Guide to Early Keyboard Music : France 1

This brand-new series is intended as a guide to the keyboard music of the 16th to 19th centuries for pupils of the piano and the harpsichord, as well as of other early keyboard instruments. Each volume contains pieces by well-known and lesser-known composers from one country or region. The main purpose of the series is to extend the repertoire and stylistic knowledge of both pianists and harpsichordists while also presenting fine pieces and typical genres based on original sources. Our edition retains the performance indications of the composers' manuscripts and contemporary editions. Each volume includes: - suggestions for stylistically appropriate performanceboth on the piano and on period instruments - suggested elaborated versions of some pieces and excerpts - a fold-out list of ornamentation signs and the composers' own tables of ornamentation signs - biographies of the composers and the sources of the pieces - translations of foreign-language performance indications. The two volumes devoted to French keyboard music includes close to 50 showy and relatively easy works - preludes, dances, suites, rondeaux, and character pieces - from the early 16th until the late 18th century (ordered chronologically). This publication is printed on high-quality, age-resistant paper that is produced in an environmentally-friendly, climate-neutral manner using renewable raw materials.

Guide to Early Keyboard Music : France 2

This brand-new series is intended as a guide to the keyboard music of the 16th to 19th centuries for pupils of the piano and the harpsichord, as well as of other early keyboard instruments. Each volume contains pieces by well-known and lesser-known composers from one country or region. The main purpose of the series is to extend the repertoire and stylistic knowledge of both pianists and harpsichordists while also presenting fine pieces and typical genres based on original sources. Our edition retains the performance indications of the composers' manuscripts and contemporary editions. Each volume includes: - suggestions for stylistically appropriate performanceboth on the piano and on period instruments - suggested elaborated versions of some pieces and excerpts - a fold-out list of ornamentation signs and the composers' own tables of ornamentation signs - biographies of the composers and the sources of the pieces - translations of foreign-language performance indications. The two volumes devoted to French keyboard music includes close to 50 showy and relatively easy works - preludes, dances, suites, rondeaux, and character pieces - from the early 16th until the late 18th century (ordered chronologically). This publication is printed on high-quality, age-resistant paper that is produced in an environmentally-friendly, climate-neutral manner using renewable raw materials.

Guide To Early Keyboard Music

Symmetry-Asymmetry : für Flöte, Viola und Harfe

The title of this piece by Balázs Horváth refers to the interdependence of the musical materials. The first movement explores a complex system of rhythms with different symmetrical and asymmetrical metres. The second movement as specified by Péter Bársony, who commissioned the work, develops a special relationship with Debussy?s Sonata: it traces the symmetrical and asymmetrical temporal occurrence of the motifs of the Debussy work, as a sort of concrete formal analysis.

8 Ragtimes für Akkordeon : für Akkordeon

The ragtime music of Scott Joplin (1868-1917) is a peculiar alloy of the syncopated rhythm of black folklore and the melodic, formal and chordal characteristic of European music. The compact sound of the accordion is well suited for the authentic, style-conform performance of the pieces originally composed for the piano. The volume with a registration guide at the end is designed to extend and enrich the repertoire of accordion players.

Three Christmas Motets : for four-part female choir

The composer wrote of his work as follows: “The text of the three motets takes three motifs from the story of the birth of Jesus: (1) the joy of the Magi at seeing the Star, (2) Mary’s cradle song as she rocks the Baby, and (3) the choir of Angels praising the joyful news in song. The movements may also be performed singly, but it is best for them to be heard together as a cycle. Their style and tonal system are marked by ‘modulating modality’.”

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.

Zwei Bilder op. 10

'Composed in 1910, Bartók's 'Two Pictures' for orchestra, too, draws on Debussy and folk music. Indeed, the title itself is a reference to Debussy's famous piano cycle, 'Images'. The two movements, 'In Full Flower' and 'Village Dance' represent two Bartókian movement types. The first one is the delicate and intimate music of nature. Debussy's influence is most tangible here. The second movement, 'Village Dance' is only related to the previous movement through its tonal system. It is, rather, a sort of 'bone and muscle' music that belongs to the barbaro type of movements, and as such, consists of possibly the simplest elements. Long sections consist of the continual repetitionof a primitive motif. The work was first performed three years after its completion, on 25 February 1913, by the Budapest Philhamonic Orchestra, under the baton of István Kerner.' (HCD 32505 Bartók New Series Vol. 5, Virág Büky)

Streichquartett Nr. 1 op. 7

'String quartets accompanied Bartók's creative career from the First, composed in 1908, to the Sixth, completed in 1939 while still in Europe. The First String Quartet was the most significant creation of the newly fledged composer. It is unsurprising then that when composing a work of such scale as the First String Quartet in 1908, Bartók should attenuate the German spirit with French colours. The co-habitation of the two is a characteristically Jugendstil phenomenon, perfectly in keeping with the trends of the age. However, this blending of styles was not a conscious effort on Bartók's part: rather, he was exploring various means of expression. The tonal plan, too, israther curious: the first movement is in A flat minor, the second in B major, the third in A minor: that is, the closed tonal system typical of Classical form, and which would reappear in Bartók's later works, is in no way present here.' (HCD 32513 Bartók New Series, Vol. 13, János Kárpáti)