Bøger udgivet af Editio Musica Budapest ZenemA±kiadA³

Roughly half of this selection of transcriptions of Baroque vocal and instrumental works consists of well-known pieces by the greatest composers of the period (Purcell: Dido and Aeneas, Rameau: Pieces de clavecin, Haendel: Water Music, Music for the Royal Fireworks, J.S. Bach: B major partita, C major orchestral suite), but works by composers less well known nowadays (for example, G. Boehm and J. C. F. Fischer) are also included, together with unusual items such as Polish, German and Hungarian dances from 17th- and 18th-century Hungarian manuscripts: the Kajoni and Vietorisz codexes, and Eleonora Lanyi's music book.CONTENTS: Menuet (Music for the Royal Fireworks, HWV 351) (Haendel); Bourree (Water Music, Suite II, No. 15, HWV 349) (Haendel); Three Polish Dances (Manuscript Eleonora Lanyi, 1729) (Ismeretlen); Three German Dances (Codex Kajoni) (Ismeretlen); Leaping Dance (Codex Vietorisz) (Ismeretlen); Chorus ("Fear no danger", Dido and Aeneas, Act I) (Purcell); Echo-chorus ("In our deep vaulted cell", Dido and Aeneas, Act I) (Purcell); Rigaudon (Boehm); Choral ("Freut euch, ihr lieben Christenz, Cantional, No. 17) (Schein); Musette en Rondeau (Pieces de Clavecin, 1724 & 1731) (Rameau); Menuet (Ouverture C-Dur, TWV 55: C3, No. 8) (Telemann); Song (Prinner) Rigaudon (Fischer); Song (zMaria, fons aquae vivae", Harmonia caelestis, 1711) (Esterhazy); Menuet (Partita B-Dur, BWV 825) (Bach); Gavotte (Ouvertuere C-dur, BWV 1066) (Bach); Choral ("Freu dich sehr, o meine Seelez, Kantate "Liebster Jesu, mein verlangenz, BWV 32) (Bach); Gigue (Pachelbel); Menuet (Rathgeber)..This volume, previously available in the Leggiero series, is now, in a new guise, part of the series Treasury for String Ensembles.Treasury for String Ensembles provides carefully selected original compositions and arrangements from the Renaissance to the twentieth century, compiled in volumes according to level of difficulty, from beginner's level to professional. Elementary (all in first position): typically for three violins and cello or children's string orchestra. Intermediate: typically for three violins and cello or string quartet or youth string orchestra. Advanced: typically for string quartet or string quintet (with double bass) or string orchestra.The volumes are published in both printed and digital form. The printed edition contains the score and one copy of each part. Further copies can be ordered for the purposes of orchestral performance. The digital edition can be viewed on screen, and the parts can also be downloaded as A4-sized PDF files.

The varied contents of this volume enable young orchestral players to become acquainted with compositions written by Mozart in his childhood and youth: the earliest of the pieces, a contredanse (K15e) originally written for piano, was composed in London in 1764 (when Mozart was just eight years old), the latest was composed in Paris in 1778. The selection also includes a movement from the Gallimathias musicum, the song 'An die Freude', early minuets and ballet music, other contredanses, German hymns, and even a movement from a symphony.Treasury for String Ensembles provides carefully selected original compositions and arrangements from the Renaissance to the twentieth century, compiled in volumes according to level of difficulty, from beginner's level to professional.CONTENTS: German religious song (Zwei deutsche Kirchenlieder, K 336c [343], No. 1); German religious song (Zwei deutsche Kirchenlieder, K 336c [343], No. 2); [Neun Stuecke, K Anh. C 27.06 (Anh. 207), No. 4]; [Neun Stuecke, K Anh. C 27.06 (Anh. 207), No. 8]; Arietta (Neun Variationen fuer Klavier ueber ein Thema von Nicolas Dezede "Lison dormait", K 315d [264]; [Kontretanz] (Londoner Skizzenbuch, 1764, K 15e); To Joy (Lied fuer eine Singstimme mit Klavierbegleitung KV 47e [53]); Marcia (Gallimathias musicum, K 32, No. 6); Menuett (Sechs Menuette, K 130a [164], No. 3); Menuett (Sieben Menuette, K 61b [65a], No. 3); Menuett (Sieben Menuette, K 61b [65a], No. 6); Menuetto (Sinfonie, K 111b [96]); Kontretanz (Vier Konretaenze, K 271c [267], No. 3); Kontretanz (Vier Konretaenze, K 271c [267], No. 4); Kontretanz (Kontretaenze, K 250a [101], No. 2); Menuett (Sechs Menuette, K 61h, No. 2) Elementary (all in first position): typically for three violins and cello or children's string orchestra. Intermediate: typically for three violins and cello or string quartet or youth string orchestra. Advanced: typically for string quartet or string quintet (with double bass) or string orchestra.The volumes are published in both printed and digital form. The printed edition contains the score and one copy of each part. Further copies can be ordered for the purposes of orchestral performance. The digital edition can be viewed on screen, and the parts can also be downloaded as A4-sized PDF files.

