Small Suite

Hymn To The Fallen (Saving Private Ryan)

Small Folksong Suite

27 kleine Klavierstücke - 27 Small Piano Pieces

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.

Methodik des musikalischen Schreibens und Lesens : Schlussband

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.

Suite Für Zwei Trompeten Und Zwei Posaunen

The titles of all three movements evoke the Baroque era. The first movement is a small ouverture falling into three parts (slow-fast-slow). The second one is a Gigue with alternating bars which is followed attacca by the final movement Air. Due to the presence of alternating bars this otherwise moderately difficult piece requires very careful ensemble playing.

Die ersten Bach-Studien+C3944

This present edition follows a double aim: to assist music students in getting acquainted with and growing fond of the music in Bach's time on the one hand and to prepare and facilitate teaching and studying Bach's small preludes, on the other. To meet the latter objective the more difficult dances and suite movements prove to be the most suitable.

Two Musorgsky Transcriptions

For György Kurtág, Mussorgsky's works have always been an important model. Several of his works contain pieces referring to Mussorgsky (Games III, The Small Snag), and in his opera, Fin de partie, he also refers to Mussorgsky'sdeclamation style. He made these two transcriptions for piano duet in 1989, continuing a series of his earlier pre-Classical transcriptions. The transcriptions were premiered by the composer and his wife, Márta.

Petite Suite

Debussy's Small Suite written for piano duet in 1889 is being published by Editio Musica Budapest in a transcription for cello and piano for the first time. A guarantee for the quality of the transcription is the name of the two outstanding artists Zoltán Kocsis and Miklós Perényi who make us forget the difficulty of the task and exploit the full capabilities of their respective instruments, enchanting thereby the audience.

Mikrokosmos for piano 3 : New Definitive Edition

Béla Bartók's Mikrokosmos series contains 153 progressive piano pieces published across six volumes by Editio Musica Budapest. The series, which was written between 1926 and 1939, starts with very easy beginner etudes and progresses to difficult advanced technical displays, and remains an essential part of modern piano lessons and education. The word Mikrokosmos may be interpreted as a series of pieces in many different styles, representing a small world. Or it may be interpreted as world of the little ones, the children.

Mikrokosmos 1 : New definitive edition

Béla Bartók's Mikrokosmos series contains 153 progressive piano pieces published across six volumes by Editio Musica Budapest. The series, which was written between 1926 and 1939, starts with very easy beginner etudes and progresses to difficult advanced technical displays, and remains an essential part of modern piano lessons and education. The word Mikrokosmos may be interpreted as a series of pieces in many different styles, representing a small world. Or it may be interpreted as world of the little ones, the children.

Mikrokosmos for piano 2 : New Definitive Edition

Béla Bartók's Mikrokosmos series contains 153 progressive piano pieces published across six volumes by Editio Musica Budapest. The series, which was written between 1926 and 1939, starts with very easy beginner etudes and progresses to difficult advanced technical displays, and remains an essential part of modern piano lessons and education. The word Mikrokosmos may be interpreted as a series of pieces in many different styles, representing a small world. Or it may be interpreted as world of the little ones, the children.

First Words After The Last for prepared piano, v

The composer wrote this piece while still a third-year student at the Music Academy. The basis of it is a formula consisting of 9 notes, created by coding as notes a Christian name and various nicknames and anagrams. In the piece virtually every musical factor evolves in accordance with a predetermined system. It was first performed on March 20, 2002 in the small hall at the Music Academy by Dóra Sík (cello), László Tömösközi (vibraphone) and Dániel Dinyés (prepared piano), with Balázs Futó conducting.

9 Sonate facili (prima posizione) del barocco ital : per violino e basso continuo o violino e violoncello

This volume of nine small sonatas by nine composers first appeared in print around 1695 in Bologna. While some of these composers (Torelli, Perti, Jacchini) are well-known figures in music history, there are others which are lesser-known and have been preserved in this collection for posterity. These sonatas are primarily recommended for students, because they allow learners to experience this musical style at an early stage, and they also lay a strong foundation for the study of major sonatas by Baroque masters such as Corelli and Vivaldi.

