Libera Me

Roman Catholic Requiem Mass

Tristis Est Anima Me

Libera Me Oratorium Piano Score

Vitas hinnuleo me similis, Chloe

Ne Procias Me Oratorium Score

Libera me per coro femminile

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)

Something has spoken to me in the night : Chorstimmen

Prose für Klavier

“There’s a woman. She loves me.” The formal devices in Péter Esterházy’s book ‘Egy n’ (‘A Woman’) inspired this piano piece. How many ways can a sentence be continued? How many solutions can there be to an equation. There’s a sentence. How does it continue?

Rhapsodie ungherese

László Dubrovay wrote the following about Liszt and the piece now being published: “Liszt was for me the most important composer in my youth, and as a pianist I played a great number of his works. I admired him as an innovator, who enriched the technique of playing the instrument in a manner unparalleled in piano literature. Later his creative genius captivated me, as he opened up new paths for the future. His works paved the way for impressionism, expressionism, 20th-century folklorism and dodecaphonic thinking. His innovations were always material realisations of spiritual renewal. My Rapsodia ungherese follows the ‘Slow – Fast’ single-movement formal concept of Liszt’srhapsodies.” Piano Score: 14633, score and orchestral material on hire.

Rapsodia ungherese

László Dubrovay wrote the following about Liszt and the piece now being published: “Liszt was for me the most important composer in my youth, and as a pianist I played a great number of his works. I admired him as an innovator, who enriched the technique of playing the instrument in a manner unparalleled in piano literature. Later his creative genius captivated me, as he opened up new paths for the future. His works paved the way for impressionism, expressionism, 20th-century folklorism and dodecaphonic thinking. His innovations were always material realisations of spiritual renewal. My Rapsodia ungherese follows the ‘Slow – Fast’ single-movement formal concept of Liszt’srhapsodies.” Score: 14721, score and orchestral material on hire.

Libera me MC 6/V : Aria per Soprano solo e Orchestra

Album für die Jugend für Klavier op. 68

Schumann composed Jugendalbum within less than two weeks between August 30th and September 13th, 1848. "I think - he wrote to Reinecke - that the Album will sometimes raise smile on your face. I can't remember the time when I was in such a good musical mood as when I wrote these pieces. It was just flowing towards me."

Eli! Eli! Matthaeus 27.46. für gemischten Cho

The 20th-century Hungarian composer wrote the series entitled Parasceve ('Preparation for the celebration') to texts from the gospels of St Matthew and St John in 1933, to mark the 1900th anniversary of the death of Jesus Christ. The most frequently heard, best-known piece in this motet series for mixed choir is Eli! Eli!, composed to the words of Christ suffering on the cross ('My God, my God, why hast thou forsaken me?').

Des écrits d'un musicien : 9 fantasies

I. Prologue. Moderato quasi andanteII. ...comme une lettre sur moi m me. Moderato III. Maternité. Andante quasi allegretto IV. Elegie (en forme d'un tryptichon). - Poco rubato - Poco adagio - Andante V. Serenade en Carneval. Allegro giocoso VI. Soupir inquiet dans la nuit de printemps. Moderato poco rubato quasi fantasando VII. ...je m'en vais comme l'ombre quand elle décline : et j'ai été emporté de côté et d'autre, ainsi que les sauturelles (Ps. 109). Poco adagio VIII. Chanson ivre. Allegro commodo poco capriccioso IX. Epilogue. Poco lento molto e

Chamber Music for Violoncellos 17 : for 4 violoncellos

The latest volume in this popular series expands the repertoire of intermediate violoncello pupils with some unusual transcriptions. This time the editor, Árpád Pejtsik, has arranged Ave Maria settings (one song and three choral works) for four cellos. The first is a classical music hit, Schubert’s Ave Maria. Next is the transcription of a little-known piece from Liszt’s vast output, an item from his 1879 choral work Rosario, followed by an arrangement of the first of Verdi’s Quattro pezzi sacri, famous for being based on an ''enigmatic scale'' (scala enigmatica). The volume concludes with another evergreen, the Ave Maria from Rachmaninoff’s All-Night Vigil. Rather than testing the players’ virtuosity, these slow-moving, contemplative pieces serve more to improve intonation skills as well as a sense of form and proportion. The editor has added suggested fingerings and bowings in order to help with the music's appropriate interpretation.

European Journey

László Zempléni, the author or reviser of a large number of pedagogical volumes published by EMB, has this time arranged European folk songs for young band. The following songs feature in the volume: "Laß' doch meine Jugend" (German), "My native land (Irish), Ah mon beau château" (French), "Kom, skal i klippe" (Norwegian), "Moj llokumja me sheqer" (Albanian), "Ma come balli bella bimba" (Italian) and "Az oláhok, az oláhok" (Hungarian). The pieces can be performed as a coherent series or separately, and conductors can select from them to form 2-, 3- or 4-movement groups.

