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Letters from X, Fax from X, For 51 to LI

Letters from X was composed in 1981, Fax from X in 2003, and For 51 to LI in 2009. Not only the instruments but also the performers - all three works are dedicated to Zoltán Gyöngyössy and István Lukácsházi, and they were the first to perform them - connect the three duos, which were composed with rather long intervals between them. A duo for flute and double bass is rather unusual, yet that is precisely why it can suit the chamber repertoire of both instruments. The three pieces can also be played independently.

Spielmann'80

Exsultate Deo (80. Psalm)

Kantate Nr. 80 (Ein feste Burg) : (Ein feste Burg)

Sonata per due flauti e basso continuo RV 80 (F. : per due flauti e basso continuo RV 80 (F. XV. No. 7, P.V. -)

Vivaldi's composition published in this edition is, according to our present state of knowledge, the only work of the composer for 2 flutes and basso continuo. Its copy in an alien hand is held at the Library of the University of Lund, Sweden, in the collection of the German composer Joseph Martin Kraus (1756-1792). According to Ryom's catalogue the piece survives in the hand of one Vivaldi's contemporaries.

Sämtliche Orgelwerke X Concerti : Concerti

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.

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

Brefs Messages (2011) Op. 47

Brefs Messages op. 47, for nine instruments was premiered by Ensemble Contrechamps on November 1st 2011 in Geneva. The work was commissioned by Contrechamps and dedicated to this ensemble and the conductor of the premiere Olivier Cuendet. Its first movement (Fanfare) was written specifically for Cuendet: the second one (Versetto: Temptavit Deus Abraham - apokrif organum) is dedicated to the Hungarian musicologist László Dobszay. As often in Kurtág's practice, the third and fourth movements are rescored version of earlier instrumental pieces: the former one (Ligatura Y) was originally a part of Games for piano, the latter one (Bornemisza: Az hit ...) derives from the Sayingsof Péter Bornemisza op. 7.Parts are available on hire (K-120).

Zoldtán Kodaály, in retrospect

The work was composed to the poems by the Hungarian contemporary poet Dezs Tandori. It was premiered on June 1. 1984 in London, performed by BBC Singers, conducted by John Poole. The eight movements are arranged in three inner cycles. Because of thecomplex divisi situations and the double choir stting the work requires sixteen singers for each voice range; hence the number of singers required is 4 x 16 = 64.

Concerto in fa maggiore per 2 corni e pianoforte : per 2 corni, archi e cembalo RV 538 (F. X. No. 1, P.V. 320)

Flötenkonzert D-Dur

Joseph Schubert, born in Warnsdorf (Bohemia) in 1757, is related neither to his famous namesake, Franz Schubert, nor to the well-known musical family of Dresden (Davis, Franz Anton, Franz and Georgine Schubert). He received his first musical instruction from his father, a curator by profession. Then, after moving to Prague and Berlin, he developed his knowledge of violin and viola playing, as well as of composition. In 1779 he entered the service of the Markgraf of Schwerin as a viola player. He lived in Dresden from 1788, where he died on 28 July 1837, at the age of 80. In Gerber's volume Historisch-biographisches Laxicon der Tonkünstler (Leipzig 1790/92) his work in highlyesteemed. Among his most important works are four operas, masses, piano works, chamber music and concertos. Gerber knew of over forty-nine concertos. Among his published works the designation opus 1 was given to two works: a set of three violin dous and the present concerto for flute and orchestra.

Mikrokosmos for piano Volume 3-4, BB 105 : Urtext (1932-1939)

Bartók's Mikrokosmos has been one of the milestones in pedagogical piano repertoire for 80 years - and yet it is also far more than a "classical" piano primer. These 153 piano pieces, organized in ascending order of difficulty,engage not only with technical aspects of piano playing but also with the fundamentals of composition - from "Imitation and Inversion," "Ostinato," and "Free Variations," concerning compositional technique, to mood pieces andpieces with programmatic ideas such as "Notturno," "Boating," "From the Diary of a Fly," or the famous "Six Dances in Bulgarian Rhythm." Mikrokosmos first appeared in 1940 in six volumes. Based on volume 40 of the Bartók CompleteEdition published in 2020, the present Urtext edition offers the series gathered in three volumes. This edition includes Bartók's preface, exercises, and notes written for the first edition. Furthermore, it also features a prefaceand comments by the editor, which not only discuss the genesis and the compositional sources but also provide performers, teachers and pupils alike, with authentic and detailed information about Bartók's notation and the specificperforming problems of Mikrokosmos.

Mikrokosmos for piano Volume 1-2, BB 105 : Urtext (1932-1939)

Bartók's Mikrokosmos has been one of the milestones in pedagogical piano repertoire for 80 years - and yet it is also far more than a "classical" piano primer. These 153 piano pieces, organized in ascending order of difficulty,engage not only with technical aspects of piano playing but also with the fundamentals of composition - from "Imitation and Inversion," "Ostinato," and "Free Variations," concerning compositional technique, to mood pieces andpieces with programmatic ideas such as "Notturno," "Boating," "From the Diary of a Fly," or the famous "Six Dances in Bulgarian Rhythm." Mikrokosmos first appeared in 1940 in six volumes. Based on volume 40 of the Bartók CompleteEdition published in 2020, the present Urtext edition offers the series gathered in three volumes. This edition includes Bartók's preface, exercises, and notes written for the first edition. Furthermore, it also features a prefaceand comments by the editor, which not only discuss the genesis and the compositional sources but also provide performers, teachers and pupils alike, with authentic and detailed information about Bartók's notation and the specificperforming problems of Mikrokosmos.

Mikrokosmos for piano Volume 5-6, BB 105 : Urtext (1932-1939)

Bartók's Mikrokosmos has been one of the milestones in pedagogical piano repertoire for 80 years - and yet it is also far more than a "classical" piano primer. These 153 piano pieces, organized in ascending order of difficulty,engage not only with technical aspects of piano playing but also with the fundamentals of composition - from "Imitation and Inversion," "Ostinato," and "Free Variations," concerning compositional technique, to mood pieces andpieces with programmatic ideas such as "Notturno," "Boating," "From the Diary of a Fly," or the famous "Six Dances in Bulgarian Rhythm." Mikrokosmos first appeared in 1940 in six volumes. Based on volume 40 of the Bartók CompleteEdition published in 2020, the present Urtext edition offers the series gathered in three volumes. This edition includes Bartók's preface, exercises, and notes written for the first edition. Furthermore, it also features a prefaceand comments by the editor, which not only discuss the genesis and the compositional sources but also provide performers, teachers and pupils alike, with authentic and detailed information about Bartók's notation and the specificperforming problems of Mikrokosmos.

Marche Funebre

'The Marche funebre is a piano transcription of the concluding part of the symphonic poem Kossuth composed in summer 1903. The snappy rhythmic motif of the dramatic introduction bore the inscription 'Danger threatens the fatherland' in the score. After it, we hear the tragic funeral-verbunk form of the Kossuth theme, over a heroic ostinato accompaniment reminiscent of late Liszt. Contrasting with this, there follows an exciting sequential treatment of the 'valiant heroes' theme, and this peters out to the Hungarian-style runs that had previously appeared in the 'Danger threatens the fatherland' motivic group. Finally, during the resigned conclusion of the piece (X.'A hopeless silence reigns'), the Kossuth theme disintegrates into its various motifs, as if 'dying'.' (HCD 32524 Bartók New Series Vol. 24, István G. Németh) Territorial restrictions may apply. Please ask before ordering.