Chamber Music for/ Kammermusik für Violoncelli 4 : for 3 violoncellos

The series - after three volumes of quartets - continues with trios this time. In the trio by Haydn the three cellos take turns playing the leading part. A special feature of the Purcell Chaconne is the fact that the two parts above the 6-bar ostinato bass move in canon throughout the piece. All three Mozart works - the Canon inversus (mirror canon), the Canzonetta and the Adagio - are miniature masterpieces. The Elgar work: Salut d'amour, with which the volume ends, demands a slightly higher level of skill, but is a rewarding task for everyone who performs it.

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.

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

4 Sonatas : per flauto dolce e basso continuo

An ABRSM syllabus title, 2014-21, Grade 6-8. 1. Sonata in do minore (orig. sol minore) RV 27 2. Sonata in do maggiore (orig. sol maggiore) RV 23 3. Sonata in re minore (orig. si minore) RV 36 4. Sonata in fa minore (orig. do minore) RV 8

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

lines, words, letters... to poems by Parti Nagy fo

This composition written in 2002 has five movements (I: a sort of canon, II: interlude 1, III: (hexameter), IV: interlude 2, V: false copy ). Three of the songs composed to verses by Lajos Parti Nagy examine the structure of the texts. The musical structure in the first song is based on a canon that develops from rotating the lines, in the third song it is based on the rhythms created by splitting words and syllables, in the fifth song it is based on the series of sound effects resulting from completely mixing up the individual letters and sounds. The rigorously structured movements consist of short dramatic episodes, each presenting an unusual life situation (interlude 1,interlude 2). The work, commissioned by Judit Rajk, had its premiere in 2006 in Budapest (Palace of Arts, Festival Theatre).

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)

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.

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).

Trio in do maggiore per liuto (chitarra), violin : per liuto (chitarra), violino e violoncello, RV 82 (F. XVI. No. 3, P.V. S. 7-3)

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!

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.