8+1 for eight winds and double bass

The name of Frigyes Hidas, who died in 2007 at the age of 79, became known worldwide chiefly through his works for wind ensemble. His piece entitled 8+1 was composed in 2006 for the Bolero Wind Ensemble, for two oboes, two clarinets, two horns, two bassoons and double bass. The work was first performed in Budapest on Hungarian Radio in January 2007. (Hungaroton HCD 32586)

Chamber Music for/ Kammermusik für Violoncelli 8 : for 4 violoncellos

Chamber Music for Violoncellos Volume 8 contains four-part pieces, begins with the theme of the slow movement of Haydn's Kaiser' quartet (the melody of the Austrian imperial anthem) and two of the variations on that theme. Slav music is represented by Tchaikovsky's Orthodox chorale, the Russian Folksong by Ljadov, originally performed on four cellos, and Dvo ák's Walzer. The last-mentioned piece is technically demanding. The final work is a Serenade by the 19th-century cellist and composer Georg Goltermann.

Rapsodies hongroises and Other Works : Suppl. 8

Supplement 8 of the New Liszt Edition contains first versions of Hungarian Rhapsodies Nos 12-21 and two shorter Liszt pieces with a Hungarian connection. All works in the volume appear here for the first time in a scholarly edition. This version of the Hungarian Rhapsodies ensued in 1846-50 from Magyar dallok (Hungarian Songs) Nos 1-11, published in Supplement 7. Piece No. 13 is based on the Rákóczi March, which Liszt set on several occasions. It had been a vital encore piece since his first concert in Hungary in 1839. Inclusion in this volume of the first version of the piece known as the Mosonyi Funeral March (a forerunner of the much later No. 7 in the Hungarian HistoricalPortraits) is especially notable as its autograph manuscript only emerged recently.

Correspondances 8 Klavierstücke : 8 Klavierstücke

(Hungaroton HCD 31978)

Rapsodies hongroises and other Melodies : Volume 8 - Paperback

Supplement 8 of the New Liszt Edition contains first versions of Hungarian Rhapsodies Nos 12-21 and two shorter Liszt pieces with a Hungarian connection. All works in the volume appear here for the first time in a scholarly edition. This version ofthe Hungarian Rhapsodies ensued in 1846-50 from Magyar dallok (Hungarian Songs) Nos 1-11, published in Supplement 7. Piece No. 13 is based on the Rákóczi March, which Liszt set on several occasions. It had been a vital encore piece since his firstconcert in Hungary in 1839. Inclusion in this volume of the first version of the piece known as the Mosonyi Funeral March (a forerunner of the much later No. 7 in the Hungarian Historical Portraits) is especially notable as its autograph manuscriptonly emerged recently. A detailed preface in Hungarian, English, and German, including new research results, numerous manuscript facsimiles, and critical notes, makes this volume of the New Liszt Edition an important publication of immense scholarly value. Along with thecloth-bound Complete Edition, a paperback version for practical use has also been published. This editions contents are identical to those of the hardcover edition with the exception that the critical notes are not included.

DC 8

Ballade op. 8

8 Hornduos Spielpart

Freie Bearbeitungen 8

Balkanische Tänze für Blechbläser-Sextett

Here the composer has arranged Southern Slav, Albanian and Bulgarian music material. The triple time, asymmetric 5/8, 7/8, 9/8 (2+2+2+3) bars require thorough grounding in rhythm. The first movement is a rondo, the second a trio while the third one, displaying strong burlesque features, is again a rondo. Moderately difficult.

8 Kleine Etueden 3 Vc

Freie Bearbeitungen VIII (II-8)

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.

Etüden No. 8 Wilde Jagd

Liszt Separate Editions are published with scholarly authenticity and are based on the New Liszt Edition. Their musical scores and presentation correspond to the complete edition, yet their extent is far smaller and they cost much less than the larger volumes of the full set. Liszt Separate Editions provide the same quality as the complete edition, while also fully meeting practical requirements.

Zwei Elegien op. 8-b

'The Two Elegies are typified by Romantically exuberant, orchestral and full piano writing. Elegy No.1 was written in February 1908. The ternary reprise form is concealed by the voices in Bartók's varied piano writing that proliferate like luxuriant foliage. In the 'Grave' theme of the first section an important role is given to jumps of open fourths (presumably based on his recent folk music experiences), and these are also to be found in the fugato reprise of the theme. Elegy No.2 was written almost two years later, in December 1909. The entire composition is defined by the five falling notes that Bartók fashioned by inverting the Stefi Geyer motif also found in ElegyNo.1. Paired with this motivic unity is a harmonic world reflecting Debussy's influence, and piano writing reminiscent of the Romantic repertoire.' (HCD 32524 Bartók New Series Vol. 24, István G. Németh)

Musica Sacra - 8 volumes package

The eight volumes of the complete edition at a package price.

Le quattro stagioni op. 8 : Concertos

Parasceve - 8 Motetten für gem. Chor

8 Ragtimes für Akkordeon : für Akkordeon

The ragtime music of Scott Joplin (1868-1917) is a peculiar alloy of the syncopated rhythm of black folklore and the melodic, formal and chordal characteristic of European music. The compact sound of the accordion is well suited for the authentic, style-conform performance of the pieces originally composed for the piano. The volume with a registration guide at the end is designed to extend and enrich the repertoire of accordion players.

Divertimento per 8 fiati : für Bläseroktett

The composer, member of the middle generation of Hungarian musicians gained world-wide recognition and popularity through his works for brass ensembles. He wrote this piece in 1985. (Hungaroton HCD 32586)

Duos I Op. 8 Für Zwei Violinen

Fagottstudien für Anfänger I op. 8-1

J. Weissenborn bassoon studies in two volumes contain the basic, indispensable pieces for the instruction of this instrument. As an auxiliary material it may be used right from the beginning and up to the point of advenced studies. The two volumes include the most varied studies worth of our attention musically as well. They cover the entire range of the problems of the instrumental technique starting from scale and chord breaking in an extremely well surveyable and systematic arrangement. What makes this edition particularly valuable is the presence of a fingering chart and table of trills which are supplemented by precise, detailed and useful advice.

Fagottstudien für Anfänger II op. 8-2

J. Weissenborn bassoon studies in two volumes contain the basic, indispensable pieces for the instruction of this instrument. As an auxiliary material it may be used right from the beginning and up to the point of advenced studies. The two volumes include the most varied studies worth of our attention musically as well. They cover the entire range of the problems of the instrumental technique starting from scale and chord breaking in an extremely well surveyable and systematic arrangement. What makes this edition particularly valuable is the presence of a fingering chart and table of trills which are supplemented by precise, detailed and useful advice.

Sonate Nr. 8 B-Dur, KV 189f

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)