Two Dirges : for soprano and chamber ensemble to poems by Sándor Weöres

Unusual in Maros's ?uvre are Two Dirges (1962?63) for solo soprano and chamber ensemble, as vocal composition was not a central interest of his. This song cycle with instrumental accompaniment comes right before the great stylistic change found in the Euphonies, and sheds sensitive light on the composing directions he was considering. The cycle, set to verses by Sándor Weöres, recalls ancient rituals, whose musical portrayal is helped by arrestingly strong use of percussion to show the primitive side of such music. Meanwhile the vocal line brings out the melodic traits of Hungarian folk song. (Anna Dalos)

Cat and Dog für Kinderchor

Duets for Violin and Violoncello for Beginners 2

This volume of the series Music for Beginners contains duos for violin and violoncello, altogether fifteen pieces, among them six items for several parts. They are partly works by Baroque masters, partly by composers of the Viennese Classicism. This volume is recommended for pretentious students after four to five years of serious studies.

Fantasie for organ

Ern Dohnányi (1877 - 1960) composed his C minor fantasia in 1892, at the age of fifteen.This work, which is appearing in print now for the first time, is a real curiosity: apart from a few polyphonic stylistic exercises written while he was at the music academy, this is Dohnányi's only piece for organ. The composer later recalled his first acquaintance with that instrument thus: 'My experience with the organ actually dates back to when I was a third-year grammar school student, for beginning with that year I served as organist for the Sunday worship services in the grammar school's church. …These were the first wages I ever earned through music.' The Fantasie wasprepared for publication on the basis of the composer's manuscript by the well-known Dohmányi researcher Deborah Kiszely.

Adagio for Viola and Piano

Zoltán Kodály (1882-1967) composed Adagio for violin and piano in 1905 and dedicated it to the outstanding violinist Imre Waldbauer. In 1910 Kodály made versions of the work for both viola and cello, while Norbert Duka transcribed it for double bass. In 2014 we published all four versions of Adagio in a new separate edition.Adagio for violin and piano: Z. 14911Adagio for viola and piano: Z. 14894Adagio for violoncello and piano: Z. 14895Adagio for double bass and piano: Z. 14896

Adagio for Violoncello and Piano

Zoltán Kodály (1882-1967) composed Adagio for violin and piano in 1905 and dedicated it to the outstanding violinist Imre Waldbauer. In 1910 Kodály made versions of the work for both viola and cello, while Norbert Duka transcribed it for double bass. In 2014 we published all four versions of Adagio in a new edition.Adagio for violin and piano: Z. 14911Adagio for viola and piano: Z. 14894Adagio for violoncello and piano: Z. 14895Adagio for double bass and piano: Z. 14896

Adagio For Violin And Piano

Zoltán Kodály (1882-1967) composed Adagio for violin and piano in 1905 and dedicated it to the outstanding violinist Imre Waldbauer. In 1910 Kodály made versions of the work for both viola and cello, while Norbert Duka transcribed it for double bass. In 2014 we published all four versions of Adagio in a new separate edition. Adagio for violin and piano: Z. 14911Adagio for viola and piano: Z. 14894Adagio for violoncello and piano: Z. 14895Adagio for double bass and piano: Z. 14896An ABRSM syllabus title, 2012-15, Grade 8.

Wish for Piece

Zoltán Kodály s complete choral works for mixed voices were published in a new, extended, edition in 2018 (Z. 6725 and Z. 6725A). This volume containing 51 compositions has been edited by the renowned conductor Péter Erdei, one of the most devoted interpreters of Kodály s choral works. The new edition takes into consideration the manuscript sources for the compositions housed in the Kodály Archives in Budapest. The publication features new, easily-legible music scores edited on uniform principles. For better readability, the new edition is printed in a slightly larger format than previous editions.The present publication is an offprint from the renewed edition of Kodály s completechoral works for mixed voices. It has the same format as the volume, and has been printed on excellent-quality pale-yellow paper.

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

The third volume in the series contains Boccherini’s two-movement Quartettino, an archaic-style Gavotte by Grieg, and Elegy by the outstanding 19th-century cellist Josef Werner. The first two pieces are published here for the first time in a version for four cellos.To give a clear overview, the score of each work is provided.

Chamber Music for/ Kammermusik für Violoncelli 9 : for 4 violoncellos

Volume 9 in the series includes two works by Georg Goltermann (1824-1898) written for four cellos. The first work in the volume is the well-known Ständchen by Schubert, and the last is a transcription for four cellos of the equally popular Humoresque by Dvo ák. Since parts III and IV are easy, if the members of the ensemble are of equal ability it is possible in the repeated sections for an exchange of parts to take place between I and III, and between II and IV.

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

Adagio for Double Bass and Piano

Zoltán Kodály (1882-1967) composed Adagio for violin and piano in 1905 and dedicated it to the outstanding violinist Imre Waldbauer. In 1910 Kodály made versions of the work for both viola and cello, while Norbert Duka transcribed it for double bass. In 2014 we published all four versions of Adagio in a new edition.Adagio for violin and piano: Z. 14911Adagio for viola and piano: Z. 14894Adagio for violoncello and piano: Z. 14895Adagio for double bass and piano: Z. 14896

Chamber Music for/ Kammermusik für Violoncelli 14 : for 3 violoncellos

This volume contains romantic works arranged for three cellos. The 'Ungarische Melodie' and 'Ungarischer Marsch' were originally piano pieces. Their composer, Franz Schubert, in the summer of 1824 was music teacher to Count Esterházy's family in Zseliz on the Garam. Here from a peasant girl he heard the Hungarian songs that he incorporated in these two works. From Brahms's series of '16 Walzer', Op.39, likewise written for piano, the arranger of the volume paired together two pieces in a ternary form. Debussy's well-known work 'The little Nigar' with its syncopated rhythm evokes the black folk music of New Orleans. The less well-known 'Gavotte' by Dvo ák was originallywritten for three violins. The pieces in the volume provide parts of varying degrees of difficulty for the three cellos, so that less experienced players can also take part in the shared musicmaking.

