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60 Etüden für Violine op. 45

Franz Wohlfahrt's Opus 45 is a set of 60 exercises for the Violin student, available here in one complete volume. Originally composed for his own teaching purposes, Wohlfahrt's set of studies has become a standard work for beginning the Violin and are studied the world over. The set begins with simple first position techniques, including single-note pedalling and double-stopping, before advancing to higher positions in later exercises.

Birthday music (to Yehudi Menuhin's 60. birthday : (to Yehudi Menuhin's 60. birthday)

Fünf Stücke : für Bläserquintett

Based on' Five Piano pieces' R. 60 G. 192

Spiel Auf, Zigeuner! 60 Ungarische Lieder Für Vi : 60 ungarische Lieder für Violine und Klavier

25 Etüden für Gitarre op. 60

Sinfonie Nr. 4 (B-Dur) op. 60

60 variations sur l'air Barucaba pour violon op.

Four Old Hungarian Folk Songs : for Men's Voices, BB 60 (1910, rev. 1926)

Liebesträume

From 1848 to 1850 Liszt wrote three piano pieces that were published at the end of 1850 under the title Liebesträume - 3 Notturnos. The composition reworks three songs written between 1843 and 1850 which were also published by Kistner in that year. The first two, "Hohe Liebe" and "Gestorben war ich/Seliger Tod," are set to a poem by Ludwig Uhland (1787-1862): a favorite German poet of the 19th century. The third, "O lieb, so lang du lieben kannst!" is set to text by Ferdinand Freiligrath (1810-1876) who was an active poet and translator. Two earlier versions and a later version of Notturno No. 2 were composed from 1845 to 1846, 1848 to 1849, and 1865 respectively. These variousversions are also included in this edition.

3 Études de concert : New edition based on the composer's manuscript

This edition of the three concert études is the first and only, for which the composer's autograph has been taken into consideration. This allows Liszt's popular piano cycle to be seen in the most authentic form available today.No closer information has emerged about the origins of the études, which appeared in 1849. The autograph, which contains all three studies in complete form, with elaborated notation and furnished with performance markings, appeared in a catalogue in the mid-1930s. But after it was bought by the French pianist François Lang (1908-1944), there were doubts about its whereabouts for several decades. So even Volume I/2 of the complete New Liszt Edition publishedby Editio Musica Budapest in 1971 could rest only on the notation of the first printed editions.

5 Studi

Cinque studi per orchestra (1959?60) clearly documents the process by which Maros - starting from Bartók's expressionist works written during the 1920s, especially The Miraculous Mandarin and The Night's Music -escaped from the earlier tonal, classicizing realm of music. The composition takes the form of a suite, with alternating notturno and scherzo movements. Decisive to the character of both are percussion instruments hitherto used solo only rarely in Hungarian orchestral practice. (Anna Dalos)

Sonata for Solo Violin (1947) : First edition

András Sz ll sy (1921-2007) was one of the most significant Hungarian composers of the second half of the 20th century, yet his oeuvre has not become as well-known as that of György Ligeti, two years his junior, or of György Kurtág, five years his junior. Sz ll sy did not compose many works and he was strict about which of them he would allow to go public. As a younger colleague of his once remarked: "He only composed his good works." Sz ll sy's Sonata for Solo Violin, which was written at the age of 26 and was publicly performed only in 2006, almost 60 years after its composition, fell victim to his self-criticism. Although the model of Bartók's Sonata for Solo Violin ofjust three years earlier was obviously on the young composer's mind, he was no epigone of the great master.

Selected Piano Pieces : The Bartók Performing Editions-Instruktive Ausgaben von Béla Bártok

Bartók probably first played pieces by Domenico Scarlatti in public in 1911. During the next two decades he featured them in his piano recitals more than 60 times. His dedication to Italian and French Baroque music is also illustrated by the fact that in 1920, he signed a contract with the Budapest publisher Rozsnyai to edit seven volumes of Baroque keyboard music. His plan was to select compositions by Couperin and Rameau in addition to pieces by Scarlatti, but during the 1920s it ended up being only two volumes of Couperin and another two comprising ten compositions by Scarlatti. In editing these masterpieces, Bartók's aim was primarily to counterbalance or even overshadow the works by the "Mendelssohn-Schumann epigones" used in primary and secondary musical education. The present single-volume collection comprises Bartók's two Scarlatti volumes, complete with an editorial preface, his detailed performing instructions, and his commentary. The editor recommends these compositions for pianists with at least five years' experience, and give practical recommendations for the grouping of individual items to form charming "sonatina-like" sets of pieces.