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Big Clean Up By The Sun : Pianotales 3

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.

Violoncello Music for Beginners 3

This volume comprises forty-three short compositions by baroque, classical and romantic masters for the third and fourth years of studies up to the fourth position. An ABRSM syllabus title, 2010-16, Grade 5.

Trompeten Duos für Anfänger

The latest publication by the well-known teacher of wind instruments, Péter Perényi, includes pieces that even absolute beginners on the trumpet can play: the pieces in the first chapter, entitled 'Introduction to chamber music', enable even young trumpeters who can play just one noteon the instrument to discover the pleasure of shared music-making. Rhythm games, European folk tunes, then a wealth of easy performance pieces (from the medieval period, through Beethoven's Ode to Joy right up to the present day) make up the valuable content of this volume.

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.

Aquarium : 11 Piano Pieces

The series of short character pieces represents the living and mineral world of the aquarium. The expressive, frequently grotesque sound effects introduce the students almost unnoticed into the world of up-to-date piano technique in an amusing way.

Violin-ABC : Violin tutor for beginners using children's and folksongs from all over the world

Children's songs and folksongs from all over the world make up the bulk of the music material found in the Violin ABC. Added to this are excerpts from the art music of various periods, with special emphasis on Baroque dance movements.

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)

Trio für Horn, Posaune and Tuba : für Horn, Posaune and Tuba

This single movement is divided into several passages which differ in mood and build-up depending on the relation of the players and instruments to each other. First the trombone and the tuba accompany the melody performed on the horn, then all three instruments play a chordal-homophonic texture of identical rhythm.

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.

Training Patterns I Für Blechbläsersextett

Written for brass quintet and sextet this series presents a unique venture. The volumes contain the basis of chamber music for young brass players which lend themselves for teaching purposes as well. The works provide young musicians with the possibility of starting chamber music already as beginners and of getting acquainted at an early phase with the exciting world of instrumental ensemble playing. The composer states the aim of the series in the Preface as follows: 'Through forms easy to survey, clear build-up and last but not least with ideas' provoking' the young musicians to use their own fantasy this series intends to serve as a kind of 'warming up training' to the'Decisive Matches' of professional ensemble playing.' Territorial restrictions may apply. Please ask before ordering.

Training Patterns II Für Blechbläserquintett

Written for brass quintet and sextet this series presents a unique venture. The volumes contain the basis of chamber music for young brass players which lend themselves for teaching purposes as well. The works provide young musicians with the possibility of starting chamber music already as beginners and of getting acquainted at an early phase with the exciting world of instrumental ensemble playing. The composer states the aim of the series in the Preface as follows: 'Through forms easy to survey, clear build-up and last but not least with ideas' provoking' the young musicians to use their own fantasy this series intends to serve as a kind of 'warming up training' to the'Decisive Matches' of professional ensemble playing.' Territorial restrictions may apply. Please ask before ordering.

Training Patterns II Für Blechbläsersextett

Written for brass quintet and sextet this series presents a unique venture. The volumes contain the basis of chamber music for young brass players which lend themselves for teaching purposes as well. The works provide young musicians with the possibility of starting chamber music already as beginners and of getting acquainted at an early phase with the exciting world of instrumental ensemble playing. The composer states the aim of the series in the Preface as follows: 'Through forms easy to survey, clear build-up and last but not least with ideas' provoking' the young musicians to use their own fantasy this series intends to serve as a kind of 'warming up training' to the'Decisive Matches' of professional ensemble playing.' Territorial restrictions may apply. Please ask before ordering.

Training Patterns I Für Blechbläserquintett

Written for brass quintet and sextet this series presents a unique venture. The volumes contain the basis of chamber music for young brass players which lend themselves for teaching purposes as well. The works provide young musicians with the possibility of starting chamber music already as beginners and of getting acquainted at an early phase with the exciting world of instrumental ensemble playing. The composer states the aim of the series in the Preface as follows: 'Through forms easy to survey, clear build-up and last but not least with ideas' provoking' the young musicians to use their own fantasy this series intends to serve as a kind of 'warming up training' to the'Decisive Matches' of professional ensemble playing.' Territorial restrictions may apply. Please ask before ordering.

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.

Parallel Movements : für vier Instrumentengruppen

Each part may be performed by four to eight instruments, which are all capable of sustaining a note with identical intensity. The written notes can only be read is treble clef but can be placed anywhere in the register. The composition of the groups of instruments within the individual parts should always be varied both as far as the setting and the proportion of the high, middle and low instruments within one and same part are concerned. The various groups may also consist exclusively of wind or string instruments. It is extremely important to precisely keep the durations and the dynamics. For the duration of a note all factors must remain identical. Accidentals always governonly the note they preceed (even within one bar).