Hungarian Christmas Songs for Beginners : for 2 (3) Violins - für 2 (3) Violinen

The volume contains the arrangement of Hungarian folksongs ot the Christmas time for beginners of the violin and appears as the counterpart of the volume for two recorders or two guitars (Z. 14089).

Lauda Sion : for mixed choir

The noted Hungarian choirmaster and composer, born in 1930, set four verses of the Lord's Day sequence of St Thomas Aquinas in this short devout work, which draws on the melody of the original Gregorian sequence. Written in 2011 for the 21st International Chamber Choir Competition in Pécs, the work makes rewarding and attractive material for both professional and amateur choirs to sing. Lauda Sion has also appeared in versions for mixed and for women's choir.

Lauda Sion : for equal voices

The noted Hungarian choirmaster and composer, born in 1930, set four verses of the Lord's Day sequence of St Thomas Aquinas in this short devout work, which draws on the melody of the original Gregorian sequence. Written in 2011 for the 21st International Chamber Choir Competition in Pécs, the work makes rewarding and attractive material for both professional and amateur choirs to sing. Lauda Sion has also appeared in versions for mixed and for women's choir.

Signs Games and Messages for Cello

Signs, games and messages are compositions of differing length, written for different occasions: musical letters, tributes, playful games with instrumental technique. In the past year pieces for violin, viola and for string trio have been published in this series.

Notices : for strings

Notices (1972) for strings, uses traditional forms of reprise, although his instrumentation brings in many soloistic touches and a typically modern thematic sound arises from his long melodies and tight chromaticism. This and his harmonic search for a new treatment of tonality mark an important stage in his return to tradition in the early 1970s. The work alternates between slow passages that resemble a lament and fast, fidgety, clamorous ones. The composed noise at the end of the work forms a notable example of Maros's instrumental technique. (Anna Dalos)

Chamber Music for/ Kammermusik für Violoncelli 13 : for 4 violoncellos

The latest volume in the series contains not too lengthy romantic works arranged for four cellos.In addition to two choral works by Liszt and an orchestral funeral march by Tchaikovsky, well-known piano pieces by Schumann, Chopin and Liszt served as the bases for these arrangements.The four parts differ in their degree of difficulty: the upper ones lie higher, while the lower ones are easier, playable at the level of the top classes in music schools.

Messages - solo-pieces for percussion

László Zempléni (b. 1947) is a percussionist at the Hungarian State Opera, and also active as a teacher. The majority of his works have been written for pedagogical purposes. Entitled "Messages" two independent solo pieces are contained in a single volume. One of them, Seven SMS studies was written for drums only, and according to the composer’s own description, "The ‘leading motif’ in each study is the rhythm of the morse-signals of the SMS letters, always in a different metre and with a different character". The other work, Late message was composed for a variety of percussion instruments. Both pieces were intended for music school students, and could be effective programmeitems for student concerts.

Pieces for Violoncello

Not many people know that Ferenc Liszt arranged some of his piano pieces for the cello, with piano accompaniment, and this version of the works appeared in print during the maestro's lifetime. Árpád Pejtsik selected two of these for this volume compiled to mark Liszt's jubilee: Elegies I and II. The other compositions by Liszt that appear in the collection were likewise originally works for piano: the Ave Maria and Cantique d'amour (pieces from the Harmonies poétiques et religieuses cycle) were transcribed by a pupil of Liszt, Robert Pflughaupt: the cello version, transposed into G major, of the E major Consolation is by Jules de Swert, solo cellist in the Weimar orchestraof those days: that of the Angelus (the opening piece in Volume 3 of the cycle entitled Years of Pilgrimage) is by Lothar Windsperger, a German composer who lived at the turn of the 19th-20th century.

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.

Chamber Music for/ Kammermusik für Violoncelli 15 : for 4 violoncellos

The latest volume of Chamber Music for Violoncellos contains four sacral works, two of which were arranged for cello quartet by the editor of the series, Árpád Pejtsik. Both Angelus!, Liszt's piano piece of ethereal beauty, and the Kyrie of Mozart's Requiem, an irresistibly surging four-part fugue, are magnificent when played with the immensely rich sound of the four cellos. The second part of the volume contains a pair of inspired works by two prominent cellists and composers of the 19th century: Karl Friedrich Wilhelm Fitzenhagen's Consecration Hymn and Friedrich Grützmacher's Ave Maria. While an instrumental skill of at least intermediate level is required for playing the upperparts due to the use of higher positions, the lower parts can be performed by beginner cellists. The editor has assisted the appropriate interpretation of the works by providing the fingering and bowing.

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.

Recorder Music for Beginners 2 : For Treble Recorder and Piano - Für Altblockflöte und Klavier

This volume contains, in addition to well-known movements and pieces, ample material passing for novelty even for those initiated starting from the Renaissance dances to present-day Hungarian folksong arrangements. It is worth trying to play from it after one year of treble recorder studies already. Besides beginners intermediary students can also perform some of the pieces. For them the original Baroque sonata movements may prove interesting.