Sonata per flauto e cZalo (pianoforte)

As sources for this present edition served the manuscript marked Mus. ms. Bach St. 296 held in the Staatsbibliothek Preussischer Kulturbesitz at Berlin. The original title reads: Sonata / a / Flauto Traverso / e / Cembalo Concertato / di / J. C. Bac h. Our edition follows closely the manuscript except for the arrangement according to present-day notation (use of accidentals, the addition of slurs to tie the appoggiatura to the main note, etc.). Obvious errors are listed in the Critical Notes. Sl urs have been but in square brackets. The basso continuo marked in the original by figuring is given here in small print. György Orbán

Ich lerne Klarinette spielen 1

The two volumes of I Learn to Play the Clarinet (Z. 12282 and Z. 13291) have been written for beginners and contain the material for the first 3-4 years. It has been avoided to arrange the material according to yearly divisions for several reasons. On one hand the rate of progress depends on the pupil's aptness, diligence, age and musical pre-education, so a strictly handled curriculum could be either too small or too great a task for the pupil. On the other hand by using this method it may be easier achieved that quality replace quantity…' (Béla Kovács)

Ich lerne Klarinette spielen 2 : Fragment

'The two volumes of I Learn to Play the Clarinet (EMBZ12282 and EMBZ13291) have been written for beginners and contain the material for the first 3-4 years. It has been avoided to arrange the material according to yearly divisions for several reasons. On one hand the rate of progress depends on the pupil's aptness, diligence, age and musical pre-education, so a strictly handled curriculum could be either too small or too great a task for the pupil. On the other hand by using this method it may be easier achieved that quality replace quantity…' (Béla Kovács)

Mikrokosmos for piano 4 : New Definitive Edition

'The Mikrokosmos is a cycle of 153 pieces for piano, written with a didactic purpose (Vol. 1: Z. 125, Vol. 2: Z. 126, Vol. 3: Z. 127, Vol. 4: Z. 128, Vol. 5: Z. 129, Vol. 6: Z. 130). That is, to give piano pieces which can be used from the very beginning, and then going on, it is graded according to difficulties. And the word Mikrokosmos may be interpreted as a series of pieces in many different styles, representing a small world. Or it may be interpreted as "world of the little ones, the children".' (Interview broadcast by WNYC, in early 1945, on a programme entitled Ask the Composer.)

Mikrokosmos for piano 6 : New Definitive Edition

'The Mikrokosmos is a cycle of 153 pieces for piano, written with a didactic purpose (Vol. 1: Z. 125, Vol. 2: Z. 126, Vol. 3: Z. 127, Vol. 4: Z. 128, Vol. 5: Z. 129, Vol. 6: Z. 130). That is, to give piano pieces which can be used from the very beginning, and then going on, it is graded according to difficulties. And the word Mikrokosmos may be interpreted as a series of pieces in many different styles, representing a small world. Or it may be interpreted as "world of the little ones, the children".' (Interview broadcast by WNYC, in early 1945, on a programme entitled Ask the Composer.)

Mikrokosmos for piano 5 : New Definitive Edition

'The Mikrokosmos is a cycle of 153 pieces for piano, written with a didactic purpose (Vol. 1: Z. 125, Vol. 2: Z. 126, Vol. 3: Z. 127, Vol. 4: Z. 128, Vol. 5: Z. 129, Vol. 6: Z. 130). That is, to give piano pieces which can be used from the very beginning, and then going on, it is graded according to difficulties. And the word Mikrokosmos may be interpreted as a series of pieces in many different styles, representing a small world. Or it may be interpreted as "world of the little ones, the children".' (Interview broadcast by WNYC, in early 1945, on a programme entitled Ask the Composer.)

10 canzoni a 4 : Tastenmusik aus dem 16. und 17. Jahrhundert

Ottavio Bariola was a famous Milanese organist in the late 16th century. Only a relatively small number of his works is known to survive, among them a collection of ricercares and canzonas. The present edition offers a selection of ten pieces of the latter collection. In agreement with their genre the compositions are strictly polyphonic in structure. In this edition the works are included in a four-part setting with consistent part-writing. Due to their volume and grade of difficulty the pieces are not meant for concert hall performance in the first place but for enriching the repertoire of church organists and lovers of early music.

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.

Kleine Klavierstücke Aus Mozart's Kinderjahren : aus Mozart's Kinderjahren

The small piano pieces published here can be divided into two groups. Some of them were composed by Mozart himself between the ages of 6 and 8 years. Others are to be found in booklets, known as the Notenbüchlein, compiled by Mozart's father Leopold Mozart for his children Wolfgang and Marianne (''Nannerl''), and the composers names are not given. In any case, they must have been by German masters living in the mid-18th century. Audio performances by István Dominkó, artist and piano teacher are available. (Download code included in the book) This publication is printed on high-quality, age-resistant paper that is produced in an environmentally-friendly, climate-neutral mannerusing renewable raw materials.