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Gitarrenschule V

Since March 2018 volumes I, II, III, and V of this five-volume Guitar Tutor have been completely revised. In the decades since its first edition, the musical interests of students and their practice possibilities have changed. To adapt to this, we have partly expanded and partly reduced the musical and technical material of the tutor. We have increased the number of recital pieces at all levels of difficulty, so that students can spend longer on a varied repertoire at their respective level.We have determined the works in the volume V which demand a more developed technique and musicality to extend the repertoire of those who wish to study further. The transcription of lute workshas sometimes made significant compromises necessary. However, in our view, it is a significant gain that students can get to know a Dowland fantasy or an early English Baroque set of variations. This volume comprises 45 concert pieces from the early 17th to the 20th centuries, 18 advanced-level studies by Carcassi, Coste, Giuliani, and Sor, as well as several advanced-level technical exercises. Besides original works by Giuliani, Sor, Tarrega, and others, it features several transcriptions of works by Dowland, Rameau, J. S. Bach, and D. Scarlatti.

Violoncelloschule V

Messages Of The Late R. V. Troussova Op. 17

It was the Paris premiere in 1981 of Messages of the Late R. V. Troussova that brought the world's attention to the music of György Kurtág (born 1926). The spectrum of these feminine poems in Russian with their cruel sincerity ranges from nostalgia to rebellion, from melancholy to despair, and these extremes are fully conveyed by Kurtág's music. The score published in 1982 is now issued in a revised edition, with a fresh engraving. Péter Eötvös said about the essence of Kurtág's musical notation: ''Kurtág's scores are special because the performing instructions regarding tempo, tone-color, note-hierarchy and dynamics appear in them as if they were precise comments on aninterpretation existing in his imagination. Kurtág's idiosyncratic notation is unusually brave even today, or rather it indicates that he has found the most appropriate method of notation for his own musical style which, in a certain sense, forces performers to accommodate to his music and to that end widen their repertoire of expression. The powerful effect of Kurtág's art unfolds of its own accord when his works are played with sensitivity and openness to their special demands, and a musician who senses this becomes a dedicated performer of this music.''

Violinschule V-VI

László Dénes work as a violin teacher and music pedagogue has been well-known for decades both within Hungary and around the world. Violin teachers have used both his scores and pedagogical insights for generations. As a result of Dénes expert instruction, many of his pupils have gone on to pursue their own successful careers as performers and educators.In 1966, this Violin Tutor was first published as a result of László Dénes work and cooperation with 3 of his exceptional colleagues. To mark the occasion of the 50th anniversary of its publication, a renewed edition was created and printed.

Gitarrenübungen und Stücke V

László Szendrey-Karper (1932-1991) was an internationally renowned guitarist, and the founder of organized guitar teaching in Hungary. He wrote an instructional methodology for the guitar, and composed studies and pieces for students. The eight books of his series Guitar Exercises and Pieces provide a variety of pieces for elementary and intermediate guitar students to play, arranged in order of difficulty. A basic source for Szendrey-Karper was Hungarian folk songs, in addition to which he transcribed for the guitar well known pieces composed for other instruments. Alongside his own pieces and études, he selected for the series studies and concert pieces by othercomposers (including Ferdinando Carulli, Matteo Carcassi, Johann Krieger, Henry Purcell, and László Borsody).

Freie Bearbeitungen V (II-5)

Vortragsstücke für Violine und Klavier zu Band V : zu Band V-VI der Violinschule

Ausgewählte Etüden V für Klavier : zongorára

The multi-volume collection of etudes by prominent piano educator Marianne Teöke provides piano teachers and their students with essential help in developing technical versatility for playing. Each volume generally contains one year s worth of studies and features pieces by masters of older periods as well as works by contemporary composers. The etudes can be taught in many ways, either transposed or with varied articulation. The six-volume collection can serve students from the beginning of their piano studies through the 6th grade of music school. (Bertini, Czerny, Kadosa, Le Couppey, Lemoine, Maikapar, Nikolaevna, Slavicky)

Chaconne per archi : for junior string orchestra or two violins and violoncello or violin, viola and violoncello

Kocsár composed the Chaconne for three-part string ensemble in 1996. Originally a popular Baroque musical form, the chaconne is characterized by a set of ground-bass variations. In Kocsár's piece the 23-bar theme is followed by nine variations of diverse characters. The composition lasts about nine minutes and is rounded off with a recapitulation of the theme and a coda.

Musical Reading and Writing V Pupil's Book

Musica Sacra für gemischten Chor V Marienlieder : Marienlieder

Methodik des musikalischen Schreibens und Lesens V : Übungsheft

First Words After The Last for prepared piano, v

The composer wrote this piece while still a third-year student at the Music Academy. The basis of it is a formula consisting of 9 notes, created by coding as notes a Christian name and various nicknames and anagrams. In the piece virtually every musical factor evolves in accordance with a predetermined system. It was first performed on March 20, 2002 in the small hall at the Music Academy by Dóra Sík (cello), László Tömösközi (vibraphone) and Dániel Dinyés (prepared piano), with Balázs Futó conducting.

