Picture Postcard from Holland : für Kammerensemble

Ave Maria : Voice and guitar - voice and piano - voice, mixed choir and piano

The many-faceted ouvre of Péter Wolf (b.1947) includes dance tunes, light symphonic music, character pieces, musical plays and film music, but also a piano concerto and a rhapsody for flute. Because of its melodiousness and emotional richness his Ave Maria is exceptionally popular.

Signs, Games and Messages : Solo and Chamber Works

Signs, Games and Messages are series for solo instruments and small chamber ensembles. Each of the three notions refers to an essential factor in Kurtág's music. Signs ties in with the composer's period of study in Paris as a young man, when he could not compose, merely put graphic signs on the paper.(Additionally, the word points to inspiration gained from the art of Klee and Michaux.) Games links with his nine-volume series for the piano with that title. Messages conveys the very personal content of these works, in that these short pieces are actually diary notes and missives to musicians and friends important to Kurtág.The collection - like his earlier five series forstringed instruments - does not form a coherent cycle. The pieces can be played individually or in various orders or among pieces from Signs, Games and Messages written for other instruments.

Signs, Games and Messages : Solo and Chamber Works

Signs, Games and Messages are series for solo instruments and small chamber ensembles. Each of the three notions refers to an essential factor in Kurtág’s music. Signs ties it with the composer’s period of study in Paris as a young man, when he could not compose, merely put graphic signs on the paper. Games links with his nine-volume series for the piano with that title. Messages conveys the very personal content of these works, in that these short pieces are meant to be diary-entries and missives to musicians and friends important to Kurtág. The collection - like the earlier five series for string instruments - does not form a coherent cycle. The pieces can be played individually or in various orders or mixed with from Signs, Games and Messages written for other instruments.

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 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

Stabat Mater : for soprano and baritone solo, mixed choir and orchestra

Miklós Kocsár set Jacopone da Todi's Latin hymn to music in 2007. The composition is for soprano, baritone solo, mixed choir and orchestra. The nearly 20-minute-long monothematic work of one movement presents the suffering and reconciliation of Mater Dolorosa with variational technique and colourfully alternating choir and solo textures. Using the score, which includes the vocal parts, Stabat Mater can be performed with not only orchestral but also piano or organ accompaniment.

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.

Trio für Horn, Posaune and Tuba : für Horn, Posaune and Tuba

This single movement is divided into several passages which differ in mood and build-up depending on the relation of the players and instruments to each other. First the trombone and the tuba accompany the melody performed on the horn, then all three instruments play a chordal-homophonic texture of identical rhythm.

and the ice is cracking around you, too for flut : for flute and piano

The title of the piece and its musical content refer to the title and musical ideas of a piano piece by the composer and pianist Balázs Futó. In conformity with his way of thinking, striking, forceful materials are ordered in Horváth's compositional method into harmonic and other sound sequences. The work is dedicated to the musicians who gave it its first performance: Péter Földesi and Balázs Futó.

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

Musical Reading and Writing

Zoltán Kodály conceived and realized the education of the young on the basis of the singing voice. Nevertheless he also kept in mind the education of those who were engaged in studying instruments. He himself had composed small pieces for beginners on the piano (Twenty-four Small Canons on Black Keys, Children's Dances) and he encouraged his disciples to compose exercises, instrumental tutors, and performance pieces for instruments in this spirit.

Musical Reading and Writing

Zoltán Kodály conceived and realized the education of the young on the basis of the singing voice. Nevertheless he also kept in mind the education of those who were engaged in studying instruments. He himself had composed small pieces for beginners on the piano (Twenty-four Small Canons on Black Keys, Children's Dances) and he encouraged his disciples to compose exercises, instrumental tutors, and performance pieces for instruments in this spirit.

Musical Reading and Writing I

Zoltán Kodály conceived and realized the education of the young on the basis of the singing voice. Nevertheless he also kept in mind the education of those who were engaged in studying instruments. He himself had composed small pieces for beginners on the piano (Twenty-four Small Canons on Black Keys, Children's Dances) and he encouraged his disciples to compose exercises, instrumental tutors, and performance pieces for instruments in this spirit.