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

The composer wrote of his work as follows: In the music of Hungary, folk songs are manifestly of great importance, on the other hand our ancient airs and dances play a modest role. For this work I have been influenced by dances of the 17th century, written by unknown amateurs in a relatively simple style. Most of these dances were recorded between the 14th and 18th centuries under the usual form of tablature notation. My interest in this music was first captured in the 1940s. I was so fascinated that I decided to give these melodies new life. I fitted the little eight-bar dances together into ternary and rondo forms, and leaning on early Baroque harmony and counterpoint, Iattempted a reminiscence of that atmosphere of the provincial Hungarian Baroque.

Early Hungarian Dances

The composer wrote of his work as follows: In the music of Hungary, folk songs are manifestly of great importance, on the other hand our ancient airs and dances play a modest role. For this work I have been influenced by dances of the 17th century, written by unknown amateurs in a relatively simple style. Most of these dances were recorded between the 14th and 18th centuries under the usual form of tablature notation. My interest in this music was first captured in the 1940s. I was so fascinated that I decided to give these melodies new life. I fitted the little eight-bar dances together into ternary and rondo forms, and leaning on early Baroque harmony and counterpoint, Iattempted a reminiscence of that atmosphere of the provincial Hungarian Baroque.

Rumänischer Tanz für Orchester

'Bartók wrote 'Two Rumanian Dances' for piano, op.8a in 1909-1910 and arranged the first of the pair for orchestra in time for a concert on 12 February 1911. The highly positive reviews of the premiere describe the dance as brilliantly orchestrated, bizarre in its harmonies, and orgiastic in its conclusion. The A sections of its ABA form insistently repeat a four-bar theme that is itself composed of internal repetitions. Bartók maintains interest in the material by varying the orchestration, and, in the final section, with sudden breaks and changes in tempo. The slow middle section has a more vocal and impassioned emotional quality than the mechanistic dance that surroundsit. Bartók wrote in 1931 that although the work was inspired by Rumanian folk music, the themes were entirely his own.' (HCD 32506 Bartók New Series Vol. 6, David E. Schneider)

Five Little Pieces for four Trumpets

The composer is an outstanding authority on brass instruments. In this work too he makes attractive and colourful use of the many sorts of character the trumpet possesses. The opening Fanfare is followed by a lyrical piece, Boating, and then a Dance, in Bulgarian rhythm. In Folk song chorale István Bogár has worked up two Hungarian folk songs. Finally, the series ends with a cheerful, playful piece, Chasing.

Ungarische Variationen - Hungarian Variations : für Violine und Klavier - for Violin and Piano

The five pieces that make up this publication each convey a different character. They can all be played in first position, and they help to improve both performance skills and bowing technique. As the title suggests, the basis of these variations is fundamentally rooted in the style of Hungarian folk music. Owing to the creativity of the composer, these wonderful little pieces embody all of the essential qualities from the world of Hungarian folk music.

Quatrequatuors (21) : for Chamber Ensemble

In his QuatreQuatuors Péter TORNYAI has further developed the twelvenote theme from Ferenc Liszt's Faust Symphony. The piece received 1st Prize in the Chamber Ensemble Category of the New Hungarian Music Forum 2011 competition for composers. Its title refers to the instrumentation and to its temporal form: four quartets of different make-up (and 'joint' or independent percussionist) perform the four movements, played without a break but clearly distinct in their musical material.

Sinfonie Nr. 8 F-Dur

The autograph manuscript bears evidence that the symphony was completed in October 1812, merely five months after the seventh one. It was first performed in a concert given of Beethoven's works in Vienna, on February 27, 1814. Although the musicians and the critics immediately recognized its exceptional values, the 8th symphony took longer to gain popularity than its predecessors. Schumann reported as late as 1840 that this magnificent work was undeservedly seldom performed in concerts. The score was printed parallel with the orchestral parts by S. A. Steiner of Vienna in 1816. Apart from some obvious printing errors which are not listed here the various editions do notshow any significant deviations. There is only one ambiguous note we have to comment on: the final G of the first clarinet at the end of the middle section (bar 78) of the Menuetto movement. This apperars in contemporary parts either as a two-line or a three-line note.

Die Entführung aus dem Serail - Ausschnitte für

The editor of the new series introduced under the title "Opera Hits" has come up with a new idea: from operas an orchestra - in this case, a junior or non-professional string orchestra - should have a chance to play not only the overture or the orchestral interludes, but also the vocal numbers (arias, duets, etc.). The popular, well-known opera excerpts transcribed by András Soós should serve as attractive additions to the repertoire and be successful programme items for such ensembles.