Sämtliche Orgelwerke V Orgelbüchlein, Choralparti : Orgelbüchlein, Choralpartiten, Kanonische Veränderungen

Johann Sebastian Bach's complete organ works will be published divided into eleven volumes. Substantial and musically relevant deviations between the various sources are included as footnotes leaving the performer to decide which version he should go by.The notation of this edition agrees with present-day notational practice.

Libera me MC 6/V : Aria per Soprano solo e Orchestra

Tonleiterschule II op. 5 mit zerlegten Akkorden. V : mit zerlegten Akkorden.

Schola cantorum V Zwei- und dreistimmige Motetten : Zwei- und dreistimmige Motetten

Chamber Music for/ Kammermusik für Violoncelli 4 : for 3 violoncellos

The series - after three volumes of quartets - continues with trios this time. In the trio by Haydn the three cellos take turns playing the leading part. A special feature of the Purcell Chaconne is the fact that the two parts above the 6-bar ostinato bass move in canon throughout the piece. All three Mozart works - the Canon inversus (mirror canon), the Canzonetta and the Adagio - are miniature masterpieces. The Elgar work: Salut d'amour, with which the volume ends, demands a slightly higher level of skill, but is a rewarding task for everyone who performs it.

15 Bagatelle per clarinetto solo

The first pieces among the 15 Bagatelles were written at the request of Béla Kovács. For his clarinet school he asked for little pieces that would introduce students to the typical innovations of the 1980s in notation (musical processes without bar- lines, asymmetrical repetition, the various means for notating free rhythm). The task continued to interest me, and I increased the number of pieces first to twelve, then to fifteen, so that from the simplest level to the intermediate stage students can find things to play. Depending on the students’ level of skill, the pieces can be performed as independent items and in any desired order. (Miklós Kocsár)

Lute Works - Lautenwerke

The present edition is based on the original text of the new complete dition of Bach's works (Deutscher Verlag für Musik, 1976, Series V. Vol. 10, Part 2). The edition aims at disclosing Bach's works for lute with a practical yet authentic text as far as the possibilities of guitar transcription allow it.

Quartettino für Klarinette, Violine, Viola und V : für Klarinette, Violine, Viola und Violoncello

Újesztendőt köszöntő : A Christmas Carol (Hungarian folksong)

The piece was written originally for equal voice choir in 1929. A mixed-choir adaptation was made in 1961 at the request of Oxford University Press. This appeared in print in the same year with an English text under the title A Christmas Carol in a collection of Christmas songs, as well as in a separate print. The musical material of the mixed-choir version largely follows the original. There is one essential difference in verse 5, beginning at bar 35 (Babe all holy) where the tenor solo appears with a delightful eight-bar countermelody not found in the original. Since this version only appeared in Kodály's lifetime with an English text, this has been retained, but we havealso provided the original Hungarian text upon which the equal voice version is based. Zoltán Kodály's complete choral works for mixed voices were published in a new, extended, edition in 2018 (Z. 6725 and Z. 6725A). This volume containing 51 compositions has been edited by the renowned conductor Péter Erdei, one of the most devoted interpreters of Kodály's choral works. The new edition takes into consideration the manuscript sources for the compositions housed in the Kodály Archives in Budapest. The publication features new, easily-legible music scores edited on uniform principles. For better readability, the new edition is printed in a slightly larger format than previous editions.The present publication is an offprint from the renewed edition of Kodály's complete choral works for mixed voices. It has the same format as the volume, and has been printed on excellent-quality pale-yellow paper.

Early Hungarian Dances from Gömör

The title of the suite Early Hungarian Dances from Gömör suggests the arrangement and harmonization of dance tunes, but this three-movement cycle is far more than that: in fact, the old court dances that provide the thematic material have been freely thought through and brought to completion. The composer has breathed new life into the 18th-century melodies, as Zoltán Kodály did with the Galanta and Marosszék dances, Antonin Dvo ák with Slav dances, and Johannes Brahms with those of Hungary. The chief virtues of the work are its colourful, varied instrumentation, the tasteful combination of its archaic style with the musical language of our day, and not least the fact thatits every bar is enjoyable to play and easy to listen to.

Early Hungarian Dances from Gömör

The title of the suite Early Hungarian Dances from Gömör suggests the arrangement and harmonization of dance tunes, but this three-movement cycle is far more than that: in fact, the old court dances that provide the thematic material have been freely thought through and brought to completion. The composer has breathed new life into the 18th-century melodies, as Zoltán Kodály did with the Galanta and Marosszék dances, Antonin Dvo ák with Slav dances, and Johannes Brahms with those of Hungary. The chief virtues of the work are its colourful, varied instrumentation, the tasteful combination of its archaic style with the musical language of our day, and not least the fact thatits every bar is enjoyable to play and easy to listen to.

Quartetto op. 1 für Gitarre, Violine, Viola und V : für Gitarre, Violine, Viola und Violoncello