Bela Bartok composed the series of forty-four violin duos in 1931, prompted by the German violin teacher Erich Doflein. With the exception of numbers 35 and 36, all the pieces are based on original folk melodies, and the majority were collected by the composer himself during his numerous field trips in the Carpathian Basin. The melody for no. 42 was collected by Bartok in Algeria. Universal Edition (Vienna) published the violin duos in 1933 in four volumes, arranged in order of difficulty.The present transcription faithfully follows the original; fingerings are by the editor.CONTENTS: Matchmaking song; Maypole Dance; Menuetto; Midsummer Night Song; Slovak Song (1); Hungarian Song (1); Walachian Song; Slovak Song (2); Play Song; Ruthenian Song; Cradle Song; Hay-gathering Song; Wedding Song; Pillow Dance; Soldiers' Song; Burlesque; Hungarian March (1); Hungarian March (2); A Fairy Tale; Alternating Song; New Year's Greeting (1); Mosquito Dance; Farewell to the Bride; Jeering Song; Hungarian Song (2); Teasing Song; Limping Dance; Sorrow; New Year's Greeting (2); New Year's Greeting (3); New Year's Greeting (4); Dance from Maramaros; Harvest Song; Enumerating Song; Ruthenian Kolomeika; Bagpipes, Variation of no. 36; Prelude and Canon; Rumanian Whirling Dance (Invartita batranilor); Serbian Dance (Zaplet); Walachian Dance; Scherzo; Arabian Song; Pizzicato; Transylvanian Dance (Ardeleana).

Comprising four printed books and rich digital material, the Bassoon ABC is a modern and innovative instrumental method by Agnes Herpay, a successful Hungarian bassoonist and teacher. The method itself comprises two volumes (Z. 20092, Z. 20093), while piano accompaniments have been published in two further volumes (Z. 20092P, Z. 20093P).In this book all pieces with piano accompaniment in Bassoon ABC vol. 2 are included. Transposed versions for tenoroon in F and G can be downloaded at Digikotta free of charge using the individual code in the printed book.

Comprising four printed books and rich digital material, the Bassoon ABC is a modern and innovative instrumental method by Agnes Herpay, a successful Hungarian bassoonist and teacher. The method itself comprises two volumes, while piano accompaniments have been published in two further volumes Z. 20092P, Z. 20093P).Sound recordings of all pieces in the Bassoon ABC are available online at Digikotta free of charge using the individual code in the printed book. In the case of pieces with piano accompaniment and those for two or three bassoons, the voices can also be played individually, which can be very helpful in music education if no chamber-music partner or accompanist is available.The Bassoon ABC is also suitable for students learning tenoroon (in F or G) or fagonello (bassoonello) because transposed versions of the recordings and the sheet music are also available at Digikotta.

Bela Bartok composed Dance Suite in 1923 for the 50th anniversary of the foundation of Hungary's capital through the unification of Buda, Obuda, and Pest. It soon became one of his most popular orchestral works, and in 1925 he arranged it for piano solo. Adam Tabajdi completed the organ version of Dance Suite in 2019/20, and recorded it on the Kern organ of Sapporo's Kitara Concert Hall later that year. His transcription was inspired by the composer's own version for piano, exploiting the alternative solutions offered by the ''orchestral'' timbres of the organ, with its manuals and pedals. The ideal instrument for the present version is an expansive, eclectic style organ with at least three manuals.This flamboyant arrangement requires great virtuosity, stamina, and creativity from the performer. Adam Tabajdi (b. 1993) is an outstanding young Hungarian organist. Alongside the music of J. S. Bach, his repertoire includes Liszt, and Franck, as well as twentieth-century works, with a special focus on Messiaen, Ligeti, and Florentz. He is a committed performer of contemporary music, but he also feels a close connection with the works of old masters such as Sweelinck, Weckmann, and Couperin. In 2021 he won first prize in the Toulouse International Organ Competition, and in 2022 he was awarded the Junior Prima Award.

