Suite In Do Minore BWV 997

Concerto In Do Maggiore Per Fagotto E Pianoforte R

Concerto in do maggiore per oboe e pianoforte, R

Concerto In Do Maggiore Per Oboe, Archi E Czalo

Concerto In Do Maggiore RV 399 : Per Violoncello, Archi e Cembalo

Cadenze : Per Il Concerto per Violoncello in Do Maggiore e Re Maggiore di Joseph Haydn

Sinfonia in do maggiore : a due violini, violetta e basso, RV 699-710 (P. Sinf. 18)

Concerto in do maggiore : per mandolino (o chitarra), archi e cembalo RV 425 (F. V. No. 1, P.V. 134)

Concerto in do maggiore per fagotto, archi e cZa : per fagotto, archi e cembalo, RV 473 (F. VIII. No. 9, P.V. 90)

Concerto in do maggiore per 2 trombe e pianofort : per due trombe, archi e cembalo RV 537 (F. IX. No. 1, P.V. 75)

The Concerto in C major by Antonio Vivaldi (1678-1741) is the 97th piece in the Collected Works of Vivaldi edited by Malipiero, published by Ricordi (1950). The setting of the original score was: Tromba I, Tromba II, Violini I-II, Viole, Violoncelli, Contrabassi, Cembalo. The arrangement for trumpets and piano is kept in accurate conformity with the musical text of the score. The continuo part, however, has been more freely adapted (of course within the possibilities of baroque style).

Lustige Trompeter - Merry Trumpeters : Fünf Trios für Trompeten - Five Trios for Trumpets

The trumpet trios, written principally for pedagogical purposes, to widen the chamber music repertoire, are at the same time excellent, effective concert pieces. They do not form a connected cycle, as desired, two, three or even just one of the trios can be performed.

3 Concerti Facili per Violoncelle e Piano

The source of this publication was issued in London in 1745 by John Walsh Jr. Walsh’s publication contains six four-movement works, originally written for violin, solo cello, a keyboard instrument and a second cello to reinforce the bass of the latter, but the role of the violin is insignificant, so these works can be regarded as pieces for cello. Of the six works, the arranger of the volume was publishing the three most suitable ones to that as cello concertos: the piano part incorporates both the violin interludes and the continuo. In the cello part higher positions do occur, but they do not necessarily require use of the thumb: they are playable after 4-5 years’ intensivestudy of the instrument.

Kaleidoscope - Romantische Klavierstücke

The special pedagogical value of the character pieces to be found in this volume is due to the fact that they do not make technical demands beyond music school level. Thus students are introduced to the world of the Romantic style without having to struggle with the extreme difficulties of the piano works of, say, Chopin or Liszt.

Variations of a Double

Variations on a Double is a real musical leviathan: almost an hour long, it is a sound-monstrosity that makes exceptional demands of the performers, and is the product of an unusual degree of fusion of the clarinet with the piano. Composed in 2005 for Csaba Klenyán and Gábor Csalog, the work interprets the meaning of the musical “double” in an unconventional way: in it there is not a union of two independent instrumental characters, each with its individual identity - as in a grandiose sonata: instead, its artistic form tends in exactly the opposite direction. A single, monodically conceived unit of musical material passes over and over again through the doubling: they do not formtwo parts, yet do not unite in unison, but present the split face of a single endless - fragmented and episodic - monologue, like Siamese twins. Beware, this is only for the musically mature!

6 Sonate a tre per due violini o flauti traversi e

The present volume in the EMB Urtext series is the first complete practical edition of the set of trio sonatas for two violins or two flutes by the prominent Italian violin player of the late Baroque. The six trio sonatas do not belong to the usual Corellian type but introduce bold novelties with regard to form, harmony and melody alike. The sixth sonata proves to be particularly interesting since each of the solo instruments conducted in canon have their own continuo part.

Piano Pieces - Klavierstuecke

This volume contains the first experimental flights of Miklós Kocsár (*1933). It may seem surprising that the pieces do not reveal the stylistic features that typified Hungarian composition in the mid-nineteen-fifties. These finely-proportioned miniatures reflect the composer’s diverse, many-faceted interests: definite tonal relations and free use of the twelve-tone scale, or even dodecaphony are all equally characteristic of them, yet their musical language is fundamentally Hungarian. The character pieces of varying length offer material for piano students to play from the upper music school level to intermediate level.

Chamber Music for/ Kammermusik für Violoncelli 10 : for 4 violoncellos

Volume 10 in the series contains works by Haydn, Mozart, Beethoven, Dvo ák and Schubert, arranged for cello quartet. Beethoven's Largo appassionato and the Slavonic dance by Dvo ák demand a higher level of instrumental skill. The Minuetto alla Zingarese by Haydn, the two Mozart chorales (Zwei deutsche Kir-chenlieder) and the four-cello version of Schubert's Death and the Maiden are easier to play. The first part and occasionally the second require facility in the higher positions, the lower parts are just as important and do not merely accompany the melody.

