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Two Sonatas

The edition contains two sonatas originally written for flute and recorder. The trumpet parts of the fine transcriptions are of medium difficulty and provide good opportunity for trumpet players to widen their repertory in the field of early music. An ABRSM syllabus title, 2010-17, Grade 6-7.

Two Musorgsky Transcriptions

For György Kurtág, Mussorgsky's works have always been an important model. Several of his works contain pieces referring to Mussorgsky (Games III, The Small Snag), and in his opera, Fin de partie, he also refers to Mussorgsky'sdeclamation style. He made these two transcriptions for piano duet in 1989, continuing a series of his earlier pre-Classical transcriptions. The transcriptions were premiered by the composer and his wife, Márta.

Echoes No. 2 : for two horns

ECHOES NO. 1 (for solo horn) and ECHOES NO. 2 (for two horns) are contemporary pieces by Miklós Kocsár, worldwide celebrate and prizewinning composer of chamber music and choral works. The volumes ECHOES NO. 3 (for three horns) and ECHOES NO. 4 (forfour horn) are in preparation.

Sonata per Violoncello Solo : In preparation

Ferenc Farkas (1905-2000) was one of Hungary’smost decisively important 20th-century composers.His musical profile combined Hungarian folkmusic, classical traditions, the melodiousness of the Mediterranean, and twelve-tone technique.

Two Dirges : for soprano and chamber ensemble to poems by Sándor Weöres

Unusual in Maros's ?uvre are Two Dirges (1962?63) for solo soprano and chamber ensemble, as vocal composition was not a central interest of his. This song cycle with instrumental accompaniment comes right before the great stylistic change found in the Euphonies, and sheds sensitive light on the composing directions he was considering. The cycle, set to verses by Sándor Weöres, recalls ancient rituals, whose musical portrayal is helped by arrestingly strong use of percussion to show the primitive side of such music. Meanwhile the vocal line brings out the melodic traits of Hungarian folk song. (Anna Dalos)

Two Rumanian Dances

Bartók wrote the first dance around the time of the Romanian movements of the 'Seven Sketches', after his first trip collecting Romanian folk music in July-August 1909. The second dance is the fruit of March the following year, and it was only after some time he decided they should be published as a pair. From the beginning, audiences were impressed by the first dance, in the composer's peculiar performance, with its initial drumming, and its driving rhythms. If less popular, compositionally the second dance is more original. He parades and varies his material in a chain form, and this too is reminiscent of the dances heard in the playing of Romanian Transylvanian villagemusicians, which in his scholarly work Bartók called 'motive dances.' (HCD 32525 Bartók New Series Vol. 25, László Somfai)

Two Movements op. 18

Etudes for two cellos

Two Landscapes Op. 20

Drei Burlesken op. 8-c für Klavier

'Two pieces of scherzo character in triple time flank a slower movement in duple time. The first burlesque entitled 'Quarrel' is Márta's piece, Nov. 1908, is a dispute between two opposing characters, with grimaces and taunts. The second burlesque, with the subtitle 'Slightly Tipsy' or 'A bit drunk' is one of Bartók's ingenious programme music miniatures, with characteristic performance indications. The figure appearing in a stumbling rhythm begins to sing indifferently, then continues ruvido (coarsely). By the end of the middle section, to be played in dry tone, our hero collapses completely, and takes leave as a pitiful figure, like the wooden puppet after the dance in The WoodenPrince ballet. ...Finally, the titleless third burlesque, Molto vivo, capriccioso, also stimulates the imagination: one can detect in it the grotesque rush of the last bagatelle, 'My Dancing Sweetheart,' just like the Wooden Prince dance. (HCD 32525 Bartók New Series Vol. 25, László Somfai)

Ligatura-Message to Frances-Marie op. 31b : (The answered-unanswered question)

The original version of the piece, Message to Frances Marie, op. 31a was composed for cello solo with two bows for the American cellist Frances Marie Uitti. The subtitle refers to the title of a composition by Charles Ives. The condensed piece of Webernian density which is built upon a homogeneous sequence of chords can be played by three different groups of instruments: A: one cello with two bows, two violins and celesta B: two cellos, two violins and celesta C: two organs and celesta (or upright piano). Written in 1989 the premiere of the work was given at the ISCM Festival in Oslo by F.-M. Uitti, Kjell Arne Jörgensen and Eileen Siegtel in September 25,1990.

