SKU: PR.ECH2718
The famous Monti Csardas is a rite of passage for accomplished musicians, a virtuosic, demanding showcase which runs the gamut from intensely dynamic to fast-fingered franticism. Lavrentiev has now provided a solid, though demanding, transcription for advanced guitarists.
SKU: HL.49008422
ISBN 9790001131940. 12.0x8.75x0.13 inches.
Composed in anticipation of the Bach anniversary in 2000. The forms and religious symbolism in Holliger's piece are not restricted in their reference to the Cantor of St Thomas' Leipzig, but include the interwoven contradictory attitudes towards Bach of Schumann and Liszt. A technically and musically demanding concert piece. Prelude (Inner Voice) * Fugue * Barcarole * Sphinxes (Intermezzo I) * petit Csardas obstine * Sphinxes (Intermezzo II) * Ciacona monoritmica.
SKU: BT.ESZ-01494800
With his Venti pezzi per pianoforte (1938), the Hungarian composer Sándor Veress (1907-92) wanted to create a collection of piano miniatures on folk melodies destined for use in the concert hall as well as for teaching purposes. Each piece is based on one or more songs and dances from different Hungarian speaking areas, which are re-elaborated and presented in a carefully conceived alternation of character, musical writing and technical difficulty. The result is a multi-colored overview of Hungarian folk music: songs of a pathetic or even dramatic nature are contrasted with lighter and high-spirited pieces, interspersed with dances of varying types, among which a homogeneousblock stands out formed by the group of Csárdás, a typical tavern dance also used by Liszt. The Venti pezzi per pianoforte represent the culmination of the extensive ethnomusicological research made by Veress in the ’30s and ‘40s, while working as assistant to László Lajtha and to Béla Bartók, and at the same time carrying out field work in Hungary and neighboring countries. The composer intended that this collection should play a fundamental role of mediation between folklore and western “art” music, by revitalizing the language from within, without resorting to the abstractions of the experimentation being developed in Europe at the time. During his lifetime Veress never succeeded in publishing the complete version of the Venti pezzi per pianoforte, but issued various selections of the pieces, two of which remained totally unpublished. The present critical edition prepared by Giada Viviani reconstructs the complete text of the Venti pezzi per pianoforte on the basis of manuscript sources kept at the Paul Sacher Foundation in Basel: the musical scores, with fingering by Jakub Tchorzewski, are accompanied by an introductory essay on the context in which the collection was created, including a description of the state of the sources and a detailed apparatus criticus of the textual variants. Con i suoi Venti pezzi per pianoforte (1938), il compositore ungherese Sándor Veress (1907-92) ha voluto creare una raccolta di miniature pianistiche su melodie popolari destinate sia a un uso concertistico, sia all’attivit didattica. In ogni branovengono rielaborati uno o più canti e danze provenienti da diverse aree geografiche di lingua ungherese, che si susseguono in base a una sapiente alternanza di carattere, scrittura musicale, difficolt esecutiva. Viene così offerta una variegatapanoramica della musica popolare di questa nazionalit : a canti di contenuto patetico o addirittura drammatico se ne affiancano di più leggeri e giocosi, avvicendandosi a danze di natura differente, tra cui spicca come un blocco omogeneo il gruppodelle Csárdás, tipica danza da locanda utilizzata anche da Liszt.I Venti pezzi per pianoforte rappresentano il coronamento della ricca attivit etnomusicologica condotta da Veress tra gli anni ’30 e ‘40, sia lavorando come assistente di László Lajtha e di Béla Bartók, sia svolgendo ricerca sul campo in Ungheria enei paesi limitrofi. Per il compositore, questa raccolta doveva svolgere un fondamentale ruolo di mediazione tra il folklore e la musica “colta” occidentale, in maniera da rivitalizzarne il linguaggio dall’interno, senza gli astrattismi dellesperimentazioni allora condotte in Europa.Nel corso della sua vita Veress non riuscì mai a pubblicare la versione integrale dei Venti pezzi per pianoforte, mentre ne fece uscire sul mercato alcune selezioni, lasciando del tutto inediti due brani. La presente edizione critica a cura di GiadaViviani ricostruisce il testo completo dei Venti pezzi per pianoforte in base alle fonti manoscritte conservate presso la Fondazione Paul Sacher di Basilea: gli spartiti musicali, corredati dalla diteggiatura di Jakub Tchorzewski, sono accompagnatida un saggio introduttivo sul contesto di creazione della raccolta, dalla descrizione dello stato delle fonti e da un dettagliato apparato critico delle varianti testuali.
SKU: M7.AV-5705
ISBN 9790203915591.
SKU: HL.50593017
SKU: HL.49046950
UPC: 196288089490. 9.0x12.0x0.304 inches.
Hungarian Fiddle Tunes presents a collection of over 140 pieces for solo violin drawn from the rich tradition of Hungarian folk music. With tunes covering a range of styles from Verbunkos, to Csárdás, to Magyar nóta, experienced folk fiddler Chris Haigh provides notes on all of the pieces, explaining technical aspects of the playing style. The volume is accompanied by Audio files with a recording of all tunes performed by Chris which can be dowloaded with a voucher codeprinted in the book. German and French translations of all texts are available as free pdf downloads from the Schott Music website. Suitable for players of grades 3-8. Part of the best-selling World Music series, which also includes Fiddle music from England, Ireland, Scotland, Eastern Europe, America, Argentina, India, China and Korea.
SKU: BT.EMBZ2132
Hungarian-English-Germ an-French.
'The arrangements included in the present volume reflect the first musical impressions of my childhood. In their harmonisations reminiscences of some turns heard at my parent's home can be detected sporadically... The piano writing is dance-like throughout but tries to make the musical material as varied as possible. It attempts to reproduce the typical playing of the gypsy orchestra, shaping it into a little character piece in some places.' (Ferenc Farkas).
