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Lebenslauf Op 32 : in Preparation

The work was composed in 1992 for the 85th birthday of Kurtág's teacher, Sándor Veress. The ensemble of instruments is unusual: two basset horns and two quarter-tone pianos (the well-known predecessor of the latter is Charles Ives' Three Quarter-Tone Pieces for two pianos). The special tuning in this case is not that the tonality moves in an ultra-chromatic direction, rather that it makes the contours more nebulous, somewhat incomprehensible and dreamlike, and especially that the two wind instruments align themselves with the normal pitch of the piano.

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.

Transcriptions from Machaut to J. S. Bach : for Piano (duet and six hands) and for two pianos

1-19. for piano four hands20. for piano six hands21-27. for two pianos

Two Imaginary Dialogues (2011)

The work (completed in December 2011) is commissioned by Vladimir Tarnopolski and his Ensemble Studio for New Music Moscow.Composing this piece it made me meditate on my relationship to Russian culture. I realised that not only Russian music is very important for me but also Russian literature, fine arts and film. I decided to write a piece which is based on imaginary dialogs with two extraordinary directors: Eisenstein and Tarkovsky. I tried to express my reactions to their visions of the world in music and find my possible connections with them. (László Tihanyi)

Two Children's Songs

József Karai (1927-2013) studied composition under Ferenc Farkas and János Viski, and studied conducting under János Ferencsik, András Kórodi, and László Somogyi. His oeuvre includes instrumental works, songs and cantatas, but he became best known for his choral works. This is certainly conditioned by his professional career between 1948 and 1969 he conducted several choirs in Budapest. His works have been published in several countries. His composition entitled Two Children's Songs was written in 1956-1957 with text from the poems by Sándor Weöres (Spring Greeting, Summer Evening), and it was first published in April 1961 by the Hungarian State Music Publisher. This three-partwork is recommended for more advanced ensembles.

Trios for Two Violins and Cello : Musica da Camera

This volume in the 'Musica da Camera' series offers a selection of music for two violins and cello from the two hundred years extending from François Couperin to Edward Elgar. The technical demands of the works range from easy to moderately difficult, but the easier pieces are also musically valuable, so that even the more experienced ensembles can enjoy playing them. Not only the first violin but the second violin and also the cello is frequently given a solo role. We recommend this volume to youngsters learning music and to music-lovers actively involved in chamber music.

20 Bagatelles for two clarinets

The bagatelles were written with two aims in mind: to be performed in concert halls, and to be used for teaching purposes. In the latter case, among the twenty independent items of differing degrees of difficulty not only music school students but those engaged in intermediate and advanced level studies will find pieces to suit them.For performance purposes pieces may be selected at will, or gathered together in groups of varying size. The chosen works can be presented to the audience as Five bagatelles, Seven bagatelles, and so on.

Windsequenzen

In 1970 Péter Eötvös spent half a year in Japan where he performed as a member of Karlheinz Stockhausen's ensemble in the German pavilion at the World Expo in Osaka. The encounter with Japanese culture, specifically with Zen Buddhism, had a great effect on him. The fundamental idea of The Sequences of the Wind is one of Zen's complementary contrasts: stillness in movement - movement in stillness. It was inspired by the Japanese landscape and Japanese gardens (the rain, the wind, the sound of stones and the rustle of bamboo cane). This is the third version of the work and was published to mark the 60th birthday of Péter Eötvös. (The composer withdrew the first two versionswritten in 1975 and 1989.) Several elements of modern flute playing appear in the work, which has eight movements at present. The soloist alternately plays four different instruments (a flute of normal tone, a flute that is tuned a quarter tone lower, an alto flute tuned a quarter tone lower and a piccolo).

Dreizehn leichte Stücke für Kinderstreichorchester : Score with Downloadable Parts

Beethoven's piano pieces, that is two bagatelles and various variation series composed to themes by other composers form the basis of this volume. The style, tone and world of harmony of these short pieces and excerpts come surprisingly close to those of Beethoven's "great" works. In this way, children can get acquainted with and share the same musical experiences at a very young age that they will later enjoy as adults when listening to symphonic concerts.

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.

33 Duets for two violoncellos : From the 44 violin duets

Béla Bartók composed his 44 Violin Duos in 1931, at the urging of the German violin pedagogue Erich Doflein. With two exceptions, all the pieces are based on original folk music themes, most of which the composer himself collected in the course of his numerous collecting trips to the Carpathian Basin and in Algeria. Although conceived as parts of a pedagogically motivated set, these little pieces are highly effective in concert performance as well. The transcription follows Bartók's original faithfully. The publication includes fingerings added by the editor.

Starting the Piano : Introduction to tone and movement in modern music

Modern piano playing can be no more reduced to such technical and musical formulas as in the days of Liszt, Czerny or Dohnányi. The piano works of our contemporary composers do not demand the techniques of the classical scale, broken chords and series of parallel intervals: they are more inclined to demand from the performer a secure feeling for position, rich rhythmic imagination, a receptivity towards colour and dynamics which will become apparent in refined nuances of touch, the capacity for lightning adaptation in quickly changing ways of playing - in other words, a richness of colour in playing the instrument which was unimaginable in earlier times. For the carrying outof these demands increased training is required in the kinds of movement used in playing but well developed hearing is also important for the performer to be able to control the sounding variety.

Two madrigals

Two Preludes

Two Sisters

Two pastells

Two Folksongs

Two Preludes

Two canzomettas

Two Madrigals

Two madrigals

Two Madrigals

Two Concert Studies, Ab irato, Morceau de salon : Waldesrauschen, Gnomenreigen

The Two Concert Studies, which Liszt composed in 1863 for Grand Theoretical and Practical Piano School by Sigmund Lebert and Ludwig Stark, became rather popular already in his lifetime.Today they are among the most often played works by Liszt. Morceau de salon is also a publication for piano education and was written for the Méthode des méthodes de piano of François-Joseph Fétis and Ignaz Moscheles and published in 1840. The virtuoso concert study was revised by Liszt under the title Ab irato a decade later. This edition contains the score of and critical notes to the above works as published in the New Liszt Edition, as well as prefaces in English and German, which provideinformation about all the important issues concerning the genesis and performance rendering.