Etüden für Oboe

Joseph Sellner (1787-1843) was a famous oboe player of his time… In 1825 Sellner published an oboe tutor in three volumes entitled Theoretisch-Praktische Oboen-Schule. Irrespective of the fact that the instrument has undergone considerable changes and improvements since his time, the majority of Sellner's work has still retained its usefulness to this day. His studies provide valuable help for achieving smooth technique and tone-colour, especially at the level of beginners. The obsolete two-part exercises and interval studies written for the instrument of his time have been omitted in this volume. The studies have been arranged here, as opposed to the original sequence,according to the increasing order of key signatures.' Péter Pongrácz

Klangfarben-Spiele für zwei Flöten

Miklós Kocsár wrote this work in 1993, it was commissioned by the artists Bea Berényi and her husband Ákos Dratsay. It was given its premi?re at the end of that year at a concert of works by the composer. As the title indicates, the composer?s intention was to display the tone and colour potential of the two flutes. The overall form of the work is provided by the sequence of eight sharply contrasting movements of differing length. It is characterized by thematic correspondences, variations, formal arcs that gradually reach completion, different styles of playing, alternating slow and fast musical materials, free and fixed rhythms, as well as cantabile and virtuosic sections.

Concertone in C für zwei Violinen und Orchester : für zwei Violinen und Orchester

Dated 1774, the concerto belongs to Mozart's early compositions. This tripartite fast-slow-fast work of a basically joyous tone provides both violinists choice matter to play. The piano reduction was made from the score by Gergely Kaposi. The parts of the solo violins were revised by Ferenc Halász.

Tibicinium : Für Gesang und Flöte nach Gedichten von A. Keleti

Two songs with flute accompaniment to poems by Artur Keleti.

A Continuity of rotative chords : for flute and piano or two flutes and two pianos

Tänze aus Siebenbürgen

'Dances of Transylvania is the orchestral version of 'Sonatina' (1915). In Sonatina, Bartók had arranged Romanian instrumental (chiefly bagpipe) music. The three movements of the work, 'Bagpipers', 'Bear Dance' and 'Finale' comprise five melodies. Bartók explained that each of the two melodies of the first movement had been played by two pipers, the second by a peasant violinist using the lower strings of the instrument to reproduce the sounds of a bear, and the two melodies of the 'Finale' again by two violinists. In the orchestral version Bartók was out to reproduce the original sonority created by the peasants.' (HCD 32505 Bartók New Series Vol. 5, Virág Büky)

Weihnachtslieder für Kinder- oder Frauenchor (SA) : mit Klavierbegleitung

Easily singable two-part arrangements of the most popular Hungarian and foreign Christmas songs (folksongs, Catholic and Protestant hymns, secular songs) for school choirs and amateur choruses. They can be performed with or without piano accompaniment, and the choir can also be replaced by two melodic instruments.

Meister der Klaviersonatine

We have published a new two-volume piano sonatina album (14967, 14968) therefore this item is no more available.

Chansons d'Hastieres pour Soprano, cymbalum et cor

Ádám Kondor was born in Budapest in 1964. He completed his studies at the Ferenc Liszt Academy of Music, and in 1994 gained his diploma in composition. His most influential teachers were Albert Simon and György Kurtág. In composing this song-cycle he was inspired by the intimate, tragic tone of the aphoristic verses found among the unpublished writings of a certain French poet Dominique Hastieres, whose life was full of vicissitudes.

Rakoczi-Marsch

In the course of his long life Liszt wrote countless arrangements of the Rákóczi March, one of the most popular Hungarian melodies of his time. Among the piano versions for two hands the Fifteenth Hungarian Rhapsody is the most widely known which was published in 1853 by Schlesinger in Berlin (Raabe 106/15a, Grove 244/15a) and which could already draw on several, partly unpublished and partly published arrangements. In 1865 a new symphonic orchestral version, longer and more complex than the previous ones, was first performed (R. 439, G. 117). Liszt himself considered this more significant than all his previous Rákóczi arrangements, which is also indicated by the fact that in1871 he had another two-hand piano version, virtually as an extract of this, published by Schuberth in Leipzig (R. 106/15b, 244/15b), a facilitated two-hand piano arrangement, a four-hand version (R. 310, G 608) as well as an arrangement for two pianos.

Hungarian Rondo : First edition

Hungarian Rondo was composed by Zoltán Kodály in December 1917, drawing on material from the incidental music he had written for Zsigmond Móricz's play Pacsirtaszó (Skylarking). The rondo form is shaped out of four new-style Hungarian folk songs and an instrumental dance melody. Kodály prepared the piece in two somewhat different versions, one for two clarinets, two bassoons and string orchestra, and the other for cello and piano. The orchestral version received its first performance in Vienna on 12 January 1918 at a "historical concert" organized by the War Ministry of the Austro-Hungarian Monarchy. The cello version was premi?red by Miklós Zsámboky and Ottó Herz at theBudapest Academy of Music on 4 November 1927.