4 Sonate (Sonatine) Per Violino E Basso Continuo

Tomasso Antonio Vitali was born in 1663 in Bologna and died in 1745 in Modena. His father, Giovanni Battista Vitali was one of the most famous musicians of his time. The young Vitali must have received most of his musical education from him. The present edition of Vitali's four sonatas is a selection from the composer's twelve sonatas surviving in manuscript. The four selected sonatas do not put too high technical demands on the violin so that even students with only some years violin training can safely perform them. Territorial restrictions may apply. Please ask before ordering.

Männerchöre : a cappella

'In publishing this collection of choral works we think with gratitude of our fellow countryman, Ferenc Liszt, one of those who have energized Hungarian musical life. We are conscious of a great debt, which we would like to repay at least in part. We are obliged to do so by Hungarian, European and universal musical culture, but perhaps even more by respect for Hungarian traditions and our duty to preserve them. Hence this publication, the seven works in which are appearing now in print for the first time in Hungary, and for the same reason this collection contains a complete list of Liszt's choral works.' (Miklós Forrai, Budapest, spring 1959)

Capricci armonici per violino e basso continuo op

Giovanni Bounaventura Viviani's (1638-c.1692) series op. 4 was published at Venice in 1678. The style and special form of the impressive, emotional violin works by the undeservedly neglected composer represent a transition between the early Baroque Italian composers and Corelli. The influence of the Austrian violinists (Biber, Schmelzer) can also be felt in some places, which is small wonder since Viviani worked as violinist, then as music director at the Court of Innsbruck for twenty years. His pieces do not put too high technical demands on the performers so they are suitable for teaching purposes as well. The present selection includes six works of church sonata type and twosuites.

Musik für Klavierquartett für Anfänger (Erste Lage

The volume comprises works by classical and romantic masters for beginners. The chamber ensemble includes violin, viola, violoncello and piano, but if the viola is missing, its part can be played by a second violin from the version enclosed in the appendix. The string parts do not go beyond the first position. As opposed to the basso continuo part that children are less fond of, the piano assumes a soloistic role alternating with the strings. A certain part of the pieces can already be played after two years of serious studies. The colourful music containing dance movements and larger forms alike offers possibilities of common music making for string players andpianists.

Notenbüchlein für Anna Magdalena Bach

Two manuscript collections survive from the estate of Johann Sebastian Bach's second wife, Anna Magdalena. One of these dates from 1722, and one from 1725. The music they contain is very varied: alongside Johann Sebastian's own pieces there are dance and song movements that can be ascribed to his contemporaries, and also works of doubtful authorship.This publication includes the instrumental pieces from the two collections that do not feature in sets of pieces such as the French Suites. The editors have not added performance indications to the musical text, and fingering is suggested only in the more difficult passages.This publication features in the Hungarian curriculum forpreliminary level education in the arts. The pieces can be used as teaching material in the third and fourth years of learning the piano.

Fragments für Sopran solo op. 20 : nach Gedichten von A. József

For a Hungarian composer, writing music set to the poems of Attila József is no small feat. In this series, György Kurtág (* 1926) took on this immense challenge in a unique way even within his own oeuvre: the loneliness of the unaccompanied, single voice line simultaneously evokes the musical world of Hungarian folk songs or even 17th-century monody. The poems - rather the fragments, the seeds of poetry abandoned by the poet - capture strong, realistic images and human situations that are characteristic of Attila József. As he is wont to do with his compositions, Kurtág transforms these poetic images into equally unforgettable musical images, drawing an atmosphere ofcontemplation, despair, boredom, happiness, and fear of death with just a few sounds. This composition was premiered on October 26, 1982 in Budapest by Adrienne Csengery, the recipient of the work s dedication. (Hungaroton HCD 31821)

Serenade für Streicher op. 48

The four-movement work written in 1880 and first performed in Moscow in 1882 is dedicated to Konstantin Albert, Tchaikovsky's fellow professor at the Conservatory of Moscow. By virtue of the varied nature and manifold elaboration of the music material as well as its numerous original solutions the Serenade for strings belongs to Tchaikovsky's most remarkable and - in spite of its title - profoundest compositions. The hidden relatedness of themes in the first and last movements, recoilings and melancholic darkenings interrupting the dance rhythm of the Valse (that have no more to do with light music than Chopin's or Brahms' waltzes) and the grave, slowly resolving then returningdissonances of the Elegy are all of this kind, and have contributed to making the Serenade in C major the most lasting work for string orchestra of the 19th century.

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.