Composed in 1834, Liszt's Grand duo is based on material from three pieces from the first book (op. 19b) of Mendelssohn's Songs without Words (no. 1 in E major, no. 6 in G minor, and no. 3 in A major). While Liszt made an almost literal transcription of the first piece, he gave the second and third pieces a much freer arrangement, in the style of concert paraphrases. The large-scale concert piece was premiered by Liszt and Chopin on Christmas Day 1834 in a salon in Paris. The Grand duo was not published in Liszt's lifetime, and has survived as a draft.Schubert's Fantasy in C major (also known as the "Wanderer" Fantasy) was a defining musical experience for the young Liszt. He arranged this masterpiece of Romantic piano literature for piano and orchestra in 1851, at the beginning of his Weimar period, and it was premiered by Julius Egghard in Vienna in December of that year. By 1855, Liszt had transcribed this arrangement for two pianos, because it was played on 22 October 1855 at a concert held in Weimar in honour of his birthday. With the version for piano and orchestra, Liszt attuned the fantasy to the requirements of the concert hall, reinforcing the orchestral effects inherent in Schubert's composition. His aim with the two-piano version was to achieve a similarly grand effect in spaces too small for an orchestra. The arrangement for piano and orchestra appeared in print in 1857, followed by the two-piano version in 1862.This volume comes complete with a detailed preface in English, German, and Hungarian containing new research findings, several manuscript facsimiles, and a critical report in English.

This book is to some extent a continuation of Dr. Kiss's 2015 textbook A Practical Approach to Harmony: From the Birth of Polyphony to the Baroque Era.The aim of this book is to support conservatory students (aged 14-22) and their teachers with a collection of carefully selected material from which to learn the necessary musical concepts and practical knowledge of music theory, form, and harmony.The target era is the Viennese Classical period, which spans just under one hundred years between around 1730 and 1830. The focus is on the greatest representatives of their time: Haydn, Mozart, and Beethoven.The book concentrates on the practical aspects of studying music theory, form, and harmony. This means that all musical concepts become practical knowledge and are integrated into skills that a cultured musician needs (score reading, writing, singing or playing, composing, memorizing, transposing, arranging, analyzing, and so on).The book consists of ten units grouped into three levels of difficulty: Basic (units 1 to 5), Intermediate (units 6 to 8), and Advanced (units 9 and 10).CONTENTS: 1. Listening and Analysis: Analysis of selected compositions based on the following considerations: the structure of melody, rhythm, harmony, tonality, instrumentation, and form; 2. Theory and Practice: Learning theoretical concepts from masterpieces, and applying them to singing, playing, transposing, piano reduction writing, improvising, composing, and analyzing; 3. Keyboard Harmony: Creative activities such as: writing and realizing figured basses; harmonizing melodies; and playing, composing, and transposing chord progressions; 4. Ear Training: Harmonic singing exercises and notating chords and complex musical excerpts after listening to them; 5. Appendix.

taken from New Liszt Edition Paperback

Introduction and Dance exploits the alto saxophone's characteristic sound and virtuosity. It starts with a slow, nascent music, which gives way to a very fast dance with aksak rhythm in an asymmetrically segmented 8/16 meter. The work was commissioned by and is dedicated to saxophonist Levente Puskas and pianist Judit Varadi, who premiered it in September 2020 in the Hungarian Radio, and then first performed in concert in November that year.Marton Kerekfy (b. 1981) studied musicology and composition at the Liszt Academy of Music in Budapest (2000-2007) and received his PhD in musicology (2015) from the same institution. In 2006 he spent one semester on an Erasmus Grant at the Mozarteum in Salzburg. Marton is Senior Research Fellow at the Budapest Bartok Archives, Editor of the Bela Bartok Complete Critical Edition, and Editor-in-Chief at Editio Musica Budapest ZenemA±kiado.

Several transcripts have been made of Johann Sebastian Bach's lute works over the past 150 years. Due to the simultaneous harmonic and melodic character of the lute and the lute harpsichord, favored by Bach, these usually evoke the original sound with a combination of several instruments (for example, Zoltan Kodaly's transcription of the lute prelude in C minor for cello and piano). The joint work of cellist Tamas Zetenyi (*1985) and composer Marcell Dargay (*1980) is exceptional in that respect that it transfers all movements of the lute suite in C minor, including the fugue, to a single cello. The publication also includes an ornamented version of the sarabande.