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Reverb

Reverb

''In this composition I was not searching for the conventional possibilities of the piano quintet, but for the acoustic distance between the two types of sound. The sounds of the piano are not meant to be the acoustic-harmonic support for the strings, but it is the string quartet that appears as the acoustic extension of the piano. Other times the single instruments of the quartet sound more or less independently of each other and they echo each other. Their asynchrony multiplies the sound-space, like the loose play of peasant musicians.'' (L. Vidovszky)

SEK 484.00
1

A Desert March... Für Klavier

A Desert March... Für Klavier

A Desert March is a protest march and a requiem for European musical culture. This seemingly endless march carries with it subdued or disfigured Western art music quotations (Brahms, Schubert, Beethoven, Bartók, Janácek, Satie). Iconic items such asBeethovens Ode to Joy (now the hymn of the European Union) and the United States national anthem appear in numerous, often distorted forms as if molten metal ransacked by the military machine of the relentless march. Yet this monumental work strivesfor a state of calm and ultimate balance.

SEK 256.00
1

Fragment

Fragment

Fragment (1977) was among Maros's last works, and can be seen also as an epitome of his stylistic traits. Its two movements assign decisive roles to percussion instruments, lament melodies and dense chromatic passages, yet its two-movement structure harks back to the slow?fast rhapsody form of Liszt. Nonetheless, the second movement is built of successive aleatoric passages, with a virtuoso, solo violin cadenza at its centre. Its sound alternate the traditional tonality with modern, chromatic blocs of sound. (Anna Dalos)

SEK 177.00
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

SEK 256.00
1

Four Dirges op. 9-a

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)

SEK 157.00
1

Fantasie for organ

Fantasie for organ

Ern Dohnányi (1877 - 1960) composed his C minor fantasia in 1892, at the age of fifteen.This work, which is appearing in print now for the first time, is a real curiosity: apart from a few polyphonic stylistic exercises written while he was at the music academy, this is Dohnányi's only piece for organ. The composer later recalled his first acquaintance with that instrument thus: 'My experience with the organ actually dates back to when I was a third-year grammar school student, for beginning with that year I served as organist for the Sunday worship services in the grammar school's church. …These were the first wages I ever earned through music.' The Fantasie wasprepared for publication on the basis of the composer's manuscript by the well-known Dohmányi researcher Deborah Kiszely.

SEK 186.00
1

Etüden (Studies) Band 1

Etüden (Studies) Band 1

The history of Liszt's intensely virtuosic and unwaveringly popular Transcendental Etudes dates back to his 12 Etudes which was composed around 1826. Liszt later reworked 11 pieces of this not-so-technically-difficult series into virtuoso concert etudes, and replaced one of the etudes with a new piece. This version was published in 1837 under the name Grandes études. However, Liszt reworked these 12 ''big'' etudes again: the final version of the series - in which, with two exceptions, the pieces were titled - was published in 1851 under the series title Études d'exécution transcendante. Transcendental Etudes was the very first volume of the New Liszt Complete Critical Edition, andit was first published in 1970 based on the previous editions of the work. This edition includes footnotes highlighting common performance difficulties as well as English and German forewords, facsimiles, and critical notes in English.

SEK 1242.00
1

Etüden (Studies) Band 1

Etüden (Studies) Band 1

The history of Liszt's intensely virtuosic and unwaveringly popular Transcendental Etudes dates back to his 12 Etudes composed around 1826. Liszt later reworked 11 pieces of this not-so-technically-difficult series into virtuoso concert etudes, and replaced one of the etudes with a new piece. This version was published in 1837 under the name Grandes études. However, Liszt reworked these 12 big etudes again: the final version of the series - in which, with two exceptions, the pieces were titled - was published in 1851 under the series title Études d exécution transcendante. Transcendental Etudes was the very first volume of the New Liszt Complete Critical Edition, and it wasfirst published in 1970 based on the previous editions of the work. This edition includes footnotes highlighting common performance difficulties as well as English and German forewords, facsimiles, and critical notes in English.

SEK 558.00
1

Ritterspiele - Knights' Games : for children's string orchestra

Ritterspiele - Knights' Games : for children's string orchestra

Lajos Papp, the author of innumerable popular pedagogical works, this time offers the youngest string players technically really easy little orchestral pieces that can nevertheless be successful concert items for more advanced students. The cycle of eight short pieces can be performed not only as a whole but in any kind of selection or grouping. The title refers both to the medieval knights' tournaments, which always stimulate children's imagination, and also to children's games that imitate them and bring them back to life. The work is based not on a single coherent story but the knights' life in general, with its traditional accoutrements and characters. The titles of thepieces are: Knighting Ceremony in the Castle Chapel - The Lord of the Castle - The Black Knight - The Beautiful Damsel of the Castle, by the Well - Page's Dance - The Scarlet Steed - The Battle of the Noble Knights - Festive Procession.

SEK 345.00
1

Rundherum Op. 57 : for piano, string quartet and add. instruments

Rundherum Op. 57 : for piano, string quartet and add. instruments

The piece was composed in the spring of 2012, at the request of the Kempten International Chamber Music Festival. The title Rundherum refers to the staging of the piece and the movement of the players. Central to the sound are the cello and the piano - their position does not alter during the piece. The other three instruments circle round the central point, both musically and spatially. The piano and the front desk parts represent the world of reality, but when the ‘wandering’ instruments are played at the desks behind the piano, they speak of a hidden world. This drama presents the open and the closed world of the human soul, the contradictions of our public and private being. Thedifference between the two musical layers is emphasized by the fact that the back desk parts are supplemented with other instruments. The sounds of the mouth organs and percussion instruments raise the music of the ‘inner world’ to another tone-dimension.

SEK 484.00
1

Children's Dances

Children's Dances

Most of Zoltán Kodály's (1882-1967) pedagogical compositions are written for voices. Some piano collections, which use the black keys of the instrument to draw the attention of music learners to the various possibilities of the pentatonic range, can be regarded as exceptions. The earliest of these is the twelve-piece cycle Children's Dances, which dates back to 1945 and addresses the needs of advanced pianists, not beginners. Its melodies reflect characteristics of Hungarian folk dance tunes, while their setting even evokes the sound of original folk instruments commonly used for accompaniment. Vilmos Bántai and Éva Bántai-Sipos selected eight of the Children's Dances totranscribe for flute and piano. In these transcriptions, recommended for music school students, the original e flat-g flat-a flat-b flat-d flat range is always transposed to easier-to-read keys. In the case of two pieces, two different transpositions (one being very easy to play and the other more difficult) are even offered. The flute is undoubtedly featured as a melodic instrument in these pieces, while the piano sometimes plays a supporting role and other times shares equal status with the flute.

SEK 157.00
1