is an exceptional work amongst his concerti: among the three through-composed movements, the middle, slower movement is reminiscent of mourning music. Its gloomy tone is certainly resolved, but not forgotten, by the jazz-like introduction and the virtuoso closing section. This extreme emotional spectrum, however, provides an unparalleledopportunity for the soloist to demonstrate their abilities: the varying timbres of the trombone s different registers - from rumbling bass tones to soaring high melodies - along with the evenness of its broken chords, sharp staccatos, and tight rhythms. This publication is printed on high-quality, age-resistant, pale-yellow paper that is produced in an environmentally-friendly, climate-neutral manner using renewable raw materials.

DKK 150.00
1

Windsequenzen

Windsequenzen

In 1970 Péter Eötvös spent half a year in Japan where he performed as a member of Karlheinz Stockhausen's ensemble in the German pavilion at the World Expo in Osaka. The encounter with Japanese culture, specifically with Zen Buddhism, had a great effect on him. The fundamental idea of The Sequences of the Wind is one of Zen's complementary contrasts: stillness in movement - movement in stillness. It was inspired by the Japanese landscape and Japanese gardens (the rain, the wind, the sound of stones and the rustle of bamboo cane). This is the third version of the work and was published to mark the 60th birthday of Péter Eötvös. (The composer withdrew the first two versionswritten in 1975 and 1989.) Several elements of modern flute playing appear in the work, which has eight movements at present. The soloist alternately plays four different instruments (a flute of normal tone, a flute that is tuned a quarter tone lower, an alto flute tuned a quarter tone lower and a piccolo).

DKK 205.00
1