Choral Works : For Children's and Female Voices

Béla Bartók Complete Critical Edition (Z. 15009), this volume includes Bartók's complete works for children's and female voices. The lyrics in this Urtext edition are in the original languages, but literal English translations are provided in the appendix, which also includes English versions of those of the 27 Two- and Three-Part Choruses that were authorized by the composer.The edition is complete with an informative preface (in Hungarian, English, and German) and detailed Editorial Comments (in Hungarian and English). The Comments give an overview of the textual, folk-music, and compositional sources, and provide detailed information on the performance practice of Bartók's choral works. The edition has been printed on high-quality and environmentally-friendly paper.This volume is also available cloth-bound, along with the volumes for male voices and for mixed voices, in slipcase (Z. 20076). Separate editions of each work included in this volume are also available.

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.

Concerto for Violoncello and Orchestra (2012)

The concerto was inspired by István Várdai's play and is dedicated to him. The triple movement structure and the character of the movements follow the patterns of classical concertos, while the thematic connections spanning the movements rather reflect the structural principles of Romantic symphonies. In the first movement, which resembles the form of a sonata, the characters of the themes are spectacularly separated. The motif of the main theme, constructed with glissandos, is supplemented by a theme the composer refers to as a "motif of fate", and the two together form a significant contrast with the minor theme with its lyrical tone and the playful, ending themeresembling a children's song.

16 Sonatas ' Hits and Rarities'

Besides Bach, Domenico Scarlatti is the other Baroque composer whose keyboard works sound really well on the modern piano also. The editor of this volume has chosen sixteen pieces from the 555 surviving single-movement keyboard sonatas by Scarlatti. This compilation designed to offer a representative selection gives a taste of the incredibly rich world of Scarlatti's sonatas in terms of their character, structure and keyboard techniques: they include lyrical Andantes and powerful, etude-like, whirling Allegros, pieces inspired by Spanish folk music and guitar-playing, as well as sonatas that anticipate the Viennese classical style. Apart from the composer himself, they sharejust one other characteristic: as far as their technical demands are concerned, not one of them is of more than moderate difficulty.

Scenes Op. 39 : Signs, Games and Messages

The cycle Scenes for solo flute, written in September 1997 and dedicated to Ádám Szokolay, occupies an extraordinary place in György Kurtág's oeuvre. The premiere of the long-withheld composition was held in 2016 on the composer's 90th birthday. Each movement in the cycle reformulates familiar gestures of Kurtág's music: it develops pensive, impetuous, ethereal or playful characters. Signs, Games and Messages are collections for solo instruments and small chamber ensembles. Each of the three words refers to an essential factor in Kurtág's music. Signs ties to the composer's study year in Paris as a young man, when he could not compose but merely put graphic signs on the paper. Games links with his nine-volume series for the piano with that title. Messages conveys the very personal content of these works, in that these short pieces are actually diary-notes and missives to musicians and friends important to Kurtág. The collection - like similar collections for string and wind instruments - does not form a coherent cycle; the pieces can be played individually, or in various orders, or together with pieces from Signs, Games and Messages written for other instruments. This publication is printed on high-quality, age-resistant paper that is produced in an environmentally-friendly, climate-neutral manner using renewable raw materials.

Tundragobelin for clarinet, violin, cello and pi

The title refers to image-patterns of summer flowers and vegetation of the Northern Canadian tundra when viewed from a low-flying aircraft. Some characteristic titles among the eleven movements include two fast yet softly scurrying Notturnos, a Funeral-banal, a Gigue, a Metagigue, a Sarabande and even a Gigue-bande!

