Hungarian Dances from the 17th Century

Ferenc Farkas arranged a handful of early Hungarian dance pieces, preserved in various late Renaissance music manuscripts, for several groups of performers. His arrangement Hungarian Dances from the 17th Century for chamber orchestra introduced generations of young music students to the charming world of Hungarian musical history.

122 Bicinia from the 16th century : Compiled and edited by Soós András

This collection, similarly to the publication entitled 111 bicinia from the 15th century (EMB 14478), contains longer and shorter two-part excerpts from polyphonic ecclesiastical choral works, for pedagogical and liturgical use. As teaching material, on the one hand it introduces and notes in brief textual definitions the characteristics of each given excerpt: on the other hand, it provides easily usable examples for teaching music history, solfege and counterpoint (practice of intervals, score-reading, dictation, stylistic exercises, etc.) At the same time the movements, which also function as independent units, can be quickly learnt, and may on occasions add colour to themusical palette of the liturgy by introducing material that can be performed even by a children's choir. The volume consists mainly of excerpts taken from Mass movements and Magnificats by Palestrina, Lassus, Gombert, Clemens non Papa and others.

Motets from the 13th century, Vol. 1

Selected Works : By 20th Century Russian Composers

Chormusik aus fünf Jahrhunderten

Josquin des Prés, i.e. the 1450s form the beginning of the five centuries of rich European choral music out of which the present modest collection was compiled. The majority of the works published here are taken from the world of the Rennaissance, the golden age of choral music. In addition, masterworks of the Romantic literature of the 19th century cast in the shadow so far are presented in abundance. It is the task of the 'next century' to provide an overall picture of the world-wide choral culture of our times, the 20th century...' Miklós Forrai (1994)

Pressburger Tänze für Jugendorchester Ungarische

The composer wrote the Dances of Pozsony, for junior string orchestra, in 1980. This 3-movement work consists of arrangements of dance tunes from 18th-century Pozsony manuscripts.

Sonata per Violoncello Solo : In preparation

Ferenc Farkas (1905-2000) was one of Hungary’smost decisively important 20th-century composers.His musical profile combined Hungarian folkmusic, classical traditions, the melodiousness of the Mediterranean, and twelve-tone technique.

Pataki diákdalok a 18. századból

The musical material for these pieces was taken from the 17th century Kulcsar Melodiarium (Sarospatak, 1770), Novak Melodiarium (Sarospatak) and Patak Melodiarium (1798). Both the Latin and the Hungarian versions of these short character pieces were set to music. The cycle provides a good picture of the lives of the maturing students.The tunes reflect the many bonds that tied 18th century Hungarian music to the European musical culture of the time, while they also show signs of typical Hungarian character.

Die Meister des Liedes VIII Lieder der französisc : Lieder der französischen Romantik und Spätromantik

The selection made for advanced singers from the large-sized and more difficult pieces of the French romantic and 20th-century masters (Berlioz, Bizet, Chausson, Debussy, Fauré, Franck, Gounod, Massenet, Saint-Saëns and Satie) is a stopgap.

The Kollo Double

This piece is based on a dance from Kalló that was already known in the 17th century, and Zoltán Kodály transcribed it in 1926. The work, written for choir and orchestra, was first performed by the Hungarian State Folk Ensemble in 1951.

Saltus Hungaricus

The second half of the 18th century, for the people of East Central Europe, was the time of the awakening of national consciousness. The leading force in the Hungarian enlightenment, the lesser nobility, also regarded as important the national character of the country's culture. A valuable kind of national music was the Hungarian dance music that flourished in the 18th century. The greater part of the repertoire naturally perpetuates the 'Hungarian-style' pieces from the previous centuries (appearing in foreign collections too described as hungaricus, ungaresca, saltus hungaricus or Ungarischer Tanz), but beside these we can encounter contemporary European dances and entertaininginstrumental pieces in almost every style.

Saltus Hungaricus

The second half of the 18th century, for the people of East Central Europe, was the time of the awakening of national consciousness. The leading force in the Hungarian enlightenment, the lesser nobility, also regarded as important the national character of the country's culture. A valuable kind of national music was the Hungarian dance music that flourished in the 18th century. The greater part of the repertoire naturally perpetuates the 'Hungarian-style' pieces from the previous centuries (appearing in foreign collections too described as hungaricus, ungaresca, saltus hungaricus or Ungarischer Tanz), but beside these we can encounter contemporary European dances and entertaininginstrumental pieces in almost every style.

Der himmelhohe Baum - The Sky-High Tree : Etüden nach einem ungarischen Volksmärchen

In Papp s pedagogical method - which also opens the way to 20th-century classical music - Hungarian folk music and folk music of other European nations played a pivotal role. He authored many popular piano volumes for children, including The Sky High Tree, The Golden Key, and The Stonecutter.

Werke für gem. Chor - Osterfestkreis

In its new series entitled Sacred Choral Works EMB presents a collection of religious choral pieces by contemporary and 20th-century Hungarian composers. The first six volumes are devoted to works by the outstanding 20th-century composer for choirs Lajos Bárdos, more specifically the works in Latin from the recently published Bárdos series Musica Sacra. The first volume contains the works for equal voices, the other five contain those for mixed choir, the latter grouped according to religious festivals: Volume 2 has the Christmas choruses, Volume 3 those for the Easter season, Volume 4 those relating to the period following Easter, Volume 5 Marian songs, and Volume 6 the pieces forother occasions.