European Journey

László Zempléni, the author or reviser of a large number of pedagogical volumes published by EMB, has this time arranged European folk songs for young band. The following songs feature in the volume: "Laß' doch meine Jugend" (German), "My native land (Irish), Ah mon beau château" (French), "Kom, skal i klippe" (Norwegian), "Moj llokumja me sheqer" (Albanian), "Ma come balli bella bimba" (Italian) and "Az oláhok, az oláhok" (Hungarian). The pieces can be performed as a coherent series or separately, and conductors can select from them to form 2-, 3- or 4-movement groups.

Gedenkblätter - Miniaturen

This selection is intended to reveal a less-known aspect of the genius of Franz Liszt, the greatest pianist of the 19th century: as a master of piano miniatures. While his large-scale works written over many years show Liszt as a striving composer for whom the creative process was difficult, at the same time, hidden in the shadow of the monumental peaks, the 'moments musicaux' tend to capture him in the process of improvisation, at the moment when a compositional idea flashed into his mind and was first noted down. The miniatures that feature in our selection trace his creative path through six decades (1827-1885), from his youthful testing of his wings right up to his finalfarewell. The manuscript of any piece that did not later become part of a cycle or the starting-point for a larger-scale composition generally remained in the mists of obscurity as a treasured memento preserved by one of his pupils or admirers.

15 Bagatelle per clarinetto solo

The first pieces among the 15 Bagatelles were written at the request of Béla Kovács. For his clarinet school he asked for little pieces that would introduce students to the typical innovations of the 1980s in notation (musical processes without bar- lines, asymmetrical repetition, the various means for notating free rhythm). The task continued to interest me, and I increased the number of pieces first to twelve, then to fifteen, so that from the simplest level to the intermediate stage students can find things to play. Depending on the students’ level of skill, the pieces can be performed as independent items and in any desired order. (Miklós Kocsár)

Komment und Zauberflöte für Mezzosopran : (ad lib.) Flöte, Violine, Cello und Klavier

The composer writes about his work: “The piece was written for the 2006 Spring Festival. The wording of the commission requested me to try to express what a Mozart opera means to our era. It was as a banner rather than as an internal motto that I used this one sentence: ‘Die Strahlen der Sonne vertreiben die Nacht, zernichten der Heuchler erschlichene Macht.’ (‘The rays of the sun expel the night and annihilate the power of the Deceiver’). At that time and in our day too, only as his last utterance in the final act can Sarastro announce this to the people gathered around him.”

Fiatal asszonyok éneke : Young Wive's Song

The Young Wives' Song, written in 1925 by Attila Jozsef (1905-1937) is a poem I found accidentally in the summer of 2010. It struck me on reading it that it can have two different meanings: a positive and a tragic resonance. By employing different singing techniques, I compiled and set to music the lines of verse, so that sometimes one meaning, sometimes the other comes to the fore. I was just 20 when I wrote the piece, just as Attila Jozsef was when he wrote the poem.(Mate Balogh).The full duration of the song is approximately 5 minutes. It was premiered by Boglárka Terray on 2 October 2010, in Budapest.

Sonatine

Sonatina for piano was composed in 1915. In the work Bartók used five original Romanian instrumental folk dance melodies which he had recorded during his folk music collecting trips in Transylvania between 1910 and 1914. Movement I is based on two bagpipe melodies (ardeleana, joc) from Hunedoara and Bihor respectively, the melody of ''Bear dance'' had originally been played on violin and guitar, while the finale uses two violin melodies (a turcii, babaleuca) from Mure and Torontal respectively. In a late radio interview Bartók said, ''Bear dance … was played for me by a peasant violinist on the G and D strings, on the lower strings in order to have it more similar to abear's voice.'' In 1931 Bartók orchestrated Sonatina with the title Dances of Transylvania.

Csardas obstinee

The arranger of this work, the well-known Hungarian composer living in Romania writes: 'This piece has always excited my imagination, from several points of view. First of all, its name. The German title, the obstinate one, may refer to its ostinato character, this is close to Liszt's programme concept, but the French word 'obstiné' is closer in meaning to stubborn. There is just a shade of difference, but to me it is important, because the latter suggests the description of a type of behaviour, the emotional state of a dancer's inner frame of mind abstracted into movements, expressed in dance movements, and this is a fascinating interpretation. The demonstration ofstubborn resistance , defiance to the point of exhaustion, was not a frequently occurring phenomenon with Liszt. Secondly, at the beginning of the seventies Zoltán Kocsis played the piece here in Transylvania.

Ungarische Tänze aus dem Sepsiszentgyörgyer und de

The composer writes the following about this volume containing two sets of dances: 'A few years ago an excellent tarogato player asked me to write accompaniments for some 18th-century melodies that were to feature on a new record of his, then under preparation. These unaccompanied tunes that had survived in various collections represented the 'light music' of the courts of the nobility, and included some Magyar or Magyar-like melodies. (Thus in the absence of other documents they are of historical importance.) After the record was made, certain tunes stuck in my mind and prompted further thought. After so much wind music I chose a stringed instrument with piano accompaniment. Themusical material assumed many different forms in my mind: the wealth of melodies made selection difficult. Finally, at the suggestion of cellist friends I decided on a shorter, more concise version, and this is what is being published.