Free Arrangements and Technical Exercises : Complete Edition

Supplementary Volume 16 of the New Liszt Edition contains free arrangements and technical exercises. In the first section can be found early versions of three arrangements. The first consists of the first and intermediary versions of a transcription of Die Rose, a song Schubert composed to a poem by Schlegel. The arrangement of the second movement of Berlioz's Harold Symphony also draws on literary inspiration: Lord Byron's (1788-1824) narrative poem Childe Harold's Pilgrimage (1812-18) was a literary experience Liszt shared with Berlioz. The fantasy on themes from Bellini's opera La sonnambula [The Sleepwalker] (here the first version of 1842, and the second version dating from the following decade are given) is important in music history because it was while he worked on this (and other operatic fantasies) that Liszt developed a new concept of the form, which took shape in more complex and more concentrated fantasies than before. Particularly interesting material can be found in the appendix. In addition to sketches and drafts for arrangements of Spanish themes, there are three sources published here for the first time, which shed light on technical aspects of Liszt's piano teaching. These are three sets of exercises: the first written by Liszt himself for Valérie Boissier in 1832; the second a copy in an unidentified hand from the same period or slightly later; and finally the third which was noted down in 1871 by Henri Maréchal in Rome based on the composer's dictation. This latest volume of the New Liszt Edition includes a detailed preface in German, English, and Hungarian containing new research findings, together with five manuscript facsimiles and critical notes. Simultaneously with the cloth-bound Complete Edition, a practical paperback version has been published, the contents of which are identical to those of the hardcover edition, minus the inclusion of critical notes.

Duets for descant recorders : from the Children's and Female Choruses

The Children’s and Female Choruses were composed in a single burst of creative activity at the zenith of Bartók’s career, in the summer of 1935, between such masterpieces as the String Quartet No. 5 and the Music for Strings, Percussion and Celesta. These short choral pieces are based on folk texts that Bartók further polished and stylized. The music, however, is wholly the composer’s own, although it frequently includes motifs, rhythmic formulas and line structures reminiscent of Hungarian folk songs. Both editions contain nine of the two-part pieces of the set, transcribed idiomatically but faithfully for descant and treble recorders, respectively.

Duets for treble recorders : from the Children's and Female Choruses

The Children’s and Female Choruses were composed in a single burst of creative activity at the zenith of Bartók’s career, in the summer of 1935, between such masterpieces as the String Quartet No. 5 and the Music for Strings, Percussion and Celesta. These short choral pieces are based on folk texts that Bartók further polished and stylized. The music, however, is wholly the composer’s own, although it frequently includes motifs, rhythmic formulas and line structures reminiscent of Hungarian folk songs. Both editions contain nine of the two-part pieces of the set, transcribed idiomatically but faithfully for descant and treble recorders, respectively.

Vingt-quatre grande études hardcover : and other works

Of this series of twenty-four études planned by Liszt only twelve were actually written, but the contemporary printed editions of the completed pieces (in the hope of a continuation) appeared with the series title '24 grandes études'. By publishing these 12 concert studies it makes the earlier and technically more difficult version of the Transcendental Studies available for the first time since 1911 for study by performers and those engaged in music research. Contrary to the 1911 edition among the volumes of the first complete Liszt edition, NLE will publish also the text variants of some studies, an album leaf in F sharp major in facsimile and in transcription considered asthe 13th study planned by Liszt for the series, and the earlier versions of so-called Mazeppa and Ab irato studies. In the volume will be published the puzzling album leaf, the so-called 'Prélude omnitonique' and some similar album leaves, too.Territorial restrictions may apply. Please ask before ordering.

Vingt-quatre grande études paperback : and other works

Of this series of twenty-four études planned by Liszt only twelve were actually written, but the contemporary printed editions of the completed pieces (in the hope of a continuation) appeared with the series title '24 grandes études'. By publishing these 12 concert studies it makes the earlier and technically more difficult version of the Transcendental Studies available for the first time since 1911 for study by performers and those engaged in music research. Contrary to the 1911 edition among the volumes of the first complete Liszt edition, NLE will publish also the text variants of some studies, an album leaf in F sharp major in facsimile and in transcription considered asthe 13th study planned by Liszt for the series, and the earlier versions of so-called Mazeppa and Ab irato studies. In the volume will be published the puzzling album leaf, the so-called 'Prélude omnitonique' and some similar album leaves, too.Territorial restrictions may apply. Please ask before ordering.