Werke für gem. Chor - Weihnachtsfestkreis

In its new series entitled Sacred Choral Works EMB presents a collection of religious choral pieces by contemporary and 20th-century Hungarian composers. The first six volumes are devoted to works by the outstanding 20th-century composer for choirs Lajos Bárdos, more specifically the works in Latin from the recently published Bárdos series Musica Sacra. The first volume contains the works for equal voices, the other five contain those for mixed choir, the latter grouped according to religious festivals: Volume 2 has the Christmas choruses, Volume 3 those for the Easter season, Volume 4 those relating to the period following Easter, Volume 5 Marian songs, and Volume 6 the pieces forother occasions.

Chorwerke für gleiche Stimmen nach lat. Texten

In its new series entitled Sacred Choral Works EMB presents a collection of religious choral pieces by contemporary and 20th-century Hungarian composers. The first six volumes are devoted to works by the outstanding 20th-century composer for choirs Lajos Bárdos, more specifically the works in Latin from the recently published Bárdos series Musica Sacra. The first volume contains the works for equal voices, the other five contain those for mixed choir, the latter grouped according to religious festivals: Volume 2 has the Christmas choruses, Volume 3 those for the Easter season, Volume 4 those relating to the period following Easter, Volume 5 Marian songs, and Volume 6 the pieces forother occasions.

Werke für gem. Chor - für die Zeit nach Ostern

In its new series entitled Sacred Choral Works EMB presents a collection of religious choral pieces by contemporary and 20th-century Hungarian composers. The first six volumes are devoted to works by the outstanding 20th-century composer for choirs Lajos Bárdos, more specifically the works in Latin from the recently published Bárdos series Musica Sacra. The first volume contains the works for equal voices, the other five contain those for mixed choir, the latter grouped according to religious festivals: Volume 2 has the Christmas choruses, Volume 3 those for the Easter season, Volume 4 those relating to the period following Easter, Volume 5 Marian songs, and Volume 6 the pieces forother occasions.

12 Sonate op. 2 Vol. 1 : for Flute and Basso continuo, nos. 1 - 6

An ABRSM syllabus title, 2014-21, Grade 5-6. Benedetto Marcello (1686-1739) published his flute sonatas Op. 2 in 1712 in venice. This was the first printed sheet music in italy to prescribe explicity and exclusively the use of tfe flauto. Marcello may have modelled his work on the sonata-cycle op. 5 by Corelli, which appeared in 1700. In this cycle Corelli summed up the possibilities of violin technique and the related compositional technique of his age. For his part, Marcello did the same for flautists. The flute sonatas soon became popular and have remained so ever since: three different editions have survived from the 18th century. The present edition (Z. 13476, Z. 13477) wasproduced by collating the three 18th-century sources.

12 Sonate op. 2 Vol. 2 : for Flute and Basso continuo, nos. 7 - 12

An ABRSM syllabus title, 2014-17, Grade 4. Benedetto Marcello (1686-1739) published his flute sonatas Op. 2 in 1712 in venice. This was the first printed sheet music in italy to prescribe explicity and exclusively the use of tfe flauto. Marcello may have modelled his work on the sonata-cycle op. 5 by Corelli, which appeared in 1700. In this cycle Corelli summed up the possibilities of violin technique and the related compositional technique of his age. For his part, Marcello did the same for flautists. The flute sonatas soon became popular and have remained so ever since: three different editions have survived from the 18th century. The present edition (Z. 13476, Z. 13477) wasproduced by collating the three 18th-century sources.

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.

Repertoire für Musikschulen - Klarinette

In this volume we provide a wide selection of pieces with piano accompaniment, mainly for players in the first 3-4 years of their instrumental studies. In addition to original pieces for clarinet (e.g. Baermann, Klosé, etc.) we have included Renaissance and Baroque works, Classical, Romantic and 20th century transcriptions, and folk music arrangements.

Repertoire für Musikschulen - Saxophon Solo

The content of this volume consists exclusively of solo pieces and character etudes, with just a few exceptions they are almost all transcriptions. The majority are Baroque or 19th-century works, and they include both totally unknown compositions and other that are well-known (e.g. certain movemets of the Bach partitas for violin and the solo suites for cello).

Three chinese quatrains to poems by Li Tai-Po, in

The work by Zsolt Serei entitled Three Chinese Quatrains, for soprano voice and piano, was composed in 1996-97 to verses by the 7th-century Chinese poet Li Tai-Po. The atmosphere of these songs, linked into a unified cycle by their shared soundsystem and connecting piano sections, is characterized by a fragile equilibrium of fantasy-like, extreme emotional states. (BMC CD 073)

Solfeggio Anthologie

This volume contains one-, two- and several-part excerpts, in chronological order, from the music of the Renaissance (Clemens non Papa, 1510/15-1555/56) to that of the 20th century (Shostakovich, 1906-1976). Complete works are included in only a few cases. The majority of the examples are given in simplified form in this collection, with modest alterations by the editors.